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“The lust loves the means, not the purpose.”
FSK note: This comment is unsuitable for lovers of gentle and friendly fresh scents. Furthermore, it offers no valuable information for friends of political correctness, (pseudo-)morality, and “good taste,” as this fragrance resides beyond that. Sensual eroticism is sought in vain here - YATAGAN IS UNRESTRAINED, DIRTY SEX!
As already wonderfully described below, I would also like to duly celebrate this captivating and atypical fragrance with a few lines. Yatagan is different from anything I have smelled before; this scent is so eminently masculine, so delightfully vulgar, and in an extraordinarily ostentatious way. I completely agree with my predecessors: those who wear Yatagan couldn’t care less about causing a stir or provoking; rather, they do so precisely for that reason. This is a fragrance that has no interest in pleasing - Yatagan wants to polarize, it loves contrast, is unruly and uncompromising, it loves lust and keeps the light on. Above all, however, Yatagan is one thing: incredibly interesting!
Yatagan does not ring; it does not wait with flowers or sweetness; it barges in through the door and spreads initial discomfort. The already frequently mentioned loud but stimulating celery note is undeniable and accompanies the fragrance all the way to the fading base. A whole army of herbs spreads out and opens the door to a veritable animalistic apocalypse - style and class are not really found here, but rather a noteworthy wicked and shameless presence; Yatagan overwhelms, it turns the virgin into a whore. Here, romance is buried on unchaste, bare skin.
I am sure Peter Steele wore Yatagan when he spoke of God hanging between his legs, Henry Miller had it on his skin when he moved many critics to vomit and applaud with his literary masterpiece “The Tropic of Cancer,” and had Caligula long before had the opportunity to call Yatagan his own, he would probably have bathed in it. The scent is, in a way, a stinker, yes, but genius in its kind. Here, Mazzolari’s Lui and his companions perish in the dirt and fog left behind by Yatagan.
Due to its unmistakable and immensely intense scent notes, Yatagan has an above-average sillage, the longevity is phenomenal, and the target audience is definitely male. However, the question of wearability remains open, as Yatagan is certainly not a fragrance for all occasions, but rather a scent for special events and certain hours, or to put it in Shakespeare’s words: “Courage rises with the occasion.”
CONCLUSION: Anyone with a penchant for unusual, provocative fragrances should definitely test Yatagan; those who want to divide the opinions of their surroundings and attract ambivalent glances should wear it, and those who want to book a journey into an extravagant world full of allure and wickedness should buy this elixir for their guaranteed ticket - “Sex is the salt in the primordial soup of evolution.”
As already wonderfully described below, I would also like to duly celebrate this captivating and atypical fragrance with a few lines. Yatagan is different from anything I have smelled before; this scent is so eminently masculine, so delightfully vulgar, and in an extraordinarily ostentatious way. I completely agree with my predecessors: those who wear Yatagan couldn’t care less about causing a stir or provoking; rather, they do so precisely for that reason. This is a fragrance that has no interest in pleasing - Yatagan wants to polarize, it loves contrast, is unruly and uncompromising, it loves lust and keeps the light on. Above all, however, Yatagan is one thing: incredibly interesting!
Yatagan does not ring; it does not wait with flowers or sweetness; it barges in through the door and spreads initial discomfort. The already frequently mentioned loud but stimulating celery note is undeniable and accompanies the fragrance all the way to the fading base. A whole army of herbs spreads out and opens the door to a veritable animalistic apocalypse - style and class are not really found here, but rather a noteworthy wicked and shameless presence; Yatagan overwhelms, it turns the virgin into a whore. Here, romance is buried on unchaste, bare skin.
I am sure Peter Steele wore Yatagan when he spoke of God hanging between his legs, Henry Miller had it on his skin when he moved many critics to vomit and applaud with his literary masterpiece “The Tropic of Cancer,” and had Caligula long before had the opportunity to call Yatagan his own, he would probably have bathed in it. The scent is, in a way, a stinker, yes, but genius in its kind. Here, Mazzolari’s Lui and his companions perish in the dirt and fog left behind by Yatagan.
