KnowThis30

First of all, before I start this review, I want to point out that my knowledge of the Indian dessert Kulfi is quite limited. Although I am familiar with its production, history, and various variations, I have never had the pleasure of tasting this dessert, so I will not be able
to determine to what extent the heart note actually resembles the dessert Kulfi.

That said, I plan to divide my review into the following criteria and conclude with a small summary: Scent (top, heart, and base notes), sillage, projection, usage, bottle, price, comparison.

Scent:
Contrary to what one might assume, Tom Ford's Noir Extreme is not the overly sweet gourmand that one might initially think based on its fragrance note pyramid. Not that there should be any misunderstandings or misinterpretations: Noir Extreme is still sweet, but at no point - the classic problem of over-spraying is completely disregarded here - does it come across as overwhelming.
On the contrary! The sweetness remains pleasantly classic in the background and blends harmoniously with the floral and citrus components of the heart note, with the rose being particularly noticeable to my nose.
Yet even that spiciness from the top note, which actually disappears after a few minutes, seems to make its way into the heart of the fragrance. Whether this actually comes from the contained but fleeting spices
like saffron and nutmeg, or from the significant Kulfi note, is hard to determine - both seem possible.
And while the top note, as mentioned, disappears after a few minutes, the heart note, with its mix of sweet, floral, and spicy components, lingers for about 1.5 - 2 hours before it smoothly transitions into a gentle mixture of spicy sandalwood and soft vanilla - sweet, yes, but also very subtly restrained, and with 4 - 5 hours on my skin, absolutely sufficient.

Sillage:
In short...the sillage of Noir Extreme is noticeable! Not negatively, but also not positively for those who understand perfumes to be more aquatic, woody, or otherwise citrus-fresh and avoid any sweetness - even if only for the nose.
The rest of the surroundings should rejoice in anticipation of the familiar yet - due to the use of Kulfi - still different composition. Noir Extreme is not a fragrance that can fill a room when applied appropriately, but it always seems to be present, holding itself discreetly in the background. If used correctly,
there should probably be no one who finds this scent bothersome.

Projection:
Aside from the top note that disappears after just a few minutes, Noir Extreme projects its scent moderately.
This should not be misunderstood: Noir Extreme is by no means weak, but seems to pursue the plan of attracting others to it, rather than letting them run into an olfactory wall from many meters away like some other representatives.
Neither too weak nor too strong, Noir Extreme skillfully wanders along subtly meandering paths for most of its lifespan.

Usage:
At this point, opinions may differ. To my nose, Noir Extreme is a year-round fragrance, with the only caveat being the appropriate number of sprays. As always: The warmer it is, the fewer sprays should be used, and those who have no problem standing out can simply ignore this advice. This scent can also be worn well in the office due to its subtle sweetness and the close-to-skin perception it offers.

Bottle:
The shape of the bottle is rather classically square. The corners are pleasantly rounded, Tom Ford's initials are subtly present on the dark sides as well as prominently on the cap, and the fill level of the contents can be easily seen - especially when held against the light. The color combination of its dark black/brown glass, along with the golden lettering and cap, is also pleasing. The spray head inside is also in the same color, where it performs its task acceptably as desired, but can never quite reach the quality of products from Dior or Chanel.
If there is any reason for complaint, it would probably be the cap itself.
To what extent one wants to factor in the construction and design of a bottle into the evaluation of a fragrance is up to each individual. Nevertheless, I can certainly understand that - especially considering the price, which we will come to shortly - many view it as lacking in quality. The color is consistent, and the ribbed surface fits into the overall design concept of the actual glass bottle! However, the cap does seem rather "cheap" due to its light weight and plastic surface on the inside.

Price:
How one views the price depends greatly on one's starting position: If one comes from the niche fragrance corner or the Private Blends from Tom Ford, then Noir Extreme represents a quite acceptable price-performance ratio.
However, if viewed from the perspective of the widely available designer fragrances, this scent definitely falls at the higher end of the price scale. The good longevity and the rather unique or rarely encountered scent can justify the set price, but it is by no means a bargain!

