Perfume Review: Tom Ford Private Blend Rive d’Ambre (Atelier d’Orient Collection)

Tom Ford Rive d'Ambre 50 ml

Source: Harvey Nichols.

Bright citruses turned to softened amber gauziness. That’s the essence of Rive d’Ambre, the latest Private Blend fragrance from Tom Ford. It is part of a brand-new collection of fragrances within his Private Blend line, and was just released in July 2013. The collection is called Atelier d’Orient, and consists of four perfumes: Shanghai LilyPlum JaponaisFleur de Chine and Rive d’Ambre.

None of the new Atelier d’Orient fragrances are listed yet on Tom Ford’s website, but, according to the Moodie Report and press copy, Tom Ford’s inspiration for Rive d’Ambre was the way that “precious citrus fruits” are a “talisman of good fortune in Asia[.]” As Ford apparently told the Moodie Report:

Source: -

Source: –

‘Rive d’Ambre is inspired by the tradition of presenting precious citrus fruits as gifts,” revealed Ford. “True to my nature, the sparkling fruits are wrapped in rich and warm sensuality.’

That last bit of egoism made me roll my eyes, as did the press copy used by Neiman Marcus for its description of Rive d’Ambre: “Tom Ford Rive d’Ambre is a golden-toned eau de cologne with a veil of colonial elegance.” Colonial elegance? I’m not going to touch that one with a ten-foot pole, but my thoughts are slightly sardonic. 

Rive d’Ambre is an eau de parfum that was created by Olivier Gillotin of Givaudan, and its notes — as compiled from Fragrantica and Surrender to Chance — include:

bergamot, lemon, bitter orange, tarragon, cardamom, spearmint, benzoin, pear wood, cognac, tolu balsam and amber.

Rive d’Ambre opens on my skin with a burst of freshly squeezed lemon and bergamot, followed by squirts of slightly bitter oil from the skin of a zested orange that is tart, sweet and bright, all at once. There is also a ton of pepper from ISO E Super, and a hint of some fresh, green herbs that only faintly and vaguely resemble tarragon. Rive d’Ambre has the brisk, very fresh, clear-as-a-bell opening of a citrus cologne that has been modernized to remove any barbershop nuances. The crispness is beautifully bright and refreshing.



It takes less than three minutes for Rive d’Ambre to start to soften, and for its edges to start to blur. The fragrance never had a roar to begin with, but it’s turned into a very muted, quiet meow in an astonishingly brief amount of time. In fact, it felt as though the notes were slipping away, out of my grasp, and vanishing into the air, so I actually applied a second dose, for about 4 very large smears, all in all. The same result ensued, even with the greater quantity. Clearly, Rive d’Ambre is meant to be a muted, discreet hint on your skin, and nothing more. Fifteen minutes in, Rive d’Ambre is a soft haze of citruses that are starting to grow warmer, sweeter, and more golden. The fragrance now feels less like a crisp cologne, and more like a slightly ambered eau de toilette strongly infused with citruses. It’s pretty, but it’s also neither very distinctive, nor very original. 

Bergamot. Source:

Bergamot. Source:

At the end of the first hour, Rive d’Ambre starts to change. From a distance, the fragrance still smells like citruses with a soft, warm glow. Up close, however, if you really, really inhale forcefully at your arm, you can detect a slight woodiness stirring at the base. There is also a really beautiful herbal note that sometimes resembles spearmint, and, at other time, a more pure, sweet, herbal mint. It’s one of my favorite parts, especially given the strong lingering taint of ISO E Super in the fragrance. Eventually, a new note appears in the base, though it’s as soft and muted as everything else to do with Rive d’Ambre. It’s a hint of dry, but boozy, sweetness that just barely suggests cognac.

Mark Rothko, "No. 14-10 Yellow Greens," 1953.

Mark Rothko, “No. 14-10 Yellow Greens,” 1953.

Unfortunately, shortly before the two-hour mark, Rive d’Ambre basically collapses in on itself. The fragrance feels totally flat; the notes have dissolved into an empty, hollow shell of themselves; and everything feels muffled, muted, and hidden. Rive d’Ambre is now primarily an amorphous, abstract hint of flat citruses with dry woodiness atop a sweetened, warm base. By the end of the third hour, the base becomes sweeter with the infusion of the tolu balsam resin, creating a fragrance that is primarily rich amber at the top. A hint of cognac dryness trails a few feet behind, and a whisper of citrus brings up the rear. An hour later, the citrus disappears entirely, and Rive d’Ambre quietly emits amber, a dry woodiness, a hint of sweetness, and an absolutely gorgeous whiff of cognac. The latter is simultaneously dry, and with a tiny subtext of smokiness. The overall combination results in a very pretty drydown that is actually a wee more complex than the early stage of Rive d’Ambre had led me to expect.