Due to its unmistakable and immensely intense scent notes, Yatagan has an above-average sillage, the longevity is phenomenal, and the target audience is definitely male. However, the question of wearability remains open, as Yatagan is certainly not a fragrance for all occasions, but rather a scent for special events and certain hours, or to put it in Shakespeare’s words: “Courage rises with the occasion.”
CONCLUSION: Anyone with a penchant for unusual, provocative fragrances should definitely test Yatagan; those who want to divide the opinions of their surroundings and attract ambivalent glances should wear it, and those who want to book a journey into an extravagant world full of allure and wickedness should buy this elixir for their guaranteed ticket - “Sex is the salt in the primordial soup of evolution.”
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“Starvation is quicker, but death by overeating is also a reliable method.”
To everyone's disappointment, this fragrance also dies from overeating. Oudh Lacquer sparked a great deal of interest in me and set high expectations: a very extravagant fragrance pyramid with all sorts of delicious and interesting ingredients, a long-lasting and highly concentrated “parfum absolute” in a beautiful bottle, as well as multiple awards and euphoric reviews from all over the world. Unfortunately, the scent does not truly live up to its reputation, and the bar it set for itself inevitably begins to lower.
Oudh Lacquer is an extremely intense fragrance, a veritable compressed mixture of high-grade and penetrating scent notes, lamentably far too overloaded and disjointed - overstuffed with the greed to combine all sorts of precious elements. The result ends here with a loud crash.
The top note practically stomps into the room; a hefty, unpleasant chocolate note uninvitedly settles on the bed and calls for wilted sprayed oranges accompanied by vulgar oud of inferior quality. While one tries to extend a semblance of hospitality to the three unwelcome visitors and resolve the situation without the liberating water spray of ejection, an atypical modern note rumbles into the building - not patchouli, no, it must be the mysterious spruce mushroom which simultaneously beckons its friends star anise and petitgrain inside - fear eats the soul!
It is exceedingly bold to pack scent notes like oud or petitgrain into the top note; in this case, the scent tones are completely oversaturated and, together with the other raw materials, extremely disharmonious - the head can safely go to the guillotine.
However, with the introduction of the heart note, the head is far from off, although the first three residents of the top note at least remain in a half-sleep on the bed. Relatively quickly, highly concentrated clove (here a reference to Serge Noir, sorry), unassuming, stale rose (Black Tie, lynch me), and insignificant cinnamon (rarely so inconsequentially implemented) storm into the room. Oudh Lacquer now smells of many things, almost everything (in extreme doses), but unfortunately not of the highly praised “natural” raw materials that Liz Zorn extolled in such high tones - an olfactory miscarriage.
Surprisingly, the base note then presents itself quite differently: Here, head and heart fall into the longed-for sleep, and a very beautiful scent accord of honey, cocoa, and tonka bean spreads out. The latter seems to trample the indicated vanilla underfoot, a soft, earthy smoke floods the room, and it becomes pleasantly warm. The benzoin is very restrained, the woods are well-measured, and the patchouli growls to itself at irregular intervals. A nice base, but far from convincing perfume artistry.
For the understanding of all interested parties and out of fairness towards Liz Zorn, I would like to explain my personal scent perception in a bit more detail with the following lines, because despite my rather negative rating, I am sure that Oudh Lacquer could definitely find many followers. All those who can handle the floral oud line from Montale or sympathize with Chanel's Egoiste should definitely test this fragrance (I, for my part, did not warm up to Black Oud, Egoiste, and the like). Those who recoil when they hear the gourmand keyword “chocolate” should not be deterred, because this chocolate is the pure opposite of Chocolate Greedy & co; here the chocolate note is much darker, even black and bitter, not delicious. Since Serge Noir and Black Tie are very popular here and apparently many fans of those clove or rose notes are present, especially they should give this American intense brew a chance. I certainly count intense and long-lasting fragrances (Oudh Lacquer lasts extremely long) among my absolute favorites; I like it when a fragrance polarizes and provokes, yet Oudh Lacquer and I will not become friends. It seems to me that Liz Zorn is the little and biting sister of Christopher Sheldrake; Oudh Lacquer could confidently join the controversial fragrance lines of Serge Lutens and would surely receive both a lot of disdain and some approval.
