Reviews En Bref – Maison Francis Kurkdjian Oud Mood Collection: Velvet, Silk & Cashmere

Posted on April 22, 2013 by Kafkaesque

The following will be a brief assessment of the trio of new Oud fragrances from Maison Francis Kurkdjian (“MFK”) called the OUD Mood Collection. As always, my Reviews En Bref are for perfumes that — for whatever reason — didn’t seem to warrant one of my full, exhaustive, detailed reviews. In this case, it is because I think these perfumes are best suited to men who are hardcore, passionate, obsessed Oud aficionados who worship the very purest, most concentrated essence of the note. After some recent experiences, I’ve realised that I most definitely do not fall into that category.

THE OUD MOOD COLLECTION:

In early 2013, Francis Kurkdjian released three new interpretations of Oud. All featured Laotian oud, the rarest of all agarwood ingredients, and all were the most concentrated type of fragrance: pure parfum (or extrait de parfum). On the MFK website, Mr. Kurkdjian explains as follows:

The OUD mood collection

Francis Kurkdjian imagined the OUD mood collection as feelings, sensations, rather like those one would have when wrapped in a fragrant stole. The play on shimmer, comfort and warmth. They are precious, intense and concentrated.

OUD VELVET MOOD:

MFK describes Oud Velvet as follows:

Cinamon from Ceylan – Saffron- Oud du Laos – Copahu balm [a resin] from Brazil

A majestic, enveloping fragrance that gives the sensation of density and fluidity.

Oud Velvet opened on my skin with heavily buttered saffron, sharply medicinal oud, and leathery, animalic, black resin. The saffron-leather smelled goaty, almost rancid and raw, and was tinged by an unpleasant burnt note as if singed by smoke. The combination turns the oud note almost fecal. The whole thing is underpinned by an oddly buttered note, almost like dirty buttered caramel, but there is also the feel of bitter, wet, black coffee grinds. It was a terribly rough, difficult opening.

Thankfully, about fifteen minutes in, the extremely unpleasant concoction softens into something smoother and gentler. And it continues to do so with every passing moment. Oud Velvet actually does feel like a darkly velvety take on oud with rich saffron, sweet cinnamon and dark resins. The latter is no longer so raw and animalic; all hints of anything goaty, rancid or fecal have vanished. Instead, it’s been replaced by a strongly stony, steely, cold note that replicates a little the oud in By Kilian‘s Pure Oud. The Candy Perfume Boy called the note “industrial,” and that is actually genius. Oud Velvet really does evoke the feel and scent of a large, empty, echoing, stony, industrial warehouse. And, yet, underneath, there lurks something that feels like meaty chocolate, adding some warmth to the scent. As time passes, Oud Velvet turns into a chocolate-cinnamon oud with flickers of nutty saffron, stony-cold industrial elements, and thick, darkly ambered resin. By the end, 9 hours later, it was simply oud with some lightly ambered tones.

OUD CASHMERE MOOD:

MFK describes Oud Cashmere as follows:

Labdanum from Morocco – Benzoin – Oud from Laos – Vanilla

This oriental fragrance is woven with all the gentleness of a ‘‘second skin’’, soft and balmy.

Like Oud Velvet, Oud Cashmere also has a difficult opening. On my skin, it began with blasts of rancid, sharp, medicinal, metallic notes underpinned by the feel of rubbing alcohol. There is a definite smell of cheese. To be specific, a creamy chèvre-blue cheese hybrid that is infused with vanillic elements. This is not like the purely Gorgonzola blue cheese in Xerjoff’s Zafar (which also has extremely aged, rare Laotian agarwood), but something slightly different. Here, the note is creamier, less pungent, more artificial, and sweetened by a sort of candy-floss vanilla.The overall combination almost seems worse, especially when you consider the medicinal undertones with its notes of pink, rubber bandages.

Pink candy floss or cotton candy. Source: Favim.com.

Oud Cashmere does not improve with time. With each passing moment, the goat-Gorgonzola starts to fade, and the perfume becomes more and more medicinal, antiseptic, vanilla. It smells sweet and unnatural: pink candy floss and pink, rubber bandages underlying astringent. Clearly, I am not one to handle the pure essence of oud, especially when it is from this sort of aged, Laotian agarwood. Perhaps a man with edgier tastes and a fanatical love for true, potent oud would love it. I tried Oud Cashmere three times and, all three times, I ended up scrubbing it off after a few hours. There is only so much a person can take for the sake of a review.

OUD SILK MOOD:

MFK describes Oud Silk as follows:

Bulgarian rose – Camomille from Marocco- Oud from Laos – Papyrus

A light, airy fragrance reminiscent of the rustle of silk or the soft touch of a rose petal.

Oud Silk is not a particularly inventive, original take on the conventional rose-oud combination, but it is the best of the trio in the Oud Mood Collection. It opens on my skin with the loveliest of super concentrated, rich, heady rose notes. It’s opulent, ripe and highly sweetened. The oud lingers in the back, soft and subtle, with absolutely no medicinal, astringent, antiseptic or fecal notes. Subtle chamomile wafts in and out, adding to the floral nature of the perfume. Underneath, quiet whispers of dry papyrus grass rustle. I think a commentator on Basenotes, “Buzzlepuff“, put it well when he said that the papyrus note acts like a bridge between the floral elements and the more woody oud. In fact, his assessment of the perfume mirrored much of my own:

This is a big floral rose with a very strong oud backdrop. If you have ever wondered why rose makes such a great partner with animalic medicinally zingy rotting vegetation sap – oud – specifically Laotian Oud, then you must smell this fragrance. The papyrus note enhances and magnifies the cool dry wood side of the oud in here. Bulgarian Rose is that very big red perfume rose scent and here is amplified by blue chamomile bridges to the slight floral aspect of Laotian Oud. There is a seamless flowing aspect to this. Nothing is left hanging out there from beginning to end – smooth as silk. I have tried to match this up with anything else similar in my history of sniffing things and I am at a loss. It is a little like Rose Oud By Killian but bolder and rosier and there is no saffron in this mix. […] It does read feminine to me but I could see a man wearing it too.

On my skin, the agarwood was not such a bold, strong backdrop as it was on him, but something far more subtle. Frankly, it was an enormous relief, since I may be too plebeian for true Laotian agarwood. The subtlety of it in Oud Silk is probably the reason why I liked the fragrance the most out of the trio. It was the least brutal, the least masculine, and the least traumatic manifestation of agarwood. I suspect, however, that hardcore oud fanatics may find it to be too much of a boring, conventional take on the note.