Comparison:
To my knowledge, Noir Extreme does not have a direct or close "clone," although I have never had the chance to test the "Masculin 2 Gold Fever" from Bourjois mentioned here. It is definitely sweeter than "Noir pour Femme" - from which it is clearly inspired, and not from the other "Noir's" in the men's fragrance line.
The mandarin in the top note cannot be compared at any point in duration to that of Chanel's "Allure Homme Sport Eau Extrême" - rather, it comes across as spicier than fresh.
And for those wondering how much the vanilla note in the base might bother them, imagine a quality of Tom Ford's "Tobacco Vanille" and a slightly muted projection of Armani's "Code Absolu pour Homme."

Conclusion:
So for whom is Tom Ford Noir Extreme the right fragrance? By no means for penny pinchers, that much is clear. While it is not a high-priced niche fragrance like Parfums de Marly or Roja, it is also not in a price category where standard fragrances from Versace and Co. reside. In my opinion, it is worth the price, but this question must be decided by each individual.
Even proponents of aquatic, fresh, or woody categories will not find satisfaction with this fragrance. However, those who do not shy away from the price or manage to snag a bargain elsewhere and can appreciate sweet-gourmand fragrances with unique or rare scent notes will be happy with Noir Extreme!
Even if not in terms of price, Noir Extreme is indeed a fragrance that could easily and without criticism or changes fit into the realm of Private Blends in a suitably adapted bottle.

Before I start my review of "Moustache" by Rochas, I want to clarify that I have no knowledge of the scent "Le Vestiaire - Tuxedo" by Yves Saint Laurent, which is frequently referenced in the few existing online reviews (allegedly about 80-90% similarity)!

So... with that small detail out of the way, I will base my evaluation on the following five criteria: scent, sillage, performance, bottle, versatility, and price.

Scent:
Opening with a decent pinch of pink pepper, the fragrance does not convey the mandarin as prominently and sweetly as, for example, Chanel's "Allure Homme Sport Eau Extrême," but I believe it at least tempers and tames the scent of the pepper a bit. Other fragrances that also feature pink pepper in the top note come across as much stronger to me. Overall, however, the top note lasts only a few minutes, then transitions relatively unnoticed into the heart note, which should not disturb anyone.
As I already mentioned in my statement, the heart note strongly resembles the heart note of Givenchy's "Gentlemen Only" from 2013, in my opinion. Both consist mainly of cedar, but have entirely different accompanying materials around them. While Givenchy's scent provides a rather piercing woody note through vetiver, "Moustache" feels rounder and softer due to the rose used. It's as if you were smelling the same piece of wood, but from a greater distance with "Moustache," making the impression less oppressive but more harmonious. The cedar scent does linger for a while into the base note, but the heart note leaves the skin after about 1.5 - 2 hours.
Contrary to initial assumptions, the sweetness of the fragrance remains quite restrained even in the base note with its patchouli and the vanilla-like scent of the contained benzoin. Yes, "Moustache" does end in several sweet variations, but it never feels overloaded with this sweetness, as the remaining cedar - albeit only faintly perceptible - keeps it in check at all times. And in this way, the fragrance remains without any further development before it finally leaves the skin after another approximately 2-3 hours.

Sillage:
Regarding sillage, the fragrance showcases its strength particularly in the heart note and during the transition to the base wonderfully. The pleasant woody note, combined with a slowly emerging sweetness, ensures that you leave a sufficient and noticeable, yet never overwhelming scent trail. Only the pepper in the top note might cause a brief twitch of the nose for some, but for everyone else, it should have long faded due to its short presence. In the base note, and thus at the end of its lifespan, "Moustache" becomes a very close-fitting "skin scent," hardly noticeable except to the wearer and those very close by.

Performance:
When it comes to longevity, opinions seem to be quite divided. While "Moustache" disappears from my skin after about 5 hours, it is said to last effortlessly for 8 hours or more on some other individuals, at least according to online reviews. Not bad at all, but in my opinion, this point contains the greatest potential for improvement, especially since this fragrance is an Eau de Parfum concentration.

Bottle:
Here, "Moustache" or Rochas competes effortlessly with the big names in the fragrance industry and even surpasses them. The bottle feels high-quality and sturdy, has a well-functioning spray head, and a (at least in terms of weight) premium metal cap. Despite or perhaps because of the ribbed surface of the glass, the bottle (in all sizes) sits securely in the hand. The look (which I find beautiful) is, as always, a matter of taste, but one cannot deny a certain reminiscence of past times - the original "Moustache EDT" dates back to 1949.

