Rose Aqor, Oud Ulya, and Vanilla Barka are three of six new attars that Amouage has launched recently in an attempt to straddle the richness, glory, popularity, and complexity of its old legends and the increasingly draconian restrictions placed on perfumery in the eight or so years since IFRA forced Amouage to retire its original olfactory beauties. Do the new additions live up to the greatness of old? No. Do they come across as real, authentic attars? Also no, in my opinion. Are they terrible? Well, it depends on which ones you try and your personal tastes. Are they worth the money in question? That answer, like most things involving perfumery, cannot be anything but purely subjective and individual, but I will tell you that I personally have a lot of issues with these new “attars.”
Has Ambre Loup been diluted and reformulated? The answer might be Yes. There are a few reasons why that could be the case, and I’ll go over them in this post.
We’ll kick off a series of Dior Privée reviews with Vanilla Diorama, my favourite out of the five relatively recent releases that I’ve tried. Dior rebranded its elite, quasi-niche line in 2018 as “Maison Christian Dior,” discontinued a number of popular entries, and debuted a number of new creations that, I’d argue, evince a new olfactory and stylistic aesthetic. While I pondering whether to do an overview post with my thoughts on Dior’s new look (pun intended), let’s start things by looking at Vanilla Diorama.
I thought I’d take a look at Serge Lutens‘ Le Participe Passé which I enjoyed more than a number of his releases over the last few years, largely because it recycles many of his classic themes and scent combinations.