All in all, I wasn’t a fan of the Oud Mood collection. Silk Oud was very nice, but not particularly interesting. The others were definitely…. er… interesting — in the worst way possible. I honestly can’t decide what was more of an ordeal: the abrasive opening of Velvet Oud with that rancid, animalic, raw leather note singed by smoke and almost fecal undertones; or the goat-blue cheese and vanilla, pink candy floss with pink rubber, medicinal bandages of Cashmere Oud. Given the significantly improved nature of Velvet Oud, the Cashmere has the dubious honour of winning.

The odd thing is that I love the aged Laotian oud in Neela Vermeire‘s Trayee, but these more medicinal, abrasive and, frankly, painful versions are just too much for me. For a narrow, limited (and very masculine) segment of the population, some of them may be fabulous. But even men who postulate themselves at the altar of super-powerful agarwood may hesitate at spending $375 for a 2.4 oz/70 ml bottle. Yes, the Oud Mood Collection is the most potent concentration of fragrance around — pure parfum — and the bottles are especially large in light of that fact, but…

Well, to put it charitably, better you than me, my friend, better you than me.

DETAILS:

Cost & Availability: All three Oud Mood fragrances are Pure Parfum/Extrait de Parfum concentration and come in a 2.4 oz/70 ml bottle that costs $375, €275 or £275. You can find them on the Maison Francis Kurkdjian website which also sells samples of the perfume. In the US, you can purchase all three fragrances from Luckyscent or Neiman Marcus. I don’t see either collection listed on the Saks Fifth Avenue or Bergdorf Goodman websites. In the UK, I’ve read that you can find the collection at Selfridges, Liberty, Harvey Nichols and Les Senteurs priced at £275 each. However, I couldn’t find the collection listed on any of those store’s websites thus far except for Les Senteurs. For the rest of Europe, you can buy from First in Fragrance which has all three perfumes in the collection for €285 (which is €10 more than on the MFK website). Elsewhere, you can turn to MFK’s Points of Sale for a retailer near you, whether you are in Asia, Australia, or the Middle East. In terms of samples, the collection is available at The Perfumed Court starting at $14.00 for three 1/4 ml vials. You can buy samples of each individual fragrance starting at $4.95 for a 1/4 ml vial. The OUD Mood Collection is not yet available at Surrender to Chance (which I personally think is cheaper and better than The Perfumed Court), but will be by the first of May, I think.

Perfume Review: Vero Profumo Onda Eau de Parfum

Posted on April 21, 2013 by Kafkaesque

Source: 3dwallpapers.co.in.

Large grey-blue waves hit the black, moss-covered rocks, spraying cooling salted water over the heated, sweaty bodies of the intertwined lovers. There was a note of the tropics in the air, as if a Filipino fruit-seller’s roadside stall had exploded nearby, the passionfruit symbolically matching the passion in the air. Heavy, opulent flowers laden with honey were there, too, so rich that they almost border on the over-ripe and match the goo of the fruit. The lovers kissed, their bodies cushioned on the plush velvet of mossy patchouli, and one bit the other’s shoulder with a moan.

Source: foto.libero.it

The salt of the stormy seas is the very first impression that hits you when you put on Onda Eau de Parfum from Vero Profumo, followed not long thereafter by the image of sweet, heated skin. As the heavy, rich, intimate notes swirled on my skin, I decided almost immediately that I would — nay, must — one day buy this perfume. It is rare for me to think that mere minutes into testing a perfume and without waiting for its full development, but Onda’s complicated, extremely unusual, completely unique nature ravished me. It’s really hard not to think about sex and the human skin while you’re wearing it, but that seems to have been the goal of Vero Profumo. “I love everything that reminds of the smell of skin,” says its founder, Vero Kern, on the very first page of the company’s website. It shows, believe me, it shows….

Vero Profumo (sometimes written with odd punctuation as “.vero.profumo.“) is a Swiss niche perfume line that was established in 2007. Vero Kern‘s first three fragrances were Onda, Kiko, and Rubj, and they were released that same year. According to Fragrantica, all three pure parfums or extrait de parfum fragrances were intentionally made in the grand, classic French tradition of Mitsouko, Shalimar and Chanel No. 5 . As Ms. Kern explains on her website:

Vera Kern of Vero Profumo.

I go my own way hundred percent and do not follow any trends. I’m looking for originality, opulence and eroticism in scents. They have to surprise and to touch me. I’m not interested in ‘clean’ scents; I need characterful scents both in my creations but also as wearer.

How incredibly refreshing to have a perfumer bluntly state that she is not interested in creating “clean” scents! And to focus on erotic opulence? Bravo!

In 2010, three years after the launch of her parfum trio, Ms. Kern introduced the same fragrances in eau de parfum. However, the fragrances were not simply a milder form of the originals but, rather, slightly altered versions. Fragrantica provides Vero Kern’s explanation of the key differences:

The new perfumes are not the diluted version of the extracts. An eau de parfum needs a structure highlighting more the top notes as opposed to the base notes, but with the aim of keeping the original style of the extract intact”.

Onda Eau de Parfum.

In order to render the scents lighter and easier to wear, the compositions have been simplified; yet that “je ne sais quoi” unmistakably characterizing the extracts is still clearly there. “I replaced the animalic notes with the unique scent of the passionfruit – says Vero Kern – I personally love it very much and think that it lends a sensual and erotic lightness to the composition”. Like an invisible thread, the intriguing scent of passionfruit links the three perfumes: it is at the core of everchanging, unexpected olfactory sensations with multifaceted evolutions.

[With Onda in specific,] Vero added passionfruit in the top, and slightly changed the base notes (cedar instead of sandalwood).

Luckyscent provides the following notes for the perfume which is categorized on Fragrantica as a “woody spicy”:

Bergamot, citron, mandarin, ginger, coriander, basil, passion fruit, iris, ylang-ylang, honey, vetiver Bourbon, patchouli, musk, cedar wood.

Onda Eau de Parfum opens on my skin with the salty tang of the sea. It’s cold like the Atlantic, but it also feels like a green salt marsh. At the same time, there is a surprising hint of the tropics in the air. The combination creates an incredibly unusual, mysterious, unique scent — and very sexy one at that, too.

Salt marshes via Flickriver.com.

Soon, woodsy notes arrive, but none of it feels like usual trees or vetiver, per se. It’s something that occurs to me again and again as I try to pinpoint the notes of the perfume. It’s as though Ms. Kern has twisted the way in which certain notes are usually manifested so that they seem completely different. All you’re really left with are impressions and feelings, moods and images; there are very few individually distinct, sharply delineated, really traditional notes of vetiver or trees. You smell woodsy notes, but something about them is different. Or, perhaps, the way they combine with the other notes has transformed them. This isn’t the vetiver in something like Terre d’Hermes, Guerlain‘s Vetiver or Chanel‘s Sycomore; it’s not the cedar wood in a Montale or Ormonde Jayne fragrance. Nothing is ever quite like what it’s supposed to be and, yet, it somehow conveys the feel of woodsy notes as well as any other perfume.