Versatility:
Thanks to the rather moderate sweetness of this fragrance and its generally more restrained projection (the topic of "over-spraying" is not considered here), "Moustache" can be wonderfully worn in leisure time as well as in the office or similar settings. It is also suitable for different seasons (which I don't believe in anyway - one should never complain about a good fragrance based on the current weather). If anything, the rule is: the warmer it is, the fewer sprays should be used due to the sweetness.
Also regarding the age of the wearer (and yes, I consider this categorization nonsense), this perfume should not be limited. Only the younger candidates among us should be aware before a potential blind purchase that "Moustache" is not - I repeat: not! - a fragrance in the "Bleu" category like "Sauvage," "Bleu de Chanel," or "Dylan Blue."

Price:
If there is one thing you cannot accuse "Moustache" of, it is its excellent pricing policy or the fantastic ratio between high-quality fragrance, bottle size, and price.
Just like "Bentley for Men Intense" or "Encre Noire," you get a high-quality fragrance here with a more than great price tag, which often makes one wonder how much markup the brand name of some other brands might cost.
Just for orientation: I was able to secure the 75 ml bottle for just under €28.

Conclusion:
So for whom is "Moustache" the right fragrance? In any case, one should not expect a loud market shouter that captivates the surroundings with its uniqueness. A fragrance that lasts effortlessly throughout most of the day is also (probably) not to be found here. Much more, "Moustache" is a subtle - at times very calm - fragrance that evokes memories of old times, which, compared to its Eau de Toilette from 1949 (or the new version "Moustache Original 1949" from 2018), has been extensively changed or adapted to modern noses to avoid feeling outdated.

So here it is! Flanker number 12 in the fragrance line for men (unless you count the shave lotions, the limited editions, and the multiple interpretations of the "Summer pour Homme" editions)! However, before I begin my assessment and opinion on this scent, I find it appropriate to mention that the following lines are written by someone who is a self-proclaimed fan of the original (and some of its successors) Armani Code - due to the reformulation and longevity, only "was" - and thus
cannot and does not want to write about this fragrance in an unbiased manner.

So where do I start? How to describe a fragrance that can both excite and disappoint? One that, with its release, does not uselessly enrich a well-known perfume line, yet also sets almost no new - or at least unexpected - accents?

"Flacon":
Let’s make it a bit easier and start with the description of the flacon! Tall (depending on the ordered size) and thanks to its slender shape, it takes up little floor space in the collection, Giorgio Armani delivers a familiar silhouette rearranged in color. Still inspired by the silhouette of a suit, a champagne-like color was used for the actual glass body - some might even associate this color with the term "cream-colored".
The flacon cap, on the other hand, has the annoying characteristic of only snapping into place with somewhat precise alignment. Here’s a little warning based on experiences with the "Code Profumo," which has the same closing system: while the cap may initially hold firmly and securely, the closing system loses its grip over time and should no longer be lifted solely by the cap.

"Top note":
Even though I can certainly confirm the fragrance ingredients of mandarin and apple noted here, I would like to add that, in my perception, they can hardly be distinguished! The top note smells sweet-fresh in the first few minutes and even manages to keep the later omnipresent tonka bean at bay for a short time. It’s like smelling a basket full of sliced fruits: naturally, you can smell the fruitiness, but at no point can you explicitly refer to a dominant variety - nothing stands out, but rather harmonizes beautifully with one another.

"Heart note":
The heart note could best be described as a soft opening of the base note without any of the actual main players. In a pleasant transition, the fruitiness of the top note fades away, making room for the tonka bean and nutmeg. For a duration of one to one and a half hours, you are enveloped by a pleasant sweet (tonka bean) and slightly spicy (nutmeg) scent.
As for the included carrot seeds, I can only say that this - already hard to imagine fragrance note - does not come across as jarring or otherwise standout! Rather, I would argue that the carrot seeds, along with the nutmeg, contribute to regulating the actual sweetness of the tonka bean into a more subdued range.