CONCLUSION: All the reading-lazy skeptics should at least indulge in the last paragraph explaining the rating if they are interested in the fragrance pyramid; those who like intense and spicy-sweet oud fragrances might find pleasure in Oudh Lacquer, and those, like me, who cannot find friendship with the aforementioned beloved scents - despite their good ratings - can confidently save themselves the shipping of the sample from the States. Not everything that glitters is gold.
Oudh Lacquer is an extremely intense fragrance, a veritable compressed mixture of high-grade and penetrating scent notes, lamentably far too overloaded and disjointed - overstuffed with the greed to combine all sorts of precious elements. The result ends here with a loud crash.
The top note practically stomps into the room; a hefty, unpleasant chocolate note uninvitedly settles on the bed and calls for wilted sprayed oranges accompanied by vulgar oud of inferior quality. While one tries to extend a semblance of hospitality to the three unwelcome visitors and resolve the situation without the liberating water spray of ejection, an atypical modern note rumbles into the building - not patchouli, no, it must be the mysterious spruce mushroom which simultaneously beckons its friends star anise and petitgrain inside - fear eats the soul!
It is exceedingly bold to pack scent notes like oud or petitgrain into the top note; in this case, the scent tones are completely oversaturated and, together with the other raw materials, extremely disharmonious - the head can safely go to the guillotine.
However, with the introduction of the heart note, the head is far from off, although the first three residents of the top note at least remain in a half-sleep on the bed. Relatively quickly, highly concentrated clove (here a reference to Serge Noir, sorry), unassuming, stale rose (Black Tie, lynch me), and insignificant cinnamon (rarely so inconsequentially implemented) storm into the room. Oudh Lacquer now smells of many things, almost everything (in extreme doses), but unfortunately not of the highly praised “natural” raw materials that Liz Zorn extolled in such high tones - an olfactory miscarriage.
Surprisingly, the base note then presents itself quite differently: Here, head and heart fall into the longed-for sleep, and a very beautiful scent accord of honey, cocoa, and tonka bean spreads out. The latter seems to trample the indicated vanilla underfoot, a soft, earthy smoke floods the room, and it becomes pleasantly warm. The benzoin is very restrained, the woods are well-measured, and the patchouli growls to itself at irregular intervals. A nice base, but far from convincing perfume artistry.
For the understanding of all interested parties and out of fairness towards Liz Zorn, I would like to explain my personal scent perception in a bit more detail with the following lines, because despite my rather negative rating, I am sure that Oudh Lacquer could definitely find many followers. All those who can handle the floral oud line from Montale or sympathize with Chanel's Egoiste should definitely test this fragrance (I, for my part, did not warm up to Black Oud, Egoiste, and the like). Those who recoil when they hear the gourmand keyword “chocolate” should not be deterred, because this chocolate is the pure opposite of Chocolate Greedy & co; here the chocolate note is much darker, even black and bitter, not delicious. Since Serge Noir and Black Tie are very popular here and apparently many fans of those clove or rose notes are present, especially they should give this American intense brew a chance. I certainly count intense and long-lasting fragrances (Oudh Lacquer lasts extremely long) among my absolute favorites; I like it when a fragrance polarizes and provokes, yet Oudh Lacquer and I will not become friends. It seems to me that Liz Zorn is the little and biting sister of Christopher Sheldrake; Oudh Lacquer could confidently join the controversial fragrance lines of Serge Lutens and would surely receive both a lot of disdain and some approval.
