Kurai

The way Katana presents itself as an 'ultra-niche' house is one of my biggest icks. Still I am glad I have been able to put that fact aside and work my way through their fragrances. In the end, there are a couple of gems in their line-up. In fact, Khaan is among my favorites, despite a few imperfections.

Speaking of which, Katana's choice of citrus feels utterly peculiar to me, to put it mildly. Often they come with yuzu or other sharp citruses for a top note. Khaan starts with orange or tangerine, which is less harsh than some other Katanas but still highly acidic. There is pink lotus in the top as well, which does not help. Now add cheesy oud to that and top it up with jammy rose. Then you get something plain ugly, I can't describe it in any other way.

However, within a few minutes, the citrus levels out and the florals start to do their thing. With florals I mean roses. Not one rose, but a full regalia of them. They are all over the rose spectrum, as in jammy, fruity, acidic, green, powdery et cetera. With minimal amounts of jasmine and pink lotus present, the floral heart is in fact a pinkish bouquet, yet there is a clear focus on the rose and all of its features.

When Khaan further unfolds, it becomes clear that the roses are not the only main characters. The Siberian deer musk in Khaan is an unforgettable experience. Most commercial musks shine upon first appearance and slowly degrade into blandness. A natural musk, however, does not only stay active but also keeps getting better over time. On top of that, Khaan's musks come with a fluffiness that is simply unmatched. Quite the contrast to some 'established' artisans that go for aggressively savage animalism, which - in my view - amounts to completely butchering a precious material and its uniquely delicate properties.

So, if you are able to forgive the house's poor branding and its use of controversial materials, Khaan is the first and foremost Katana to get your nose on.

There was a time when I was raving about animalic perfumes. Things could not get sweaty, pissy or greasy enough. I wish I was familiar with Russian Adam's work back then. But those days are over. I am still very fond of the animalic notes, but only if they are part of a broader concept and properly balanced with florals, woods and ambers. Exactly this is why I do not get along with many ALD perfumes. Their emphasis on powerful musks tend to feel off-balance to me. There are a few exceptions, of course.

Civet de Nuit is what I would like to call a dual layer experience. A top layer that appears as a full-on perfume by itself. It has a clear structure of powder, florals and woods. The initial scent profile is a mix of purple-yellow florals, quite tame, fuzzy and softened with almond powder and sandalwood. This develops over time and lets in some browner shades like tobacco and honey.

Then there is a sublayer, an ultra-low pitched undercurrent that keeps interacting with the top layer right from the start. This is where we find the animalic notes. Apart from a forceful set of musks in typical ALD style, we have the main character. ALD refers to it as "Antiquated Civet Tincture", which I find a bit confusing. The word antiquated gives a outdated, old-fashioned connotation, while that is not quite the case. We're talking a contemporary artisan setting with a slight vintage feel, but nothing what I would describe as outdated. The quality is evident and it has a waxy sweetness that is hard to get around. I get a similar feel from the civet in Souls on Fire - Osmanthus Floral, but this reaches a much deeper level in terms of that primal sensation, that urge to purr and roar.

Those two layers I mentioned seem to co-exist and not fully converge somehow. At the same time the combination does really feel good. The animalics are strong, but fit perfectly in this floral-woody setting. So yeah, this is definitely one of the exceptions that I am not re-selling after one or two wears, like I did with most ALD's. Not sure if that is thanks to the hand of Sultan Pasha. Maybe it is time to explore his work a bit more. Another quest ahead!

The re-release of APOM came as a surprise to me. I was under the impression that the legend of APOM would slowly fade away from this world, soo I was thrilled to find out this hero is back in the game. But a huge reputation comes with huge expectations. Hopefully the scent is as sparkling and golden as its visual appearance.

APOM has a unique way of combining refreshing and warmer notes. Both orange blossom and ylang-ylang together make up the core floral accord, which is instantly recognizable. The acidity from the orange blossom along with a cool cedar note make it refreshing enough for casual daytime wear. At the same time the huge floral accord boosted by some musk and perhaps a little amber is dramatic enough for a night out.

There is a clear resemblance to APOM Femme Eau de Parfum but there are some differences. The new edition emphasizes the orange blossom over the ylang, making it much fresher and more casual than APOM Femme. It seems Kurkdjian also aimed for a more contemporary character through the addition of some mineral notes and a toned down cedarwood. And while maintaining its overall classical profile, APOM does feel more modern compared to APOM Femme. Also, where the old version is way too dramatic and opulent to wear in the office, this newer one would do just fine.

Whether you are familiar with the older versions or not, APOM is definitely a perfume to look out for if you like a somewhat classical floral-woody. Its floral character is truly unique and its versatility has improved significantly. In my book Kurkdjian has finally scored some credits again, even though this APOM will never reach the 'unicorn' status of its predecessor.

The equestrian theme is in good hands with Liz Moores. Anyone who follows the brand knows that this work comes from a genuine passion for horses and the English countryside. Expect a smooth horseback riding experience with animalic leather/musk, notes of hay and narcissus.

The saddle soap accord that's listed seems to refer to a familiar trick with musks and honey. It has a soapy effect similar to how some old school musks like Original Musk Blend No. 1 and Muscs Koublaï Khän can come across as soapy. The composition is more dynamic, though, in the sense that it does not get stuck in this singular musk situation but it moves on.

A dry-grassy note keeps lingering around, evoking images of the countryside with fields of wildflowers and hay. It seems the narcissus material is borrowed from Dryad. Only this time Liz Moores takes us to the meadows instead of the swamp. Halfway into the drydown the scenery changes a bit when a soft orris emerges, triggering a slight association with Hera.

Those constant reminders of other perfumes is why I don't enjoy this as much as some of Liz's work. As if I am looking at a painting that has been put together using pieces of other artwork. A collage, so to say. Pierre Guillaume's 3.1 Arabian Horse is similar in many ways and that one doesn't trigger déjà vus for me. It is unnecessary to have them both, so I guess I made up my mind.

Side note: The main image here suggest Epona comes in Extrait de Parfum concentration, but it is in fact an Eau de Parfum.

Come to think of it, a fresh-green scent is exactly what was missing in the Aqua line-up. So this latest iteration actually makes perfect sense from a product range perspective. And just like the others in the Aqua range, this Aqua Media is functional, appealing and would make a lovely summer scent.

From an artistic point of view, this may not go down in history. Not again, that is. I mean, you could say that Aqua Media is a re-release of one of Kurkdjian's early successes. This time under his own label. It has a few tweaks left and right. A bit more zest and aromatics at the top, a bit less floral in the base.

Call it commercial exploitation, call it an 'hommage to a classic'. Either way, this shows how Kurkdjian was ahead of his time with Green Tea Eau Parfumée