"Base note":
Now comes the actual Giorgio Armani DNA, consisting of tonka bean and vanilla (with a slight hint of leather). By now, every fragrance lover who does not appreciate sweet scents should take flight! However, in my humble opinion, this note area is the greatest strength of Code Absolu, lasting for many hours. The sweetness of the tonka bean is still somewhat muted, combined with the wonderfully creamy - and by no means candy-like, exaggerated - vanilla, resulting in a pleasantly "warm" and alluring scent.

"Scenario/Use":
Unlike some other reviewers, I am by no means of the opinion that Code Absolu (the same would apply to "Code Profumo") is purely an autumn and/or winter fragrance. Admittedly, it plays - especially due to its extremely long-lasting nature - its strengths most notably in these seasons, but it can also be worn in spring and summer (though here, really only minimally) with appropriate considerations (number of sprays applied).
The same applies to activities throughout the day: while you should use it sparingly at work (also out of consideration for colleagues), in the evening at the bar, club, disco, etc., a few more sprays can be quite acceptable.

"How one smells":
Admittedly, this section heading is a bit cliché, but I want to address the claim often found in online reviews that this scent is more suited for the younger (under 30) among us fragrance wearers. Not at all, I would argue! The references to club scents in connection with keywords like "Versace Eros" or the "Stronger with You" series are, in my opinion, misleading, as the Armani Code series (at least most of them) has always left a calmer, more composed - and I would almost say "relaxed," "unruffled" - impression. Naturally, one also smells various sweet substances after using Code Absolu, but at no point does it seem as if one is trying to shout out the fragrance.
Of course, Code Absolu is a suitable candidate for what is known as "over-spraying," but this should not really influence a fragrance assessment, as this can happen with any fragrance of any scent direction. Too much of a good thing is simply too much, although with sweet scents, this threshold might be crossed more easily and quickly.

"Longevity":
As some may have suspected, I am more than impressed with the longevity of the fragrance. While sweet scents generally "always" last longer than their aquatic and woody counterparts, Armani Code Absolu definitely plays in the top league here.
This is one of the few fragrances that - at least for me - easily lasts over, for example, an eight-hour workday and beyond, and is also still easily recognizable - mind you, with moderate use of one to two sprays!

"Additional note":
I would like to point out that I cannot and do not want to agree with the often-heard opinion that this fragrance is "obsolete" if you already own the Profumo variant - or vice versa. Certainly, it is advisable to refrain from purchasing if you only want a "sweet" fragrance in your collection/rotation! However, if you are an enthusiastic supporter of this scent direction, I believe that Profumo and Absolu differ enough to be able to wear both alternately, as especially the sweetness of the tonka bean, the absence of vanilla, and the use of cardamom create a significant difference.

So here it is! Jean-Claude Ellena's masterpiece! Or rather: it has actually been around for quite some time, one should say, and it should especially not surprise anyone - who has looked into Mr. Ellena's biography a bit - that in 2006 a fragrance like Terre d'Hermès saw the light of day. After all, he had already made a name for himself with men's fragrances like "L'Eau du Navigateur (1982)", "Déclaration (1998)", and "Rocabar (1998)" - all fragrances that can generally be described as "spicy-woody" and are dripping with ingredients like vetiver, cedar, cypress, benzoin, and oakmoss.
So, it was merely a question of time - not of "if" - that a fragrance like Terre d'Hermès would eventually rise from the shadow of the master!

But I digress...

Despite the well over a hundred comments and similarly over 1,000 ratings, I too want to express my fragrance heart, but I will largely refrain from the mundane listing of worn-out paths like: 1. Fragrance, 2. Sillage, 3. Longevity, 4. Cost, 5..., 6... - others have and will formulate this better than I ever could. Instead, I would like to approach some keywords and try to justify them according to my taste, which, in my humble opinion, are used far too inflationarily in the description of this fragrance, be it in tests, online reviews, YouTube comments, or in themed forums like this one.

Keywords that would be: "Rotting", "Old Man Fragrance", "Iso E Super", "Bottle", "Sillage and Top Note"

"Rotting"
Anyone who has ever read or seen tests of Terre d'Hermès will inevitably have come across the words "rotting orange" or simply "rotting". Since the way we perceive fragrances for ourselves fortunately varies greatly, it cannot be entirely ruled out that for some people the rising orange note may indeed seem to smell rotten - as I said: "for some people". To the rest, I say: "That's nonsense"! Rather, imagine a ripe, yes, almost overripe fruit, whose skin is gently opened more or less, and whose previously bound fruit juice is sprayed over the respective surface like a mist. This still slightly sweet, yet already slightly tickling in the nose, almost even minimally stinging scent is what one encounters in the top note!