Still, the fragrance feels a lot like a will o’ the wisp at times. It’s an airy gauze that’s so sheer, thin, and soft, you have to forcibly sniff with your nose right on your skin to detect anything more than a nebulous “amber.” At its very end, in its final moments, Rive d’Ambre truly is nothing more than an abstract blur. All in all, Rive d’Ambre lasted just shy of 6.75 hours on my skin, but with the use of a double dose. Others have reported 3 or 4 hours in duration, which wouldn’t surprise me at all. If I’d applied my regular dose, I doubt I would have been able to detect any detailed layers to the scent, or that it would have lasted above 3 hours on my perfume-consuming skin. It’s a problem for a fragrance with such a high price tag, and it’s one that isn’t limited solely to me.

For the most part, the reaction to Rive d’Ambre seems very short on enthusiasm. On Basenotes, one person entitled his review, “A one-trick citrus pony with little reason to exist.” Another wrote: “very light and non descript and does not last. A poor effort.” Over on Fragrantica, one commentator enjoyed the first hour of Rive d’Ambre but found it quickly “falls off a cliff for me[.]” I’m not sure if that refers to the flatness of the notes or to the longevity issue, given that he also complained about how quickly Rive d’Ambre disappeared on him even with a very “liberal” application in quantity. Interestingly, two people on Fragrantica thought there was little to no amber at all in the fragrance! I suspect that those whose skin chemistry amplifies base notes will detect more amber, while those whose skin intensifies the top notes in a fragrance will have primarily a citric experience.



If one were in PR, one might positively describe Rive d’Ambre as a bright, warm, citrusy glow. It would be technically correct, but it would also be an extremely good spin on things. Which brings me to my main point about Rive d’Ambre. I think those used to Tom Ford’s signature style in such Private Blends as Tobacco Vanille, Oud Wood, Amber Absolute, and some others will find Rive d’Ambre to be a mundane, generic, unoriginal dullard without character and oomph.

However, in my opinion, Tom Ford is not aiming Rive d’Ambre at them or at me, but at people who actually dislike his usual style. A friend and fellow blogger, The Black Narcissus, lives in Japan, and he told me that the Japanese would never abide the usual Tom Ford heaviness or drama. It seems that some in the Asian market find the usual Tom Ford signature to be overbearing, excessively heavy, and overly oriental or spicy. Being the good businessman that he is, Tom Ford is targeting a very wealthy market that loves luxury goods by offering something more appealing, though I wonder how they’d feel about the PR copy’s reference to “colonial elegance.” Still, it doesn’t hurt that his muted, tamed, conventional fragrance will also appeal to buyers everywhere who appreciate some freshness in their fragrances. For example, in that Basenotes thread, one person actually adores the “unique brightness” of Rive d’Ambre, while another likes how it is a fresher, lighter interpretation of an amber. I can see the appeal of that last point for those who aren’t hardcore amber lovers.

In short, Rive d’Ambre isn’t a terrible fragrance by any means, but what you think of it will depend purely on your expectations and taste. That’s true of all fragrances, but it’s perhaps more true of Rive d’Ambre than most, given its extremely simplicity, lack of body, and muted unobtrusiveness. This is a perfume for people who prefer fresher, more discreet, wispy, gauzy fragrances. It is an utterly safe, conventional, but bright, initially zesty, very crisp citrus that turns into ambered warmth, thereby feeling unisex and avoiding the impression of a traditional men’s cologne. It’s not my style or my taste, but it’s ideal for a specific group of people out there. That said, I think the longevity issue will be a problem for everyone. The reports seem to be consistent: even if you apply a lot, the fragrance will disappear far sooner than you’d expect.

Whether Rive d’Ambre is ridiculously over-priced for what it is then becomes a question of taste. I personally think Rive d’Ambre is absurdly expensive for such a simple, unoriginal, short-lived fragrance, but then, I’m not one whose idea of a perfect scent involves bergamot, lemon, and some amber. So, for me, it’s a total pass. Nonetheless, if you’re a citrus lover who has disliked Tom Ford’s usual brash, bold, or intense style, or if you’re someone struggles with more traditionally heavy ambers, then perhaps Rive d’Ambre will be your version of Goldilocks’ perfume. 

Cost & Availability: Private Blend Rive d’Ambre is an eau de parfum which comes in three sizes that cost: $210, €180, or £140.00 for a 50 ml/1.7 oz bottle; $280 or £320.00 for a 100 ml/3.4 oz bottle; or $520 for a 200 ml/8.45 oz bottle. The line is not yet listed on the Tom Ford websiteIn the U.S.: you can find Rive d’Ambre at Neiman Marcus and Bergdorf Goodman. Neither Nordstrom nor Saks has new collection up on their website yet. Outside the U.S.: In Canada, I believe Tom Ford is carried at Holt Renfrew, but they only list 2 of the old fragrances on their online website. In the UK, you can find Rive d’Ambre at Harrods, House of Fraser, or Selfridges. All three stores sell the small 1.7 oz/50 ml size for £140.00, and the super-large 250 ml bottle for £320.00. The smaller size is also carried at Harvey Nichols. In France, Rive d’Ambre is available at Premiere Avenue which sells the 50 ml bottle for €180. They ship throughout Europe, and I believe they might ship world-wide but I’m not sure. For other all other countries, you can use the store locator on the Tom Ford website to find a retailer near you. Samples: You can buy samples of Rive d’Ambre at Surrender to Chance starting at $3.99 for a 1/2 ml vial.

