Ignika

Start: Fresh, citric.
Everyone knows.
Start: fresh, citric, slightly sour, mildly bitter, tart hints, and still in good, no, great execution? You really don't smell that every year.

For a long time Jsuh was led by representatives of the citrus and spice fractions. Bergamot contributes less than bitter orange and lemon (ratio 20:40:40). In addition in similar proportion cinnamon:clove:myrtle. Patch remains enigmatic, neither earthy nor as heavy as I am used to. Some leather gives a more bitter nuance, maybe even beavergeil. I didn't hear any typical cognac smell, but barrel smell did!

So, first and foremost, citric, without being too angry or too bitter. Interesting aromas to it, background astringent by leather, herbaceous and woody by myrtle and cognac barrels. I like the overall picture very much.

My suspended sample is ancient, and yet the citrus fraction smells like only recently processed. Chapeau! I like it. I'll have that one day.

Laura is again one of the scents that came to me through relatives. This time even as a 100ml bottle, so I liked it a lot. I haven't been able to fully fathom Laura yet, not even after 15+ times. I'm going to Michelangelo, I'm satisfied with an approach to perfection.

Laura seems linear and primarily fruity to me. The currant is accompanied by watermelon and a little peach. Little lotus, water lily and violet contribute a pleasant plant-floral touch, soften the fruit cup flair somewhat. From the base only musk seems to be present.

Laura's listing doesn't smell as good as it sounds. Watermelon, water lily and lotus loosen the scent unhappily, rather, soften it, water it down. Thus Laura consists of a diffuse fruit mist with beautiful but weak flower accents behind it.

With a little more strength (instead of fruit) Laura would be a damn good fragrance, a lovely, discreet instead of shy everyday fragrance for beauties. But as she is now, Laura lacks character.

This work by Lehmann is described as a "harsh sea breeze". Calypso is by far not aquatic enough for this; Wille is there.....but one after the other.
During my research I quickly found a painting from 1869. Henri Lehmann painted [freely] a woman - the eponymous sea nymph Calypso - sitting at the surf. So the fragrance with the name and the notes already makes much more sense.

The sea's not friendly. Storm clouds can be seen in the darkening sky, the swell increases. Her hair and her jewelry blow in the wind as she [looks] longingly into the sunset. Fortunately, only the theme, not the mood, was translated, as if you were sitting behind Calypso, listening to music and closing your eyes. No storm clouds [to see], no waves [to hear].
Galbanum reproduces the washed up algae and the surrounding vegetation, green, herbaceous; with salt. Some Petitgrain provides more freshness, representing the stiff breeze and the spray. Calypso itself smells of iris, powdery-sweetish.

To me this Lehmann seems like an impression, a collage, an art installation. Just for that one more time: Hats off! Anyone can try, so create? The fewest.
...which doesn't mean the work is too portable. Powdery feminine plus salty herbs? Aquatic iris? Calypso is registered as unisex in the usual Lehmann manner, but the fragrance is clearly not masculine, so I don't feel addressed as a carrier, but as part of the indirect target group. Therefore, I say: if woman wants to please, she prefers to grab another Lehmann number.

Another comment I've been putting off forever. Writing is simply not so much fun when there is little to discuss and the result is not good. I want to love the creations! But even Haus Mugler does not make it easy for us men at the moment.

Meanwhile the hype seems to have died here, too, since 2 months no contribution to Alien Man. This also reflects well the reality: with those in turquoise and elsewhere - or completely nevertheless only in the area Berlin - the extraterrestrial did not strike waves. But anyway, let's get on with it!

Alien Man, to put it nicely, is discreet. Regarding the music tree: a little bit of everything, but not more. Cashmere wood, osmanthus and white amber should provide a soft, "warm", pleasant base, which is also somewhat sweet and powdery. Fortunately, the little bit of leather doesn't bite its base; the smoky coat fits only moderately, but the dill stands next to this colorful pile with a questioning facial expression and elicits similar sentiments from the tester [me]. So: soft and powdery with leather, smoke and dill[??]. Reminds me of "This is Him!@Zadig & Voltaire".

I like the bottle, reminiscent of brutalism. He could thus express hardness, robustness, seriousness; whether this was planned in this way will probably remain unclear. But the discrepancy between appearance and being can unfortunately not be rationalized away. Conclusion:
Portable, but every perfumer should be able to call better things his own. By Mugler, but still bloodless.

I've wanted to write this comment for half a year now. You really get to eat more these days! But it also has to do with whether you want to take your time. Mm, I'm not surprised...

This Rabanne is heavy from beginning to end, future, almost sticky. Constantly dominated by... nothing! This creation has little endurance and certainly no Sillage, no note really wants to take responsibility. I recognize old ginger and old thyme. Not dusty, but really old, withered. And a pinch of coarse cinnamon, vanilla, lots of sugar. Not Grandma's cough syrup, no, but Grand Aunt Elfriede's, who always has to make her mark. Result remains the same, cough syrup is cough syrup, cough syrup remains cough syrup!

Pure XS. At least somewhat imaginative, this phonogram; Pure Excess, in the context thus, pure excessiveness. Name obviously not program? But also here it's like with "Bleu de/Blöde Chanel": I think "Clear, undersize" is more fitting, it's also a bubbly little water. Unfortunately weak and neither interesting nor complex. Name so maybe program after all?