CONCLUSION: All the reading-lazy skeptics should at least indulge in the last paragraph explaining the rating if they are interested in the fragrance pyramid; those who like intense and spicy-sweet oud fragrances might find pleasure in Oudh Lacquer, and those, like me, who cannot find friendship with the aforementioned beloved scents - despite their good ratings - can confidently save themselves the shipping of the sample from the States. Not everything that glitters is gold.
16 Comments
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"We are a part of the Earth…
…and it is a part of us. The fragrant flowers are our sisters, the deer, the horse, the great eagle are our brothers. The rocky heights, the lush meadows, the body warmth of the pony - and of humans - they all belong to the same family." So spoke Chief Seattle in his speech before the American Congress in the year 1855, and those words clearly explain the intention of Lubin's "Le Vetyver - Itasca": it is the scent of untouched nature, immense and unique, powerful and multifaceted, and full of life - ITASCA IS A WONDERFUL AND PERFECTLY CRAFTED FRAGRANCE! I have nothing to add to the already impressive and detailed descriptions, yet I would like to applaud this magnificent fragrance with my comment and reveal my personal perception: Itasca is, according to Lubin, "inspired by the childhood memories of the trapper David Crockett and the Native Americans, who shared a love and respect for the untouched nature of America." Only the noblest and highest quality raw materials were used here, and each individual stage of the fragrance pyramid shines with uniquely beautiful scent accords. No matter which component crystallizes out, each individual note is a splendor - a splendor of natural ingredients. The top note alone is so sophisticated and convincing that I dare to claim: a "below-60%-rating" is nearly impossible after the first impression on the test strip. Finally, a fragrance that does not present lemon or bergamot, here magic has been created. Especially the combination of mandarin, grapefruit, and juniper berry makes the top note immensely harmoniously fresh, not zesty, rather a warm freshness without penetrating sweetness or sour accents. A wealth of lightness, multifaceted and compressed, yet not overloaded. ABSOLUTELY FANTASTIC! With the introduction of the base note, soft spicy nuances creep in, the fragrance gains weight once again, tonka bean and clove are excellently dosed, and the airy aspect of the top note is not lost. BEAUTIFUL! God, what a base! Here, the art of perfumery has been mastered to perfection. Itasca has such a highly concentrated base, it seems to be packed to the limit of possibility with brilliant scent notes, none of which feel oversaturated. Strong and heavy, yet friendly and light-footed. Red pine from Minnesota, an evergreen tree sweetly kisses the Texas cedar and the Java vetiver, and they all bathe in Canadian fir balsam. Fartak incense and amber are very restrained, and the Egyptian myrrh, to my delight, is extremely subtle. Regardless of the fragrance pyramid, nothing is lost in Itasca; the head and heart join the base and complete this refined and concise fragrance. Itasca contains a treasure trove of scent orgasms, it has class and style, and above all, it convinces through the perfect harmony of its scent accords and their noble radiance - ABSOLUTE WORLD CLASS! The longevity is enormous; on the skin, the fragrance lingers beyond the 10-hour mark and is still distinctly perceivable, albeit in a more subdued form. The bottle is made of solid glass, adorned with shiny dark and somewhat kitschy gold-brown labeling, and features a beautiful wooden cap. CONCLUSION: Regardless of one's fragrance preferences, Itasca should definitely be tested. All those who feel at home with subtly potent and rounded fragrances from prestigious houses like Guerlain or Hermes will surely find themselves well accommodated with Itasca, and anyone looking for an intense and harmonious fragrance for all occasions could strike a major win here. Go for it, there are no duds!
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"Breathing in the forest means - inhaling your spirit"
"Scent is life," says Christopher Brosius, an extroverted and highly awarded perfumer of innovative and unusual fragrances. With "Wild Hunt," this artist created an olfactory homage to the forest, "the scent of an ancient forest in the heat of a summer afternoon," as stated on the CB I Hate Perfume homepage - and this forest truly comes alive!
