DrKong

This beautiful fragrance 24 Hours Oud by Ard AL Zaafaran, is a delicacy in every sense of the word, it could well be a clone of Tom Ford's Black Orchid if you want, but personally I liked this one with much more, because I feel it is better balanced, its more balanced notes, it is simply perfect in each of its stages, without being so extravagant, nor so strident, nor so heavy, and it is also still powerful, it becomes wonderfully lucid, intoxicating, captivating, rich not to mention millionaire, luxurious, mysterious, charming, filling to the nose and impressively delicious.

What a luxury fragrance, it is unbelievable for the price paid for it, it is undoubtedly the best I have smelled recently, a composition of refined opulence with class and good taste.

I lack words to express how wonderfully well achieved this proposal is.

Tres nuit inevitably evokes a green and flowery field, spring at its best. Only it is not an original construction. We can't lie, it's a brutal clone of the famous Creed fragrance. Nor can we compare it in terms of quality, there is a considerable distance in price and also in textures (an issue that the most experienced noses would easily identify).

Apart from the above, Tres nuit is a quintessential spring fragrance. A herbal and floral departure for lemon verbena, lavender, violet and iris. But with a not very light base composed of ambergris and sandalwood. It is a wonderful fragrance considering its price.

Now, it is a perfume that would require a certain formality when dressing it.

It simply seemed like a delicacy to me, and despite the fact that it is warm, amber and spicy, with exquisite vanilla, it is not cloying at all, but when the perfect combination with the iris appears, it takes it by a path full of charm.

It is truly an exceptional work, it has captivated me, it reminds me of TF Noir extreme.
A true gem that deserves my full approval and recognition.

Versatile fragrance, for any time of the year, in my opinion it is totally nocturnal.

In its opening, the bergamot is fleetingly appreciated, which lasts only a few seconds to give way to the spicy notes of oregano and bell pepper, notably marked during the exit, until they fade into the background after the incense appears forcefully and very densely, which It marks the main role of the fragrance giving it that smoky and deep character.
It is there when balsamic and resinous chords of opoponax float, together with amber and labdanum that sweeten it in a very velvety way, giving it a chocolaty aura.
And when it seems that the fragrance cannot go any further, it allows us to delight ourselves with an intense oud, a rough leather and woody accords of sandalwood that completely soak up the background of the fragrance.

Majestic, deep and mysterious fragrance, with a 100% oriental DNA.

For the price you pay, it's well worth it and it's more versatile than it appears and certainly shares a lot of kinship with Interlude de Amouage.

Fahrenheit, due to its antiquity, is a perfume that accumulates a good number of stories and experiences of those who happily wear such a perfume. Since 1988 they have had that possibility, and it is not a small thing because others do not have it.

This fragrance is not the original Fahrenheit but Fahrenheit 32, the one in the beautiful white bottle, translucent and matching the dark yellowish color of the content at the bottom, the one that by name and presentation seems to want to evoke a sensation of low temperature, 0ºC specifically.

Unlike many of those who have already left their impressions, I was not able to try this perfume when it was still on sale, it was later when my interest in it arose, called for its many popular acclamations that place it as if it were a an unfinished work, one of those perfumes that everyone seems to have to try sometime, and I wouldn't have been able to if it hadn't been for the courtesy of Jerry Drake, thanks to whom I am writing these lines.

What has caught my attention the most is that all those sensations that Dior intended to convey do not exist, we are not dealing with a fresh perfume, far from it, nor with a heavy or very sweet perfume.
In the aroma from the beginning we can clearly perceive the vanilla, a plastic vanilla but extremely pleasant that from the first moment is accompanied by white flowers, orange blossom according to the declared notes, but to this we should add a present but soft violet that in conjunction with the vanilla makes it cold, almost icy, creating a very particular aromatic environment, almost as if it smelled of ink or paint, a metallic vanilla that will persist for a long time until it finally subsides, leaving the same initial vanilla, now without tone some floral but with remains of that violet already in a very residual way.

That is the sensation of cold that Dior tells us about, the cold vanilla, very accomplished and really pleasant, do not think that these metallic airs are unpleasant, on the contrary, they make us, in some way, appreciated the aroma as a whole remind slightly and at times the original. This tremendous performance by François Demachy, spectacular.

In addition, that vanilla might seem heavy, these beginnings of the century were a time when sweet perfumes were still characterized by their stridency and tackiness, but this is not the case at all, the sweetness is just right, not at all loud, it lasts very good and a projection that accompanies us for a good handful of hours, many more than what we are used to seeing today. This makes the perfume persistent and constantly noticeable with bursts that tickle us and remind us of the great work we are lucky to be wearing.

An interpretation that departs from the original Fahrenheit, more versatile and different, vanilla with white floral nuances and a violet that plays hide-and-seek without seeming to.
A work that also today truly has the ability to leave us frozen when we are aware that such a perfume will never be commercialized again.