nanossa

Here, as expected, orange dominates, clearly, intensely , and almost three-dimensionally, with that scent that releases when you mistreat the peel.
All this, with all due respect to the other notes, which, yes, try but are mostly chased away.
It's just the dance of this prima ballerina from the Paris Opera, beautifully orchestrated by Ellena.
Well, the previous review would have been based on a sample/decant received from a famous perfumery in Puglia.
Trying the perfume again later, from a sample received from another equally famous perfumery, I note that the orange isn't as overpowering but leaves (a lot) room for white floral notes of neroli, I presume, reappearing only in the dry down.
Perhaps a question of maturation? Or a difference between batches?
In fact, I've found previous reviews that seem to confirm situations similar to both of those I described.
Who knows.

Beautiful. It opens sullen with: mint, yes, pungent but not toothpaste-like, pink pepper, very present but not overwhelming and, at least on me, lots and lots of absinthe.
Here, I sense the storytelling well represented.
The middle notes are definitely the most barbershop-like—definitely due to the presence of lavender—but I don't detect too much classicism as some write; in fact, there's still a good deal of that initial arrogance that makes it contemporary.
The base is pleasant, like 90% of Creeds, but at the same time, it's the one that tends to fade the most: perhaps the only flaw of this fragrance, which otherwise could be in the top two-thirds of the house.

Let's start with the assumption that when I see "green" written on a pyramid, I almost always dive right in.
Having dispelled any doubts about my objectivity, I think there's some confusion here: there are many notes, but basically, it mainly ranges from a hint of unripe bell plum peel (most likely derived from gooseberry) to a base with a savory, aromatic, creamy, slightly earthy blend that, after a while, I struggle to detect.
It's a bit like when you overdo the seasoning/spices on a dish; you finish it but wouldn't do it again.
Very long lasting if you like the genre.

Honestly, I expected something better.
For me, Oud Wood represents a safe bet in slightly more formal settings; it's noticeable but not arrogant, and it doesn't give off a sense of banality despite having been on the crest of a wave for almost twenty years.
Perhaps the focus here changes, along with the performance, but aside from a bit more muscle in the opening, the fragrance takes a less clear and comforting direction, with the dry, woody base that makes me love the EDP almost entirely absent.
Well, it's true that trying to flankerize terryfic fragrances is a tough task, but considering the price, here it doesn't seem worth the effort.

I started out with a bias, to say the least, due to the heavy presence of sandalwood in the pyramid, but I'm having a major change of heart.
Copper, yes, but perhaps it's an impression given by the hint of cold peach (or something else?) that I detect strongly at the opening, overpowering the cedar, in my opinion.
A not-too-powdery iris and an almost-not-at-all-creamy sandalwood follow, and what could have been a disaster turns out to be a semi-love affair.
Everything evolves very quickly, and in my opinion, multiple sprays are needed to last a day, but perhaps that's just my impression, because those around me say it makes itself felt, and in a very pleasant way.
A daily fragrance with a discreet personality, it makes you want to pick up a 50 ml.
A very promising first encounter with the brand, I must say.