Passion fruit. Source: fo-od.co.uk.

Perhaps it is the originality of the combination that makes the individual elements feel so transformed. For all the salt of the Atlantic ocean, you have the greenness of a very heated, green marsh; the gooey ripeness of passionfruit; the feel of oakmoss (even though there is absolutely none in the perfume); skin notes; an abstract feel of flowers that seem almost elusive in those opening minutes — and a quiet veil of sweetness over the whole lot.

Source: Twitter.

Though the perfume feels like some sort of chypre with a citrus start, the citron, mandarin and bergamot never feel distinct. Though you have the velvety plushness of a very green, mossy patchouli, that too feels almost amorphous and abstract. The same applies to the slightly tangy citrus and fruit notes that waft elusively in the air. The perfume is so magnificently blended that it all swirls together in a harmonious whole. Onda never even throws off prisms of notes; it is just a sum total of experience, mood and feel that is really extremely hard to describe.

It is, quite simply, a phantasmagoria. The dictionary defines the term as:

noun

1. a shifting series of phantasms, illusions, or deceptive appearances, as in a dream or created by the imagination.

2. a changing scene made up of many elements.

3. an optical illusion … in which figures increase or diminish in size, pass into each other, dissolve, etc.

Minutes in, the image of heated skin starts to join the swirl of images. It’s not animalic and, yet, it is. The scent is not like rancid sweat, but perhaps, like fresh, clean, slightly sweet, salty, heated skin with the sheerest, merest touch of a leathery undertone. It’s not raunchy or grossly intimate; there is no sense of unwashed panties or sweaty crotches; and there is no lurid musk. With the tinge of honeyed sweetness, it is, quite honestly, like the smell of sex. Not the sweat-infused, raunchy smell in the air afterwards but, rather, like the scent of your lover’s skin during the early, tender intimacies, when you bite his shoulder and smell the scent of his neck. The combination of the salty, honeyed woods and the sea, with tart, juicy, gooey, ripe citrus, and subtle animalic notes that almost verge on the leather …. well, it’s mesmerizing, tantalizing and simply stunning.

Source: www.stihi.ru

For much of the Onda’s early development, the perfume never wildly deviates from its core essence. At times, the citrus, fruit, and musk notes fluctuate in prominence; at other times, the perfume itself seems to undulate in projection and strength. After the first hour, it seems to get softer, turning much less woody and salty citrusy. But then, surprisingly, it seemed to get stronger, more concentrated and more intense when the honey notes started to take over. And that begins to occur ninety minutes in, when Onda turns more animalic and more floral. There is the feel of richly honeyed flowers with mossy patchouli, vetiver, those animalic musky skin notes, and the merest touch of light powder underneath it all.

Source: etshoneysupliers.

Three hours in, Onda is all honeycomb, beeswax and rich honey atop lush, velvety flowers with animalic accords and the hint of earthy vetiver. As the honey grows stronger, there is the sense of something leathery swirling around. It’s almost a little like honeyed rawhide leather at times — sharp, dark brown, and deep. Something about the combination feels almost biting; I could feel the honey high up in my nose, almost burning the bridge of my nose. It’s subtle, but it’s there and lasts for a few hours. I applied just a little over an 1/8th of a vial since this is, after all, eau de parfum, but it’s as if Onda’s notes have doubled in strength and intensity. The honey has become akin to the most concentrated form, dripping dark and molten over the heady, indolent, languid flowers with that leathery bite underneath. It feels lush, opulent, oriental, highly charged, almost sexual, and incredibly rich.

Onda remains that way for hours and hours. It’s heavy honey with slightly skanky undertones and darkly rich leather. The notes sit atop the lightest suggestion of vetiver and vanillic powder. And, to my astonishment, despite the hours, the notes barely seem to fade an inch in potency until the very end! All in all, Onda lasted about 12.5 hours on my perfume-consuming skin. In its final hours, it was simple honeyed musk.

Onda is a very powerful, strong, incredibly rich, opaque and heavy perfume but it doesn’t feel thick, if that makes sense. I would never call this lightweight in feel, but it is much airier and lighter than the notes would have you imagine. Yet, it is incredibly potent. Onda EDP would make some of the strongest Tom Ford Private Blend perfumes seem positively mild in comparison. Especially when you consider that I put on only a little over 1/8th of a vial — not much at all! The projection is potent too, initially radiating out perhaps a foot in the first 30 minutes, before becoming softer and staying in a tiny cloud around you. But, it’s pretty damn intense within that cloud. I was walking The Hairy German when I came across a neighbor and stopped for a chat. Though we stood only a few feet apart, she couldn’t smell the perfume. But when I asked for her opinion, and brought my arm a few inches from her nose, her head jerked back at the strength of the notes.

She didn’t like Onda — and I don’t imagine most people will. While her tastes veer towards the “light and citrus,” I think Onda may be far outside a lot of people’s tastes. The people who will swoon at Onda will only be those who can handle the animalic, leathery undertones. Those who adore sheer, airy, fresh florals, who despise naughty notes, and/or who shudder at the thought of potent, extra-rich perfumes should stay very, very far away. This will be far too unusual, difficult, rich, fetid, or sexual for their tastes. It may even seem a little crass to them, like a public display of affection that becomes a little bit heated.

Luckyscent and Now Smell This have two very different takes on the perfume which I think show both sides to the scent. Now Smell This wrote:

It’s rare to smell a fragrance that seems completely new, like nothing else on the market. It’s even more rare to find something that smells not only new, but at the same time ancient, as if unearthed from an Egyptian sarcophagus. Astonishingly, Vero Profumo Onda manages this last trick. There’s nothing of the focus group about it. If someone told me Onda was Mata Hari’s secret weapon, I’d believe it. If she told me Onda was Comme des Garçons’ latest fragrance, “Bilge Water Supreme,” I’d believe that, too. It’s a marvel. […][¶]

Onda in Eau de Parfum is, if anything, more difficult than Onda extrait. It has less powder than the extrait and less animalic depth, but it is more herbal-bright and more “rotted” smelling. […] I prefer Onda in extrait. I find it richer and deeper, and, in some delicious way, scarier. Both forms of Onda last all day on skin. If you are fascinated by Onda, you’ll rejoice in its persistence. Otherwise, you’ll find it a scrubber extraordinaire. Either way, I don’t think you’ll leave Onda unmoved.