"Old Man Fragrance"
To answer whether there is a scolded(?) old man fragrance behind Terre d'Hermès, we should first clarify together what constitutes such a fragrance!? Is a fragrance old because it smells bad? Is it old because it contains notes that have gone out of fashion decades ago? Or is it old because one might have smelled it too often on older gentlemen in their personal environment?
Or perhaps - and I consider this to be the actual solution in the case of Terre d'Hermès - can a fragrance seem "old" upon its release just because it found its way to the shelves at perhaps the most unfavorable moment? Because while the chypre and powerhouse fragrances of past decades have only been produced in exceptional cases, it was particularly the sweet, aquatic, and sometimes slightly synthetic fragrances that dominated the first decade of the new millennium. What fragrance could a salesperson have recommended if a lady of a certain age wanted to gift her husband a "new" fragrance for Christmas or his birthday? 1 Million? Armani Code? Dior Homme? Chanel Allure Homme Sport? I think the fragrance world would be a strange (or at least different) place if these were the fragrances we would associate with older gentlemen over 50 today! If the fragrance had been released alongside Chanel Antaeus, Dior Fahrenheit, Aramis, or Polo Green: we would have considered it a fragrance for young folks and teenagers.

"Iso E Super"
Iso E Super. This ominous molecule that gives Terre d'Hermès its cedar scent. I don't want to dwell too much on it, just to mention that Terre d'Hermès is by no means the only fragrance on the market that has used this synthetic molecule in its scent. Although Iso E Super sometimes lazes around in many fragrance categories, it is most often found in "woody" fragrances. While the concentration in fragrances like Dior's Fahrenheit (25%) and Lancôme's Trésor (18%) appears relatively low, fragrances like Lalique Encre Noir (48%) and indeed Terre d'Hermès (55%) have much higher concentrations. In "Molecule 01", it is said to be a 100 percent concentration of this fragrance molecule.

"Bottle"
If there is anything at all that I would criticize about this fragrance, it would probably be the bottle! The whole bottle?, some might ask. Of course not! Aside from the actual shape, there are probably very few other containers that have such thick and sturdy glass! One might almost - but only almost - think that the bottle could withstand the deepest falls onto the hardest tiles unscathed. The screw cap also performs its task with flying colors throughout the entire lifespan of the bottle, albeit sometimes appearing a bit wobbly. No, if I were to complain about something in the design of the bottle, it would be the uncomfortable handling with bottle sizes of 100ml and beyond! Rarely, if ever, has the elegance and usability of a bottle suffered so much from the non-extended depth (instead, the bottles always grow in width and height). While 50ml can still be handled easily by the average consumer, everything above that feels like an awkward dance to find the best hand position for spraying. Blessed is the person who has large hands!

"Sillage and Top Note"
I would like to conclude my commentary on one of the best fragrances of all time with a more detailed description of the peculiarities in the sillage and top note, thus bridging the gap to my - at least for now - oddly chosen title.
Because even though too much is often said about the initial top note when describing the fragrance, it is indeed the wonderful sillage of Terre d'Hermès that elevates the fragrance itself from the mass of "spicy-woody" scents. Neither too intrusive nor too reserved, it conveys an immensely pleasant spiciness!
And the top note! The top note first! Its scent, which may seem strange to untrained noses, is the reason why far too many people still leave this fragrance unnoticed, wrinkling their noses and sometimes even disgusted, on the shelves of boutiques! Because Terre d'Hermès is something truly special! And special things should not be used daily and inflationarily!

...then it must be one that you connect with in one way or another, preferably something thoroughly positive. Perhaps it is just a feeling, a memory, a faint shadow on the structure of your own thoughts - far away in the background and beyond the tangible, yet always close enough at the right moment to point at it with your finger, to name it. This is how I would describe Tom Ford's Grey Vetiver (EDP) if someone asked me to equate this scent with a feeling.