"Wild Hunt" is a true work of art, a fragrance that enchants the senses and paints an incredibly detailed picture of a fairy tale forest, inviting you on a journey into the realm of trees and leaves, of tranquility and security, and the protective refuge of nature. Here, the trees intertwine their branches, and what one calls inner peace unfolds in its most beautiful splendor - this scent is enchanting!
Wild Hunt is cool and gentle, it embodies a beautiful freshness, without any zesty or refreshing notes, rather like morning dew, a cool breeze of mountain air, or a shady spot in the midst of a great, powerful forest. I smell damp black earth, earth-colored leaves adorning the ground, lush moss on untouched tree bark, decayed branches, powerful dark green, and cool earthy brown, pristine mushrooms far from the beaten paths, the scent of coniferous trees soaking up the warmth of the sun, I smell nature in its purest form, I practically inhale it and experience it.
Wild Hunt is incredibly authentic, so unmistakably empirical, it captivates without any resistance. This fragrance is the ticket to a world where one can be a child, far from stress and disputes, protected and enveloped by trees and leaves, a scent that everyone carries within themselves and that is surely worth safeguarding - the personal ticket to carefree joy.
As with many fragrances of this kind, the big question of wearability arises. What similar attempts from the houses of Demeter & co. often miss, has been achieved remarkably well here. Especially the coniferous accords and the woody scent components make Wild Hunt definitely wearable - not a fragrance for business and office, but rather dedicated to private hours of personal development and reflection. However, one cannot speak of a pure "art fragrance" here; Wild Hunt skillfully combines the great achievement of a bottled feel-good natural scent, as well as the characteristic of a quiet, yet very unusual earthy-green niche fragrance for both men and women.
Wild Hunt is available as "Perfume absolute" in a 15ml bottle and as "Water Perfume" in a 100ml bottle. Unfortunately, the longevity of the Water Perfume does not win any awards here; all those who want to enjoy the full extent of the liquid forest should rather opt for the concentrated version.
CONCLUSION: Those seeking the olfactory embodiment of an idyllic forest have found their master here; those looking for a dark, cool, and earthy fragrance can test it with confidence; and those who want to experience the scent intoxication of Mother Nature and enter her mystical majestic enchanted forest, should start pressing the pipette - and if you are not willing, then I must use force.
"Wild Hunt" is a true work of art, a fragrance that enchants the senses and paints an incredibly detailed picture of a fairy tale forest, inviting you on a journey into the realm of trees and leaves, of tranquility and security, and the protective refuge of nature. Here, the trees intertwine their branches, and what one calls inner peace unfolds in its most beautiful splendor - this scent is enchanting!
Wild Hunt is cool and gentle, it embodies a beautiful freshness, without any zesty or refreshing notes, rather like morning dew, a cool breeze of mountain air, or a shady spot in the midst of a great, powerful forest. I smell damp black earth, earth-colored leaves adorning the ground, lush moss on untouched tree bark, decayed branches, powerful dark green, and cool earthy brown, pristine mushrooms far from the beaten paths, the scent of coniferous trees soaking up the warmth of the sun, I smell nature in its purest form, I practically inhale it and experience it.
Wild Hunt is incredibly authentic, so unmistakably empirical, it captivates without any resistance. This fragrance is the ticket to a world where one can be a child, far from stress and disputes, protected and enveloped by trees and leaves, a scent that everyone carries within themselves and that is surely worth safeguarding - the personal ticket to carefree joy.
As with many fragrances of this kind, the big question of wearability arises. What similar attempts from the houses of Demeter & co. often miss, has been achieved remarkably well here. Especially the coniferous accords and the woody scent components make Wild Hunt definitely wearable - not a fragrance for business and office, but rather dedicated to private hours of personal development and reflection. However, one cannot speak of a pure "art fragrance" here; Wild Hunt skillfully combines the great achievement of a bottled feel-good natural scent, as well as the characteristic of a quiet, yet very unusual earthy-green niche fragrance for both men and women.