Luckyscent‘s take on it is a little less terrifying:

[I]f a fragrance ever needed taming, it is Vero’s wild, dusky, brooding Onda, as close to an alchemical potion as a modern perfume is ever likely to get. In the eau de parfum, the ginger, vetiver, honey and patchouli still simmer with earthy sensuality, but the composition gains an airiness, a sense of space that make the notes an easier fit for daytime wear. The overtly animalic notes have been replaced by the equally animalic, but brighter passion fruit. Don’t be fooled: the leather-clad femme fatale hasn’t come over from the dark side of the forest. But she’s just cracked a smile.

It’s funny how the perfumistas I know in groups seem to rave about Onda in Pure Parfum/Extrait form, while the reviews on Fragrantica for the Eau de Parfum would be enough to put you off trying it forever. They are, generally, quite negative:

Announcing the autumn of fertility, this is (IMHO) a smell to wear as you rot on the vine.

The eau de parfum Onda continue woody-spicy notes of honey, the sweet-spicy, earthy, while the iris, ylang-ylang and sensual feature a cleaner, yet more erotic results perfume.

The smells that comes to mind are cool wet earth, leather, tobacco, warm wood, smoke. It’s pungent, animalic, meaty, rich. All of that is the opening of Onda,it’s unbelievable, you’ll either love it or hate it, for me it is misterious and unique.

I’ve found a more suitable name for this fragance:
SALT-MARSH

Saying that Onda EDP is a challenging composition would be like considering Marcel Proust and easy read. Onda is far beyond being just challenging, is weird, destabilizing and unusual but at the same time “cultured”. It is built around a solid structure that shows many characteristic of classic perfumery and adds a bizarre, sort of futuristic, accord of passion fruit and vetiver that together with floral pattenrs and ginger gives birth to a strange blend that sits somewhere between a disinfectant, a mass destruction weapon and pure luxury. Overall Onda smells salty/sweet with fresh nuances, flowery with acidic/unripe fruits and definitely sulfurous (urine?). While all of this may sound disencouraging, I still believe that Onda deserves our respect as one of the most intriguing, complex and original compositions around. Onda, more than like a proper fragrance, sounds like a declaration of intent that says “I’m here, and I’m here to stay!”.

“Lisa Raye. Dripping honey on her body.” Portrait by Brad Miller / Retna Ltd. 2002. via Flickr (Link to Flickr page embedded within.)

My experience was very different from that of a lot of those reviewers, and I had to laugh at the comment about the “mass destruction weapon.” That said, I can absolutely see how someone with a taste for more traditional, less unusual perfumes may reach that conclusion. The “skanky,” almost leathery notes are definitely a problem for a lot of people. But so, too, is the honey note. Though I never smelled anything sulfurous, the honey did burn my nose at times and I suspect it may turn very rancid on some people’s skin.

Freddie of Smelly Thoughts who has perhaps the most cutting-edge, avant-garde taste in perfumes of anyone I know wrote a bit about that particular issue:

The honey becomes undoubtably urinous, and considering I can douse myself in Miel De Bois with ease, yet can detect the sulphorous notes in this, should let you know how potent it comes off. However, it is blended with the spice, citrus, and over-ripe fruit notes so well, it becomes merely another appealing, complicated piece to this Onda puzzle.

Yet, despite the funky honey note, he adored the perfume as a whole:

Onda EDP opens absolutely wonderful, with a pronounced vetiver note upfront – I love the vetiver already, it is that dank, dirty salty vetiver which is the only type I seem to really enjoy. There’s a real spice overlaying this, a harsh twang of sharp ginger, and some pungent citrus and bergamot. […]

There’s some bizarre fruit accords in this, and an unusual one listed is passion fruit… I love passion fruit but it’s not really what I’m smelling. To me it’s more the feel of an over-ripe banana, in the similar way that Christopher Brosius used this over-ripe quality in In The Summer Kitchen. An almost dustbin like vegetal effect that is bizarrely compelling. […]

First impressions? I love this. At first, and for the first ten minutes, I thought “Hmmm…. interesting I guess”, but then attempting to work this thing out, it gets complicated. I feel like I’ve solved it now, 20 minutes later, and I love the outcome. Already I can see this becoming a full bottle purchase, it’s completely unique – a blend of animalic honey, candied ginger and citrus, salty vetiver (which becomes nothing more than a wonderful base rather than a lead) and softened fruit. Outstanding.

Though his experience was different from mine, I share his final, overall conclusion. For me, with my tastes and given how it manifested itself on my skin, Onda EDP was outstanding. I loved every minute of it. However, I definitely would not recommend it for the general masses or for the faint of heart. In fact, unless you passionately adore heavy, opulent, skanky orientals or leather-chypres, I wouldn’t even bother testing it. But if you’re someone who loves perfumes like Maison Francis Kurkdjian‘s Absolue Pour Le Soir, Rochas‘ Femme, or Amouage‘s Jubiliation 25, then you should absolutely give Onda a try. For that very select group of people, Onda may well be love at first sniff.

DETAILS:

Cost & Availability: The Onda being reviewed here is only the Eau de Parfum version and it is available at Luckyscent for $200 for a 50 ml/1.7 oz bottle. (The Vero Profumo website does not seem to sell the perfumes.) Outside of the US, the Vero Profumo Facebook page offers a whole list of European retailers from Kiev, Russia, to Oslo, Norway, and Italy. It also adds: “Since 2010 distributed worldwide by Campomarzio70 in Rome Italy, in selective boutiques and perfumeries such as ROJA DOVE, Harrods Urban Retreat London, JOVOY Paris, Parfums Rares and many more. Campomarzio70, marketing@campomarzio70.it will inform you where you find the nearest retailer in your country.” I checked the website for Campomarzio70 and it doesn’t seem to sell the perfumes online, since I could find no “online cart” (so to speak), no pricing options or no way to purchase the perfumes, but you can try to check for yourself. In the UK, you can find all Vero Profumo perfumes at Harrod’s Roja Dove Haute Parfumerie, but there is no online website through which you can purchase perfumes. (It is not the same site as the Harrod’s website.) At Jovoy Paris, Onda retails for €145. In the Netherlands, you can find it at Leanne Tio Haute Parfumerie. Germany’s First In Fragrance carries not only the complete Vero Profumo line but also offers sample sets. They ship throughout the world. As for samples, I obtained mine from Surrender to Chance as part of Vero Profumo Three-Perfume Sample Set (Onda, Rubj, and Kiki); the set is only for the EDP concentration and prices begin $13.99 for a 1/2 ml vial of each. Surrender to Chance offers single vials of Onda Eau de Parfum by itself, however, for $5.99 for a 1/2 ml vial. It also sells Onda Pure Parfum for $9.99 for a 1/4 ml vial, $19.98 for a 1/2 ml vial, and up.

