Kouros94

First impression: the first drops of a summer storm hitting blocks of dusty sandstone, the smell rises hitting your nose with a mineral, earthy and dry yet humid scent. As the fragrance develops, this image becomes cloudier, citruses and herbs enter the picture, the scent becomes woodier, I do get the liquorice roots reference, with that earthy, dusty almost leathery sweetness, a perfect example where the perfume is more than a sum of the parts (vetiver, birch and oakmoss). This perfume is all but simple. At first I dismissed it, only upon second wearing did I really grasp the creativity. I expect I will continue to discover this fragrance with its subtle facets. All in all, great fragrance, perfect for reflecting on perfume as an art form. A refreshing attempt to create art and not a commercial people pleaser.

A fresh burst of what smelled like neroli to me, though probably the bitter orange backed by some petit grain. The opening is fresh, like pulling on a white linen shirt in Sicily and enjoying a refreshing mandarin granita for breakfast. Not long after a delicate orange blossom blooms, increasing in volume as the opening's freshness fades, this is accompanied by a very natural, very faintly indolic jasmine sambac and the duet of white flowers will sing off your skin for hours. This heart never gets heavy or overbearing and is perfectly balanced with the spirit of the opening. Towards the end of the life of this beauty, a light musk, not white, nor animalic, simply "fuzzy" starts to emerge and increases the longevity of this fragrance considerably. The transitions of this fragrance are remarkable, the attention to the blend also deserves some praise. Overall a wonderful offering from this house, which focuses on putting out some authentic creations.

I've worn La Nuit De L'Homme on a number of occasions and each time it has opened differently on my skin. At times it has manifested a peppery aspect, at times woody and on the rare occasion I actually do get some cardamom, never loud and clear, but muted, as if behind a veil of synthetic ambery fuzziness. To summarise the whole composition: a random opening, a heart of anonymous lavender, which then fades into the cheap accord of amber, with a dash of iso-E-super and a pinch of vague, indistinct and artificial spice (I do not get a trace of cumin unfortunately, for that would actually spark some interest into the composition, what I get instead is flat, one-dimensional sweetness). There is no mystery to the composition, which stands amongst the most commercial offerings on the market today, where very little thought and consideration has been given to the composition after the 5 minute mark. Notwithstanding all of this, the fragrance is pleasant, a crowd pleaser, but it seriously lacks in character, depth and complexity and is comprehensively put to shame next to any other YSL creations dating back prior to 2003. A real pity given the potential of the notes listed in the composition, I really do feel the perfumers' budget let the whole project down.

Dior Eau Sauvage is the reason I am fascinated with perfumes. No other perfume has left me so transfixed by the beauty and simplicity of its composition. I did not know a thing about fragrance when I first smelt it, yet I knew this classy flacon contained something very special and that it had to be the first perfume I would ever buy.

What was so exceptional with this particular fragrance was the clarity of the composition, which instantly made perfect intellectual sense to my naive and inexperienced nose. All credit to Edmond Roudnitska. Since then it has become my gold standard of artistic execution. Whilst I have smelt many other fragrances since that epiphany and have begun an olfactory journey through the realm of perfumery, I never cease to be amazed by the effect the fragrance has on me. Illumination. Needless to say, it has become my signature fragrance and a part of me.

Next year, Dior’s Eau Sauvage celebrates its 50th anniversary of legendary status in the perfume industry, that is of course if Dior refrains from killing its brand with the cheap flankers that continue to hit the market (whilst the Parfum version form 2012 was a great success, 2015’s Eau Sauvage Cologne was a bland and uninspired citrus, which had nothing to do with the original).

It is rumoured that a new flanker: “Dior Sauvage” is to hit the market in September 2015 with Johnny Depp’s face for the marketing; I must admit that whilst I am sceptical of Dior’s new tactics of aggressive marketing of flankers, I am intrigued by the idea of Francois Demanchy signing a Parfum version (I’m guessing given the name “Sauvage”), which hopefully respects the spirit and character of Roudnitska’s original chypre.

Whatever the future of this fragrance, I will always cherish a bottle (or two) in my collection as a reminder of the beginning of a journey and the companion of this adventure which has lead me into unchartered territory I never thought I would explore.

Thank you Edmond Roudnitska.

Dior Aqua Fahrenheit is a bright, transparent and greener reinterpretation of the Classic Dior Fahrenheit. The citrus burst in the opening is refreshing and juicy; mint soon enters the composition introducing the green theme which accompanies the wearer throughout the day. Mint - Basil - Patchouli - enough Vetiver to balance the green dewy sweetness of the aforementioned notes. Once the citrus has faded Violets spring to life and bring a floral lightly powdery element to the green party. The citrus-green top and aromatic-floral mid are supported by a woody leather accord, which draws inspiration from the Classic Fahrenheit Base. The fragrance is pleasant, François Demanchy has proven his skill in creating a balanced, greener, lighter but not watered down homage to a wonderful Classic, which does not stray off onto the beaten aquatic path of modern mens perfumery. A pleasure to wear!