Smeriglio

Let's say it has a retro olfactory imprint that borders on the more recent amber trend. A reading of the presence of the notes could make us think of an important presence of the vetiver note, which could also represent the sword of the Greek hero Theseus, but this instrument of death is not as incisive as one might think. It begins with light citrus fruits, a consistent dose of elaborate nutmeg (that is, the same smell of the spice has not been reproduced, but rather something indefinite and more sugary) and in a lesser way pepper and sage. After a while the vetiver creeps in which at first, that is during the central phase is graceful, assisted by a few notes, more than anything a talc note given by the presence of the iris with a sort of labdanum in the background, so as not to remove the composition from the category of amber and unisex. Like a sword that whistles in the air, but held by a female hand. Later, as the drydown arrives, the vetiver becomes more earthy, the perfume, at this point is heavier, like a sword that pierces the opponent. It takes on a multifaceted character, with a measured presence of leather, the tonka bean is there to sweeten (it does it a little too much), a barely hinted woody note of out joins a less flashy one of patchouli. To conclude, leaving aside the goodness of the raw materials, it is a combination of notes that I cannot judge more than average, simply for the fact that it was designed to be unisex.

I am in front of a bottle that intrigues me, a parallelepiped with the number 74 in black printed on it. It is a color that corresponds to the fragrance contained in this bottle, in fact it seems strange to me that they did not call it Pour Homme Black or rather Solo Black, given that according to today's standards it should be unisex. The reason is soon said: it is a mostly amber fragrance even if with contrasts. I perceive it as a double triptych, that is, it starts very citrusy and this could make you believe you are smelling a purely summer perfume. Bergamot, grapefruit and lemon can be felt and remain evident for the first 6 minutes. From the seventh minute the labdanum note makes its way which is contrasted almost immediately by the vetiver. After another two minutes I can also smell the white musk. So, at this point and until the end, we essentially have amber that is supported by a not very incisive vetiver and an evanescent white musk.

There is a subtle note of bergamot, as soon as you press the atomizer, which is followed, after a few seconds, by sandalwood. This pairing lasts a maximum of two minutes, after which only the sandalwood note remains on stage; it is a not very creamy sandalwood, tending to dry. It could be a training to learn to recognize the sandalwood note from beginners

First of all, it is important to specify that this is a perfume with no floral accord. At the first sniff, I can perceive the notes of grapefruit and bergamot that, in less than no time, are supported by the camphorated freshness of eucalyptus. It is a particular and well-executed opening. After a few minutes, I can perceive the presence of the only spice present, cardamom that is added to the citrus notes, while the eucalyptus disappears. Note: eucalyptus is used as a supporting note here, it never becomes intense. The lemon blossom and freesia are far from being there. The transition to the drydown causes the spiciness to disappear and gives life to an earthy, mossy accord, vetiver and oak moss are perceived in equal measure, but they are not the only notes that will keep us company until the end, because the perfume still maintains a fresh facet, a remnant of the initial citrus makes this happen. Considering the medium-low price of the product, the notes have been carefully reproduced

It is a relative of Dior Eau Sauvage. It is not identical, but it has a great resemblance, probably Jan Paul Guerlain was inspired by the composition of Edmond Roudnitska, created 8 years earlier or, given the anagraphic proximity of these two fragrances, the reason is that this is how perfumes were made in that period, that is, wonderfully. I tested this perfume from the last type of bottle used by Guerlain, the one with the white label. As soon as you spray it you feel a high intensity citrus component, it is lemon and bergamot in equal measure that are released into the air, and faithfully reproduce the true smell of the fruits. In the background there is the presence of basil, which remains for a while to keep the citrus company, in a moderate way. After a few minutes, the citrus is still strong and while the basil disappears, a not very intense mint note appears, more similar to Nepitella mint. The presence of mint and basil is a touch and go, to make the composition green, but not excessively. So far it differs a bit from Eau Sauvage which is more herbaceous and has no mint in the opening notes, but rosemary. Then the citrus fruits begin their de-escalation and in the heart notes I feel the clove, dosed in a measured way, it only creates a support for the citrus fruits. The other notes listed by Parfumo, (cumin, petitgrain, jasmine, rose, sandalwood, white musk and amber) are not detectable, I believe they are not included in the notes actually present apart from a hint of lavender that joins the clove, but together they quickly disappear to leave room for the base, which is practically state-of-the-art oak moss, therefore without the presence of vetiver that distinguishes Eau Sauvage. The quality of the raw materials is high, the duration is that of an eau de toilette, I feel it, very faint, on the skin even 24 after having tried it