Perfume Review – Chanel Bois des Iles (Les Exclusifs): Out of Africa

Posted on April 20, 2013 by Kafkaesque

Out of Africa. Smoldering sensuality that purrs like a languid cheetah resting on a sandalwood branch. Sophisticated luxury under the most polite and elegant of veneers. The Chanel signature taken to exotic lands.

African sunset. Source: Tumblr

That is essence of Bois des Iles, a spectacular Chanel fragrance with a very feline heart that makes me just close my eyes in the deepest of admiration. I’m not generally a Chanel enthusiast; the typical floral-aldehyde signature leaves me rather cold, and I find that restrained aloofness to be far from my style. Whether green and powdery, floral and soapy, or just plain unobtrusive, Chanel rarely tempts me. But Bois des Iles…. my God, is it good! And I’m just talking about the current eau de toilette version from the Exclusifs line. One can only imagine the smoldering richness of the pure Parfum. And the vintage version would probably bring me to my knees in tears of joy.

Ernst Beaux.

Bois des Iles (which translates to “Wood of the Isles”) has a long, rich history. Ostensibly the very first “woody” fragrance for women, it was released in 1926 and was the result of collaboration between Coco Chanel and her cohort in olfactory adventures, the great, legendary Ernst Beaux. He was a Russian émigré who created some of the greatest perfumes in history, and an extremely intellectual man who supposedly used both Tchaikovsky and the great Russian poet and novelist, Aleksandr Pushkin, as his inspiration for Bois des Iles. In specific, Beaux is said to have created the perfume while entranced by Tchaikovsky’s opera, The Queen of Spades (“La Dame de Pique”), which was based on Pushkin’s story of love, obsession and madness.

Chanel, however, gives a very different backstory for the perfume on its website, describing instead the Paris of the 1920s, gripped by the fever of Africa and exotic lands:

Josephine Baker who danced at Le Bal Negré and who helped trigger the fascination with Africa in 1920s Paris.

The year was 1926. People were discovering the explorer within themselves. They danced at the Bal Nègre. Africa became the inspiration for fabrics, jewelry and earthenware. Mademoiselle Chanel and Ernest Beaux took their turn at evoking distant lands with BOIS DES ILES. It’s all there: the precious woods, the opiate scents and magnificent, languid flowers. The fragrance is a mysterious, faraway continent in itself.

I never even knew Africa was mentioned when I was testing the perfume and, yet, oddly, my notes for Bois des Iles were filled with comments about languid cheetahs, the sizzle of the Serengeti, and opiate woods. There is something about the sandalwood heart of the perfume that purrs not like a pussy cat but, rather, like a large, sleek, jungle cat.

It’s very surprising given the current situation worldwide for real Indian sandalwood. The current Bois des Iles is not the exact same formula used in the perfume created back in 1926. This one was released in 2007 as part of Chanel’s prestige, quasi-niche line, Les Exclusifs, and was created by the line’s in-house perfumer, Jacques Polge, who tried to stick as closely as he could to the original version. Unfortunately, he was hampered by the fact that Mysore sandalwood — the essence of the first Bois des Iles — is now in danger of extinction. So, he constructed an ode to sandalwood that doesn’t use the actual ingredient — and what a spectacular job he did!

According to Fragrantica, the notes in Bois des Iles include:

aldehydes, bergamot, neroli, peach; jasmine, rose, lily of the valley, iris, ylang-ylang; vetiver, sandalwood, benzoin, musk.

The perfume’s start on my skin is not exactly joyous. Chanel’s signature floral-aldehyde combination is twisted from its usual sparkling, frothy, soapy nature into something sharp, bitter, pungent and darkly green. It’s still soapy, but it’s also acrid and, yet, simultaneously, tinged with a somewhat odd sweetness. It is unpleasant, but sheer enough to be easily ignored.

In less than ten minutes, however, the perfume starts to change. The bitterness and green sharpness start to fade away, as the floral notes start to grow stronger. At first, they are initially just abstract; an amorphous and vague sense of general “flowers,” if you will, with no individual components. Soon, however, they start to take shape with a strong rose note, backed by jasmine, then light touches of orange blossom, lily of the valley, and bergamot. The latter doesn’t resemble Earl Grey’s bergamot but, rather, a lemon-nuanced orange. Florals dominate these opening moments of Bois des Iles; the sandalwood cheetah is still sleeping. Instead, rose, orange blossom and citruses dance under the veil of softly soapy aldehydes.

Source: Wallpapers Online.

Fifteen minutes in, the sandalwood starts to slowly rise to the surface. It’s so creamy, it almost verges on a coconut note. As it starts to infuse the florals, the aldehydes drop; their soapiness is tamer, softer, milder, adding just a subtle touch to the woodsy notes. At the same time, the resins begin to appear, creating a slow amber purr in the background as if some golden, black-spotted cheetah were sunning himself on the sandalwood branches of a great plain. Chanel’s resins are rarely the sort of molten, viscous, heavy, opaque ambers that you find in other houses or perfumes. Yet, here, there is something deep, rich, almost smoking in the combination of the sandalwood and resin. It’s rich and luxurious — all while feeling very lightweight in feel. It’s a combination that really seems to start at a low burn (or purr, if you will), smoldering quietly in the background until it takes over completely by the end in a blaze of smoky, spiced sandalwood glory.

Source: Coverslike.com

But, in these opening hours, the cheetah is just awaking, opening his eyes upon a plain of flowers and woods. The bitterness of that green opening vanished long ago, replaced by vetiver that creates a vision of green and brown: its earthy rootiness is combined with the soft, loamy black earth, and just the quietest hint of musk. The bouquet of florals blooms, sometimes abstract, sometimes with more easily detected individual notes like jasmine or ylang-ylang. And, throughout it all, the sandalwood trees smoke little trails of what almost feels like a light incense. Less than 90 minutes in, the sandalwood has an orange-spice feel that is simply beautiful. It mixed with the much more prominent jasmine which is simultaneously sweet, heady, sheer and light, in a beautiful balance. The jasmine is far from indolic, and never feels over-ripe, sour, plastic-y, or verging on the narcotic. Underneath that beautiful jasmine-sandalwood canopy, there are flickers of citrus, orange blossom, amber and vetiver.

For my personal tastes, I would love it if the combination were richer, spicier, and deeper (clearly, I need to get the eau de parfum!), but Bois des Iles is not meant to be unctuous. It’s intended to be a lighter version that is airy and soft. Even the sillage is moderate, wafting out just a foot (or less) in the opening two hours, before dropping further. Bois des Iles is not gauzy or translucent, but it’s definitely not heavy and thick. It is like a cashmere cardigan on your skin, keeping you warm despite its lightness.

