Viola8

Diane von Furstenberg has made a name for herself in the fashion world as a designer and "inventor" of the jersey wrap dress, but her recognition in Germany may not be as strong as, for example, in America. Perhaps this is also the reason why her fragrances find so little resonance here. Although aimed at the mainstream, they still do not carry a name that evokes prestigious desires in this country. Nevertheless, Diane - as Chanel aptly said - deserves more attention.

First impression: white, clear, clean, without any notes pushing themselves to the forefront. This clean impression lasts a long time, despite the shift towards floral and powdery. Frangipani? For me, more of an abstract floral note. The violet is also hard to recognize, neither sugary-sweet nor velvety-dark.

The longer Diane is on the skin, the more beautiful the scent becomes, softer and just slightly warm-spicy. The clean impression then takes a back seat. There is nothing to complain about regarding longevity. When applied in the evening, a lovely delicate residual scent remains on the skin even in the morning.

An almost old-fashioned fragrance that radiates classic, timeless elegance and lightness. This old-fashioned, floral-powdery elegance is also what I find reminiscent of "Agent Provocateur," which I perceive quite differently than some comments suggest here.

Beautifully and solidly made, by no means extravagant, but mature and classy. Only the sensuality announced in the official text is something I can't quite grasp; Diane simply smells too clean for that, probably sensual for women who simply do not feel the need to present sensuality in a blatant way.

Powerful, powerful, what hits you there. Not shy at all, a composition of lime, lemon, and bergamot bursts forth at the beginning, showing no signs of leaving anytime soon. But this top note is not only citrusy, but also spicy and almost dark, peppery and herbal, yet still not green. The abundant woodiness is already hinted at.

To keep things from getting too boring, the heart note features the male and spectacularly marketed Zizan (for the cultivated strategist who knows how to seduce - I always wonder who still enjoys such phrases) with jasmine and violet. These floral notes are something one wouldn't expect at first glance.

And indeed, suddenly a delicate floral aspect emerges, surprising components that soften the fragrance, making it appear gentler and more relaxed. No worries, gentlemen, you won't smell unmanly with this. And no worries, ladies, you won't smell unwomanly either.

Towards the base, the beautiful, slightly warm woodiness intensifies, and just before the finish, Zizan surprises again with this fine, almost mossy woodiness, all while having good longevity. I'm quite sure that alongside all the natural ingredients, quite a bit from the chemistry lab has been incorporated, but luckily it blends in harmoniously.

While it's not a candidate for my collection, it's still a very beautiful, original fragrance. Perhaps Zizan is a high summer scent for those who usually only wear heavy, woody (perhaps even oud-heavy) fragrances.

Laura Ashley, a name with a great past. Laura Ashley (born 1925 in Wales, died 1985) and her husband Bernard founded and ran the company together, which significantly shaped British interior design tastes. The term "Laura Ashley style" is probably known to everyone.

They started with self-printed dish towels, and a focus was always on printed fabrics inspired by historical designs and botany; later, fashion collections were added, and actually almost everything needed for a complete interior look. This led to the establishment of their own factories - as was common at the time, in their homeland - with many employees and stores worldwide. Their four children were also involved in the business. At some point in this success story, their own fragrances could not be missing. A brand famous for its floral patterns must, of course, create floral scents.

I admit, I was very fond of the brand since the 80s; the old No. 1 was my favorite scent for years (though as Eau de Toilette, not in the Eau de Parfum version). This wonderfully lush floral bouquet, spreading delicate summer freshness while also being warm, was special. No. 1 is the only scent I know of on this planet that I like despite the tuberose; I don't fully believe it with the tuberose either. Contrary to the fragrance pyramid on Parfumo, old brochures always list only rose and jasmine, and then either iris or lily of the valley, nothing more.

Even the less known No. 2, Emma, and later L'Eau de Laura Ashley were exceptionally beautiful scents that fit perfectly with the brand's image (I prefer not to talk about Dilys - with tuberose - and quite recently, Green Meadow is a successful scent).