Wild Hunt is available as "Perfume absolute" in a 15ml bottle and as "Water Perfume" in a 100ml bottle. Unfortunately, the longevity of the Water Perfume does not win any awards here; all those who want to enjoy the full extent of the liquid forest should rather opt for the concentrated version.
CONCLUSION: Those seeking the olfactory embodiment of an idyllic forest have found their master here; those looking for a dark, cool, and earthy fragrance can test it with confidence; and those who want to experience the scent intoxication of Mother Nature and enter her mystical majestic enchanted forest, should start pressing the pipette - and if you are not willing, then I must use force.
8 Comments
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From Mother Nature and Olfactory Pacifism
With Eau de Polder, the main goal was to achieve one thing: to capture the scent of Dutch nature in small bottles. Birthe Leemeijer, an artist from Amsterdam and the mind behind this project, moved heaven and earth to realize that idea. The world should know how Holland smells, and all the people who have ever visited the Dutch countryside should receive an olfactory memory of that experience.
First, the "Essence Club" was founded, which included local farmers among its members. Birthe Leemeijer provided those selected members with pure scent samples of hay, earth, and other typical fragrance notes of rural idyll. They discussed the smell of freshly cut grass in a silo, the significance of scent perception in all four seasons, and the smell of shearing cows in autumn. With Alessandro Gualtieri, the "mad nose" of the Nasomatto fragrance line, they brought a creative and extroverted fragrance designer on board and began to create scent accords from the notes discussed in the club. The resulting blends were meticulously deconstructed and evaluated by the club's fragrance jury. After many iterations and three years, they had explored numerous proposals, and only one remained: the essence of Mastenbroek - "L`Essence de Mastenbroek - Eau de Polder".
So much for the creation of the fragrance, a wonderful endeavor with a very nice story, in my opinion. It should be mentioned upfront that it is particularly difficult to pass judgment on this scent, so I will instead try to list the pros and cons dryly.
The execution of the fragrance is definitely successful; I smell both earth and hay. Grass and herbs come through, and the wildflowers remain subtly in the background. The scent is incredibly quiet, almost only perceivable when you bring your nose close to the skin, which, for my taste, is unfortunately far too shy. The leading scent component is the hay, which, with its slight sweetness and airy appearance, neither dominates nor invites. The entire fragrance affects my scent perception much like the flap of a butterfly's wings on the Richter scale (leaving chaos theory aside). Eau de Polder is olfactorily exactly what was intended in terms of scent, but for an Extrait de Parfum, it ultimately is simply one thing: a coward without a backbone!
The second drawback is the greasy consistency of the perfume. Eau de Polder has exactly the same properties as olive oil; it smears, does not dry, leaves a shiny, greasy film on the skin, and is oily, oily, and again oily! For those with fragrance allergies, it might be worth a try; who knows what was used here, but I certainly don't think of typical perfume ingredients. Nevertheless, the possibly natural production of the fragrance harmonizes with its story - at least regarding the artistic aspect.
With the following list, I would like to give insight into my scoring and analyze further aspects such as longevity and wearability:
* Intention of the fragrance: 0% (nice, but irrelevant for the scent)
* Fragrance notes: 100% (who doesn't love the scent of Mother Nature?!)
* Execution of the fragrance notes: 90% (everything is detectable, albeit unbalanced)
* Scent perception: 10% (not really recognizable, far too weak)
* Consistency: 0% (catastrophically oily)
* Longevity: 30% (the little bit that remains is for tea)
* Wearability: 50% (completely wearable, but where to put the oil?)
* OVERALL RATING: 40% (280/7)
It's a pity because the fragrance really had potential, but unfortunately, it fails in its execution. Ultimately, Eau de Polder is nothing more and nothing less than a good idea from a creative artist, L`Essence de Mastenbroek, the first fragrance line from the Netherlands, and Alessandro Gualtieri's tolerated faux pas before his creative phase with Nasomatto. Mother Nature can do better, and the beautifully packaged Eau de Polder joins the ranks of fragrances of insignificance, boredom, and nothingness. Unfortunately!