Source: 360doc.com

By the start of the second hour, Bois des Iles is all creamily spiced, rich sandalwood with lightly smoked resins. It’s as smooth as the gait of the waking cheetah, stalking the spiced woods and its golden fiefdom. That image isn’t wholly figurative; there is almost an animalic, leathery quality to the resinous combination — though it is light and just a subtle undertone. The perfume remains that way for hours and hours, until finally, it turns into a slightly powdery amber-and-smoke combination. People are always talking about how Chanel’s orientals have a “gingerbread” accord in the final drydown, and it’s almost like that here, if you really push your imagination. But, on me, the final touches of Bois des Iles are really just spiced amber with some extremely light hints of powder and musk.

Bois des Iles lasted an incredibly long time on my skin. Ten hours later, I could still detect faint traces of it on my arm. But there were times when the perfume replicated my experience with Chanel’s extremely lovely 31 Rue Cambon by taking on ghostly qualities: it seemed to disappear completely from a certain part of my arm, only to pop back up thirty minutes later. The scent in some parts seemed to wax and wane in strength, sometimes seeming to fade, only to end up even stronger than before. It’s a puzzling thing about some of Chanel’s Exclusifs, and I’m hardly the first one to experience it. I sometimes wonder if that ghostly act — which is particularly bad in the case of 31 Rue Cambon — is the reason why a few people (not all or many, but simply a few) think that the perfume has faded away completely in a brief portion of time. I certainly thought so for Rue Cambon and, after all, how many people spend their day constantly smelling their arm (or having someone sniff their neck)?

Nonetheless, longevity seems to be a problem with Bois des Iles. For once, I was incredibly lucky with how long a perfume lasted on me. In contrast, some people on Fragrantica reported Bois des Iles dying after an hour! The numbers are all over the place: one person gave 12 hours in duration, another 7-8 hours, and one saying 30 minutes with “generous spritzing.” Oh dear.

I don’t think that possible longevity issues should stop you from at least trying this beautiful perfume. It all depends on your personal chemistry, and you may have no problems at all. Plus, you need to see what the fuss is about because, for once, it is truly warranted. Even if you ignore the rave reviews littering the blogosphere, consider the perspective of the perfume critics, Luca Turin and Tania Sanchez who awarded it the full 5 stars in Perfumes: The A-Z Guide. There, Ms. Sanchez writes:

What Ernst Beaux’s plush Cuir de Russie did for leather, his cozy Bois des Iles did for sandalwood. Though I’ve never worn a sable stole, I insist it must feel like Bois des Iles: a dark, close, velvety warmth, sleepy and collapsingly soft. For once, the marketing material has it right. Chanel says it smells like gingerbread in the drydown, and so it does, sweet with vanillic balsams and spice. But that description doesn’t begin to communicate the depth of the fragrance: there are aldehydes sifting a powdery brightness over all, so that the fragrance feels sometimes like the brunette sibling of No. 5. There is the delicious top note of citrus and rose, with the fruity brightness of cola. It is basically perfect and, though over eighty years old, seems as ageless as everything Chanel did in those inventive years. If you think of all the best Chanel fragrances as varieties of the little black dress — sleek, dependable, perfectly proportioned — Bois des Iles is the one in cashmere.

My experience with the perfume was not really the same as Ms. Sanchez. For one thing, she doesn’t talk about that difficult opening 10 minutes; read any number of comments on Fragrantica or elsewhere, and the subject does come up. For another, on me, the aldehydes didn’t last for long (thank God). I also think the term “fruity brightness” may create a very misleading impression since this isn’t a fruity perfume by any means. Lastly, I don’t think her review conveys — at all — the true feeling of Bois des Iles with its smoldering sandalwood that is stunningly spiced, smoky, creamy, dark and ambered. The elements she describes are brief, fleeting flickers that never seriously impact the feline heart of this perfume. In fact, all the talk of aldehydes and roses almost detract from the basic fact that Bois des Iles is primarily a very sultry, amber oriental.

Where I absolutely agree with Ms. Sanchez is that Bois des Iles is a sandalwood stunner that is incredibly elegant in feel and simply oozes “money” (or “a sable stole”). It is restrained in that classic Chanel way, but you can almost sense that the woman wearing that perfect, elegant dress is sporting the sexiest of skimpy lingerie underneath it — if she’s wearing any at all….

Comparisons are repeatedly drawn between Bois des Iles and other Chanel perfumes. Three names, in particular, come up: Egoiste, No. 5, and No. 22. It’s been a while since I tried all three that I wouldn’t be able to make acute, detailed comparisons, but my memory syncs up with those of general commentators on Fragrantica. Bois des Iles is more refined than Egoiste, as well as softer, less intense, less complex, and creamier. It’s also less spiced than Egoiste which has a strong cinnamon undertone. (My comments only apply to vintage Egoiste, which I adore, and not to the current, reformulated version.) Bois des Iles also differs from Chanel No. 5 which is sweeter, richer, heavier, more powdery and (to me) soapier, though some seem to disagree on that last part. It is, also, more animalic at its heart, and its primary nature is floral. Bois des Iles’ nature is primarily woody, with the florals being mere accentuating touches. As for No. 22, my memory of that one is the weakest, but I recall it as being much yellower, much sweeter, far soapier with the aldehydes, and with significant powder (which Bois des Iles does not have). All in all, I’d say Bois des Iles was like the lovechild of Egoiste and No. 5, combining the best parts of both.

Bois des Iles is both unisex and incredibly versatile. Its moderate sillage makes it perfect for the office, but it is also a perfume that works well on a night out with friends, on a date, or just to curl up and feel sultry at home. It has immediately become one of my favorite Chanel fragrances, tying with (vintage) Coco and the beautiful oriental, Coromandel, Chanel’s ode to incense and labdanum. But something about Bois des Iles feels much more feline to me than those other two perfumes. Try it, and dine with the cheetah….

“Dining with a cheetah” photo by Leombrumo-Bodi, Vogue 1960. Condé Nast via Tumblr.

Details

Cost & Availability: This review applies only to the Eau de Toilette version of Bois des Iles. It comes in two different sizes: $130 for a 2.5/75 ml oz bottle or $230 for a massive 6.8 oz/200 ml. You can find it exclusively at Chanel boutiques or on the Chanel website. (The more concentrated, richer Parfum is $175 for 0.5 fl. oz.) You won’t find Bois des Iles at Nordstrom, Barney’s, or the like, though readers tell me that it is available at select Saks Fifth Avenue Stores (like the NYC flag-ship and the one in Washington, D.C.). It is also apparently available in-store at NYC’s Bergdorf Goodman and the Seattle Nordstrom (which will ship out to you wherever you are). However, Bois des Iles is not listed on any of those stores’ websites, so your best bet if you’re not near one of them is to go through Chanel itself. You can also use Chanel’s Store Locator guide on their website to try to find Chanel boutiques near you. As a side note, bottles are frequently sold for a bit less than retail on eBay. As for samples, you can find them at Surrender to Chance where prices start at $3.00 for the smallest vial (1 full ml) of the Eau de Toilette. If you want to try the pure Parfum version, it’s $5.99 for a tiny 1/4 ml, $11.98 for a 1/2 ml, $23.96 for a 1 ml vial, and up.