Recently, I was finally able to test the new No. 1, what a disappointment; I cannot find any resemblance, try as I might. I was already aware that new versions do not aim for a 1:1 copy, but this result was very disappointing: fruity-floral-pungent and interchangeable. I don't even want to give a %-rating. It's quite strange when you keep the old name but completely change the fragrance notes. I can't say anything about marshmallows; they are not on my menu. This new version will certainly find its friends, but they won't be the ones who know the old version and are looking for a replacement. I boldly dare to claim that even Songes by Annick Goutal (despite also having different fragrance notes) has more resemblance.

If anything, the new No. 1 should have been released as an independent fragrance under a new name and with new pretty packaging, so that no comparisons would be made. However, I do like the packaging used here again, originally designed by son Nick Ashley, very much.

Unfortunately, the brand has not managed to connect with its old glorious times. The now numerically shrinking stores also reflect this: where there used to be a distinctive style with diverse sources of inspiration, they now try to be "more modern," but only come off as more interchangeable, high-street department store style made in China, nice but a shadow of its former self, very unfortunate!

I can only recommend the excellent, richly illustrated Laura Ashley biography from 2009 by Martin Wood, which can now be found on the reduced clearance tables.

The namesake grapefruit here is more of a white grapefruit, not a pink one. It is neither too sweet nor too sour, supported by other citrus notes (possibly also from bergamot?), without overwhelming it. But anyone who only speaks of a citrus summer water here has not given this fragrance enough time. The initially too clean and somewhat soapy impression later becomes a bit herbal-green; I search in vain for flowers.

And then comes the not to be underestimated base, clearly featuring oak moss and vetiver, with patchouli not standing out much. Through this woodiness and the moss, the fragrance is virtually "grounded," which suits it extremely well. However, it remains consistently understated and quiet in character, neither a feminine nor a masculine scent, possessing a timeless, citrus elegance with soft mossy woodiness.

Even if it says "Grapefruit" on the bottle, this is not a cologne! The fragrance has a long-lasting presence despite its subtlety. While it stays rather close to the skin, it is noticeably perceptible on the skin for many hours, something no cologne achieves.

I am not a fan of layering; after all, one fragrance should suffice. But the woody note of "Grapefruit" can be excellently enhanced with Jo Malone's "Vetiver." There are indeed similarities here that complement each other wonderfully in their positive effect.

The six fragrances from the perfumer behind the brand Miller Harris, Lyn Harris, are exclusively produced in a 50 ml bottle under her own name for the department store chain Marks & Spencer and are only available there.

The name Lyn Harris, as a trained "nose" from Grasse, guarantees a certain quality, even though this series is offered at a significantly lower price point than Miller Harris. I already like the citrusy Miller Harris scents "Tangerine Vert," "Le Pamplemousse," and "Citron Citron," so "Le Cologne" should be a safe bet-especially for Cologne fans like me. And fortunately, it is!

Now to the scent: It starts with a powerful burst of citrus from lemon, orange, and especially beautiful bergamot, as is fitting for a Cologne. But it is by no means outdated, thanks to the ever-present green-herbaceous-aromatic note that never pushes itself to the forefront. For a moment, I thought I detected lavender, but it could also be rosemary. Is there perhaps also orange blossom involved, lending a faint floral hint?

Later, a soft woodiness emerges. Despite the amber and the more pronounced vetiver, Le Cologne remains true to its name, now in a more refined manner. Harmonious in all phases, the scent never runs out of steam. Overall, it is a bit greener than Citron Citron and less orange than Tangerine Vert.

Because the citrus classic is always underpinned by this green note, it feels somewhat "modernized." I believe that Le Cologne will appeal to anyone, regardless of age or gender, who is looking for a nice variation on the old theme, even if the wheel hasn't been reinvented here.

Unfortunately, the longevity leaves a bit to be desired. For an Eau de Toilette, it would be fine, but this is an Eau de Parfum. One can only console oneself with the fact that its longevity far exceeds that of a true Cologne. Nevertheless: Overall, very successful!