CONCLUSION: All those who cannot find their way to potent fragrances might find pleasure in this shy concoction; those who have no problem spraying on a perfume that resembles a spray sun oil in terms of consistency can test it here, and those who want the scent of hay, grass, and earth as a quiet companion before falling asleep should grab it quickly, as production has already been discontinued and the "scent of the Netherlands" is running out - climate change will take care of the rest.
First, the "Essence Club" was founded, which included local farmers among its members. Birthe Leemeijer provided those selected members with pure scent samples of hay, earth, and other typical fragrance notes of rural idyll. They discussed the smell of freshly cut grass in a silo, the significance of scent perception in all four seasons, and the smell of shearing cows in autumn. With Alessandro Gualtieri, the "mad nose" of the Nasomatto fragrance line, they brought a creative and extroverted fragrance designer on board and began to create scent accords from the notes discussed in the club. The resulting blends were meticulously deconstructed and evaluated by the club's fragrance jury. After many iterations and three years, they had explored numerous proposals, and only one remained: the essence of Mastenbroek - "L`Essence de Mastenbroek - Eau de Polder".
So much for the creation of the fragrance, a wonderful endeavor with a very nice story, in my opinion. It should be mentioned upfront that it is particularly difficult to pass judgment on this scent, so I will instead try to list the pros and cons dryly.
The execution of the fragrance is definitely successful; I smell both earth and hay. Grass and herbs come through, and the wildflowers remain subtly in the background. The scent is incredibly quiet, almost only perceivable when you bring your nose close to the skin, which, for my taste, is unfortunately far too shy. The leading scent component is the hay, which, with its slight sweetness and airy appearance, neither dominates nor invites. The entire fragrance affects my scent perception much like the flap of a butterfly's wings on the Richter scale (leaving chaos theory aside). Eau de Polder is olfactorily exactly what was intended in terms of scent, but for an Extrait de Parfum, it ultimately is simply one thing: a coward without a backbone!
The second drawback is the greasy consistency of the perfume. Eau de Polder has exactly the same properties as olive oil; it smears, does not dry, leaves a shiny, greasy film on the skin, and is oily, oily, and again oily! For those with fragrance allergies, it might be worth a try; who knows what was used here, but I certainly don't think of typical perfume ingredients. Nevertheless, the possibly natural production of the fragrance harmonizes with its story - at least regarding the artistic aspect.
With the following list, I would like to give insight into my scoring and analyze further aspects such as longevity and wearability:
* Intention of the fragrance: 0% (nice, but irrelevant for the scent)
* Fragrance notes: 100% (who doesn't love the scent of Mother Nature?!)
* Execution of the fragrance notes: 90% (everything is detectable, albeit unbalanced)
* Scent perception: 10% (not really recognizable, far too weak)
* Consistency: 0% (catastrophically oily)
* Longevity: 30% (the little bit that remains is for tea)
* Wearability: 50% (completely wearable, but where to put the oil?)
* OVERALL RATING: 40% (280/7)
It's a pity because the fragrance really had potential, but unfortunately, it fails in its execution. Ultimately, Eau de Polder is nothing more and nothing less than a good idea from a creative artist, L`Essence de Mastenbroek, the first fragrance line from the Netherlands, and Alessandro Gualtieri's tolerated faux pas before his creative phase with Nasomatto. Mother Nature can do better, and the beautifully packaged Eau de Polder joins the ranks of fragrances of insignificance, boredom, and nothingness. Unfortunately!
CONCLUSION: All those who cannot find their way to potent fragrances might find pleasure in this shy concoction; those who have no problem spraying on a perfume that resembles a spray sun oil in terms of consistency can test it here, and those who want the scent of hay, grass, and earth as a quiet companion before falling asleep should grab it quickly, as production has already been discontinued and the "scent of the Netherlands" is running out - climate change will take care of the rest.
8 Comments