Perfume Review – Tilda Swinton, Like This by État Libre d’Orange

Posted on April 18, 2013 by Kafkaesque

Tilda Swinton has dreamed of a perfume.

That is how Etat Libre d’Orange (“ELDO”) starts to describe the perfume that they made in homage to (and in collaboration with) the talented, eccentric, British actress.

Not a girly juice, oh no. A radical fragrance that soothes the fire under the milky skin. A warm perfume, cooled by ginger. If this perfume was a light, it would be an orange glow. That’s what it is. Moreover, if you remove a letter from the word ‘orange’, you have orage – ‘storm’ in French – and that suits her. On the surface, the elements are rousing. On the inside, the fire is tamed, it burns gently in the fireplace of her Scottish home. The fire purrs, the ginger is crystallized, the milk is warm. The room is a sanctuary. She said: I want a cozy perfume. And I hear the word ‘Cosi’ too. Comme ça. Like This. This perfume is her offering, inspired by a poem of Rumi, Like This. And in terms of this uncommon woman, I also hear: And like nothing else. It’s like this – punctuated with a bewitching smile.

Tilda Swinton, Like This (which is also, alternatively, called “Like This,” “Like This, Tilda Swinton,” or “Like This… Tilda Swinton“) is the actress’ interpretation of her favorite Rumi poem. As she explains, she doesn’t even normally like scents in a bottle — but she adores Rumi and, now, the “cozy” comfort of her eponymous fragrance:

I have never been a one for scents in bottles. The great Sufi poet Rumi wrote : If anyone wants to know what «spirit» is, or what «God’s fragrance» means, lean your head toward him or her. Keep your face there close. Like this. […]

This is possibly my favourite poem of all time. It restores me like the smoke/rain/gingerbread/ greenhouse my scent-sense is fed by.

The simple feelings of “home” and nature were Ms. Swinton’s precise goal in creating the perfume — and I’m emphasizing that for two reasons: 1), because this perfume won’t be for everyone as it is quite… er… unusual; and 2) because the aromas of a kitchen are fundamental to the essence of Tilda Swinton Like This:

My favourite smells are the smells of home, the experience of the reliable recognisable after the exotic adventure: the regular – natural – turn of the seasons, simplicity and softness after the duck and dive of definition in the wide, wide world.

When Mathilde Bijaoui first asked me what my own favourite scent in a bottle might contain, I described a magic potion that I could carry with me wherever I went that would hold for me the fragrance – the spirit – of home. The warm ginger of new baking on a wood table, the immortelle of a fresh spring afternoon, the lazy sunshine of my grandfather’s summer greenhouse, woodsmoke and the whisky peat of the Scottish Highlands after rain. I told her about a bottle of spirit, something very simple, to me : something almost indescribable, so personal it should be. The miracle is that Mathilde made it.

Like This was released in 2010, and contains the following notes:

Yellow mandarin, ginger, pumpkin accord, immortelle, Moroccan neroli, rose de Grasse, vetiver, heliotrope, and musk.

Immortelle, or Helichrysum in Corsica. Source: Wikicommons.

Immortelle is such a key part of this perfume (and such a hugely polarizing note) that it’s worth a brief explanation for those unfamiliar with the name. As Fragrantica explains, immortelle is a flowering plant from the Southern Mediterreanean area which has the smell of either: maple syrup, caramel, fenugreek spice, curry and/or toasted bread. The essential oil “has a strongly straw-like, fruity smell, with a honey and tea undertone.”

Immortelle. Source: The Perfume Shrine.

I tested Like This three times, with slightly different outcomes for the opening and longevity. The first time, the perfume started with an airy (but strong) note of fresh, yellow citrus that almost immediately turned sweeter and more floral in nature. The overall image is that of a dry, slightly woody, yellow floral with honeyed sweetness and some dried hay undertones– which is precisely what Immortelle is like in large part. The citrus note isn’t exactly lemon, but it’s not really tangerine, either. It’s more like very honeyed lemon for the first five minutes.

Source: GumaGumalu.com Free Recipes. (Click link for a Carrot Milkshake Recipe.)

Soon thereafter, Like This turned milky or lactonic with candied ginger, milky notes, light musk and an airy element of what felt like honey-sweetened vegetables. It wasn’t pumpkin, and it took me a little while to pinpoint it, but it turned out to be glazed carrots. I know Tilda Swinton Like This is supposed to evoke gingerbread houses and pumpkin but, to me, the note was definitely caramelized carrots. It’s actually a lot more attractive than it sounds, especially when combined with the floral elements.

Less than 30 minutes in, Tilda Swinton Like This (honestly, I’m never sure what I’m supposed to call this perfume!) becomes deeper, smokier and woodier as the immortelle starts to bloom. The milky elements fade as a slightly burnt note creeps in, along with a maple syrup accord. A little over an hour later, “Like This” turns into a complete skin scent that is the immortelle’s yellow flower, along with musk over a dry woods element and the merest dusting of maple syrup. It’s all orange-yellow and brown — and that’s about it. By the second hour, I thought it had died completely. Really. It seemed to have vanished. So, I began a test on my other arm when, to my surprise, faint traces of the scent popped up on the first arm a little later before fading away completely at the four-hour mark.

My second test started like the first with that citrus note that rapidly morphed into something sweeter and more floral. Again, the citrus was sweet and turned into tangerine around the five-minute mark, adding a soupçon of tartness under the combination of honey. Again, there were fragrant yellow flowers; candied ginger; and dry, wooded herbals that almost feel like the stems of the immortelle mixed with some hay. This time, however, there were no milky notes that evoked a sweetened, carrot chai. In contrast, there was now the definite scent of heliotrope, adding a candied violet undertone to the scent, along with very noticeable, lemon-nuanced vetiver, and the faintest hint of rose concentrate.

That rose note was a key part of both the second and third tests of Tilda Swinton Like This. It’s never a wholly distinct, individually clear note but, rather, intertwined with the carrot. I know irises can sometimes have a carrot-like undertone, but do roses or heliotrope? Perhaps it’s how the “pumpkin accord” translates to my nose when mixed in with the honeyed syrup aspects of immortelle and the roses, but I’m telling you, Tilda Swinton Like This smells of roses and yellow immortelle flowers heavily intertwined with caramelized carrots — all atop a foundation of dry woods, vetiver, and nutty, butterscotch-like, maple syrup.