"Clean, somehow clean and pure."
These would likely be the words of a tester who had previously or perhaps simultaneously been presented with a fragrance like Vetiver by Guerlain (also from 1959 and thus exactly 50 years older than the scent described here) for comparison. Unlike most (mostly or primarily) vetiver-based fragrances, perfumer Harry Frémont has managed to achieve the famous trick of softening the "hardness," the "scratchiness," or, as many would say, the "mustiness" of the sweet grass originally from Asia by using grapefruit and iris.
Not that a classic like the one from Guerlain can be described as "musty," but it is precisely in a time of synthetic and sweet fragrances that this characteristic often brands scents with a strong vetiver note as "old-school" or - and this is the real offense - "old man's scent." Harry Frémont, on the other hand, manages to bind the - yes, the tester is probably not wrong - cleanest version of vetiver in this fragrance.
It playfully suggests a morning walk through a fog-covered path away from the paved streets. The air seems to stand still yet has preserved the fine scent of the surrounding meadows and grasses in the tiny water droplets of the fog.

"So I can imagine wearing this for work! But otherwise...well..."
Indeed, and not without reason, Grey Vetiver is promoted as a "clean man" and "office" scent in forums and corresponding videos on YouTube, indirectly trying to sell it to men.
Precisely because the dominant vetiver has had all (or at least almost all) protruding splinters and edges removed, it seems to offend no one. Nothing gets caught, nowhere does a nose wrinkle or a disparaging comment arise. Vetiver scents on one's own skin seem to be either loved or hated - in the air or on others, however, everyone seems to be able to at least get along with them.
But what about the orange blossom and grapefruit?, some might wonder now. Nothing!, should be the honest answer here.
Although they are immediately and wonderfully harmoniously embedded in the fragrance with each new spray, their actual presence lasts only a very short time. After just a few minutes to a quarter of an hour, they make way for the herbs, woods, and clarifying iris combined with nutmeg, which in turn seem to be merely the precursors for the namesake grass. Few commutes are likely to be short enough (not considering a re-spray during the workday) to present the
colleagues with those delightfully introductory scent notes. Nevertheless, they should not be missed in any case, let alone overlooked in the description of the fragrance. Only in harmonious unity with the vetiver do they give this scent a story, a beginning, and an end - no mundane existence. Those who experience the heart and top notes enjoy them, while the base note lets the already past still be sensed.

"Pretty emotionless and cool."
True enough. Grey Vetiver is definitely not a scent for the club, the disco, or similar venues! Not because it seems to lack the necessary strength and endurance for such races, no, rather it does not wish to shine with its presence in such places or otherwise show itself. Straightforward and somewhat cool, it seems on many days not to belong to this time. An unsuspecting observer would probably hardly guess the right year - oh no, not even the right decade - if they had to place this scent on a timeline without any other hints.
A fragrance that seems to come from an era when suits, Oxfords, Budapester shoes, and ties were not only good form in most professions but also firm guidelines, yes, clear instructions. A time when an opinion was not immediately commented on, tweeted, or hashtagged - and not just because the corresponding technical possibilities were not yet available. Grey Vetiver seems almost entirely to come from a quieter time, in which restraint, reserve, and contemplation were preferred over outrage, outcry, and branding. An era with just as many - albeit sometimes completely different - injustices and mistakes as today, but also with just as many qualities that seem truly unnecessary to fall victim to the ravages of time.

"I somehow smell it only so briefly."
So or so, a tester could describe the fragrance based on its longevity. And the tester would not be wrong. Grey Vetiver belongs to those fragrances that do not seem to care much about impressing a large environment with its sillage. Relatively quickly at arm's length, the scent still knows how to hold its own and rightly retains the designation "Eau de Parfum." Even if one's own nose seems unable to perceive it due to the environment or oversaturation, it still clings on, consistently pleasing, and even catches a rare compliment when one thought the scent had long since vanished.

"I think the bottle is quite stylish!"
Of course. The Art Deco style reduced to the absolute minimum, the milky glass with its ribbed surface, the cool metal plate on the front, and the almost solitary silver ring around the neck of the bottle - they all brilliantly radiate what Grey Vetiver tries to be: an unexcited, reserved, but by no means aloof fragrance that seems almost out of time.
In a time when the loud, the colorful, the excited, and the polarizing seem to set the direction, and we will miss some - only almost - past virtues, it should not be completely lost to us.