I realise it all sounds terrible. I mean, honestly, what a combination! It’s as eccentrically odd and chameleon-like as Tilda Swinton herself. And, yet, in some crazy way, it actually works. Forget about the individual notes and just think of a very sweet, but simultaneously dry, honeyed floral scent of pink roses and yellow flowers. Imagine mimosas, almost, if you want. Now, try to think that underneath that, there is something that’s a little bit like warm, sweet carrots and nutty syrup (in lieu of the usual honey). But it’s not incredibly heavy or sugary, because there are some dry, hay-like notes, a woody element and a little bit of fresh green from the vetiver. That is the essence of Tilda Swinton, Like This.

The perfume remains that way for quite a while until, finally, the dry-down starts around the third hour and “Like This” morphs into light, sheer, maple syrup with musk. Whatever happened in terms of the 2-4 hour duration during my first test didn’t repeat itself the second or third time around when “Like This” lasted 9.5 hours and 8 hours, respectively. A change in the dosage was responsible. On all three occasions, however, the perfume had incredibly moderate to low sillage during the first hour, and soon thereafter becomes a skin scent. If you don’t put on a lot and if you’re anosmic to musk, it may appear to be much more fleeting in nature than it actually is. What is a little surprising is that the perfume is moderately strong despite being an airy, sheer scent that lies right on the skin.

Source: The Sweet Life at TheSweetlifeonline.com. (For Pumpkin bread pudding with maple sauce recipe, click photo. Link embedded within.)

I think your skin chemistry will greatly impact how this perfume smells on you, given the unusual combination of notes and the tricky aspect of the immortelle. On me, the flowers came to the forefront with the vegetable, ginger and syrup in the background. On others, however, particularly those commenting on Fragrantica, the situation was reversed. The vast majority talked about ginger and pumpkin up front, with the flowers nestled in the background. A good number also found the perfume to be primarily orange and/or ginger, with pumpkin not being so dominant. A few mentioned the immortelle as a floral note, (as opposed to immortelle manifesting itself as maple syrup), and a handful found that the heliotrope and vetiver were also dominant. Some of the comments may be helpful:

Upon first spray, the floral notes (heliotrope particularly) and spices are in equal balance, but as the perfume settles on my skin, the ginger, pumpkin, and immortelle become the stars of the show for several hours. [¶] Toward the end of the dry-down, Like This becomes a feminine, honeyed floral (yes, the floral notes re-emerge!). It is reminiscent of Annick Goutal’s Sables at this stage (an immortelle soliflore), but lighter and less syrupy. And finally, a hint of earthy, slightly leathery vetiver emerges. What a gorgeous ride this one takes you on!

The orange-ginger combination does give this fragrance a hint of just baked gingerbread, but dominant immortelle neutralises the sweetness and makes it too herbal to become a foodie dessert scent. I don’t get any pumpkin at all, not much rose either. Vetyver is another prominent note, along with clean musk make Like This a perfect unisex scent […]

Even though I don’t pick up any of the pumpkin (which was what intrigued me from the reviews) it is absolute magic on my skin. I thought that freesia was my favorite floral, then I thought it was peony, then rose…now I’m certain it’s actually immortelle. LIKE THIS begins so incredibly with the immortelle, and as it dries down the tangerine and the heliotrope & ginger show in stunning form. I ordered a FB within minutes of putting this on.

Very light and grassy in a dried way, with a feeling of milky coffee in the back. I really wanted to smell pumpkin, but I don’t really detect that on my skin. The ginger and tangerine are just faintly there, as additions rather than strong presence, and overall it’s a nice but strange scent. It’s a mood almost more than a perfume.

I chose those comments to show you that Like This isn’t perhaps as gourmand as you may think from the description and notes. And, yet, there are plenty who find it very “foodie” — though they seem to be quite enamoured as well. As I said up above, it will really depend on how you feel about immortelle and how it manifests with your particular skin chemistry.

Those who shudder at the very thought of the note may want to consider The Perfume Posse‘s impressions of the scent:

it starts off a little citrus-ish, the ginger and heliotrope waves some flags to let you know it’s not gonna be like that. There’s a little bit of a tinnish feel in the open. And then the nutty pancake syrupy immortelle buzzes – not loud, soft and wafty, like a smoky tendril. The tin is gone, and it starts warming up in some fabulous ways that make my toes curl. I’m not sure I get pumpkin exactly, but there is this pulpy-ness blended into the immortelle that feels like pumpkin with some spice. Pumpkin pie, almonds and pancake syrup without the calories or sweetness. But it’s not really foody. Gourmand quality to it, but just not that. It’s warmer, richer, but completely light and wispy. I would … [never] believe a perfume with this list of notes would be light and floaty. But it is. Warm, rich, light, floaty and a great big soft hug.

I tried Like This three times in part because I couldn’t decide how I felt about it. (Plus, what initially seemed to be a 2 hour duration in the first test made it easier.) And I’m still ambivalent. It’s definitely intriguing and it also really grows on you! I love the floral aspects of it on me, including the yellowness of the immortelle. And, honestly, that rose concentrate backed by sweet carrots is pretty damn cool! I’m less crazy about the flower’s maple syrup undertone as it manifests itself here. I know I wouldn’t wear Like This if it was primarily pumpkin, ginger, and maple syrup — but that is not what it is on me. However, that is precisely how it appears on a large number of people, so clearly this is a perfume that needs testing (on your actual skin) before purchase. For myself, I don’t think I would ever buy “Like This.” But if a decant or bottle fell into my lap, I would wear it. On occasion….

I think…

DETAILS:

Cost & Availability: Tilda Swinton Like This is an eau de parfum that comes in two different sizes and which can be purchased directly from ELdO’s online boutique. The prices listed there are in Euros: €79.00 for a 50 ml/1.7 oz bottle and €119.00 for a 100 ml/3.4 oz bottle. Samples are also available for €3.00. The company also offers two different Discovery Sample Coffrets for different prices. In the U.S., Tilda Swinton Like This can be purchased from Lucky Scent for $99 for a 50 ml/1.7 oz bottle, along with samples for $4. You can also purchase Like This from MinNewYork, or C.O. Bigelow. The larger size of the perfume (100 ml/3.4 oz) is carried at Parfum1 where it costs $149, but shipping is free. In the U.K, you can purchase Like This from Les Senteurs for £74.00 for a 50 ml/1.7 oz bottle; samples are also available. In Europe, Etat Libre d’Orange fragrances can be found at First in Fragrance which sells the 50 ml bottle of Like This for €79, along with samples and a Discovery Set of 10 perfumes in 10 ml vials. Samples can also be purchased from Surrender to Chance, the site where I obtained my vial. The price starts at $5.99 for 1 ml.