Perfume Review: Tom Ford Private Blend Shanghai Lily (Atelier d’Orient Collection)

The dainty, fragile, green lily transformed into a smoky, spicy, rich flower of the Orient. That is the essence of Shanghai Lily, the latest Private Blend fragrance from Tom Ford. It is part of a brand-new collection of fragrances within his Private Blend line, and was just released in July 2013. The collection is called Atelier d’Orient, and consists of four perfumes: Shanghai LilyPlum JaponaisFleur de Chine, and Rive d’Ambre. I’d heard that the first two were the best, so I focused solely on those, starting with Shanghai Lily. (You can find my review for Plum Japonais here, but, to summarize it in a nutshell, Tom Ford tried to copy Serge Lutens and his gorgeous, magnificent Fille en Aiguilles. Tom Ford failed. Badly.)

Tom Ford Shanghai LilyNone of the new Atelier d’Orient fragrances are listed yet on Tom Ford’s website, but, according to the Moodie Report, Tom Ford’s inspiration for Shanghai Lily was the famed, ancient Silk Road:

This fragrance began with a dream of the Silk and Spice Roads – the ancient, Asian trading routes for luxurious and precious goods[.] I imagined caravans piled high with treasures, and being surrounded by a multi-sensorial abundance of opulence.

 Fragrantica classifies Shanghai Lily as an “Oriental Floral,” and says the notes include:

spicy notes, floral notes, olibanum [frankincense], vanilla, bitter orange, pink pepper, black pepper, cloves, jasmine, rose, tuberose, vetiver, cashmere wood, benzoin, castoreum, labdanum, guaiac wood and incense.

Photo: Henry Hargreaves Photography. "Smoke and Lily" series. Source:

Photo: Henry Hargreaves Photography. “Smoke and Lily” series. Source:

Shanghai Lily opens on my skin with the daintiest of lily notes. Fresh, green and airy, it turns within seconds into something sultry and smoky. Sharp incense smoke, a touch of resins, and a cloud of spices transform the white flower into something dark, thick, rich, and heady. There is a subtle orange note lurking alongside which feels, simultaneously, bitter and like the concentrated oil from a freshly grated orange rind. Quickly, a hint of cumin rises out of the dusty spice blend, smelling sweet and strong, and flecked with incense smoke. It’s quite unexpected, but cumin-phobes should not worry. It lasts all of about three minutes.

Shanghai Lily’s base is interesting. In those early minutes, there is a surprising, almost foody aroma of sweet, yeasty bread that pops up out of nowhere. It’s a scent that I’ve now come to associate with certain kinds of beige woods, not only cashmere blends or the ersatz “sandalwood” in some fragrances, but also, sometimes, guaiac wood. The latter often has a very dry, smoky aroma that can sometimes feel like burnt autumnal leaves but, here, in Shanghai Lily, it’s taken on a sweet edge at first. Later, it turns sour and bitter in one of my least favorite aspects of the fragrance. Also lurking in the base is castoreum. It has a plush, velvety feel which adds to the amber and resinous notes that make up the base. The overall combination is a heady, slightly musky, velvety amber mixed in with dry, smoky woods.

The top notes in Shanghai Lily are initially all about the smoke and spices. The fragrance is heavy with a gorgeous burst of ancient, oriental, frankincense mixed with the fiery kick of black pepper and a powerful note of cloves. The way that the trio combines with the bitter orange is vaguely reminiscent of my precious holy grail fragrance, vintage Opium from YSL, but the similarity is fleeting. For one thing, Opium has a powerful start of juicy plum, citruses, and bergamot, and the minor, muted sprinkling of bitter orange in Shanghai Lily cannot compare. For another, vintage Opium was centered on true, Mysore sandalwood, with a heavily resinous feel, real animal musk, and a good amount of castoreum. None of the notes in Shanghai Lily can compare in depth, quantity or intensity, though I’d bet that Opium — that legendary, glorious, benchmark oriental fragrance — was a strong inspiration for Tom Ford. The heavy infusion of cloves mixed with incense is too clear a signal.

Photo: Henry Hargreaves Photography. "Smoke and Lily" series. Source:

Photo: Henry Hargreaves Photography. “Smoke and Lily” series. Source:

Shanghai Lily’s opening minutes are not much about the lily, though that soon changes. At first, the lily is hidden and muted behind the heavy veil of that gorgeous clove-incense-spice mix. Less than 10 minutes into the perfume’s development, it starts to emerge in much greater strength. It feels as though a Stargazer lily has suddenly been dunked in a syrup made from dark resins, bottles of cloves, and a hearty, exuberant, uninhibited tossing of frankincense. Flickers of vanilla dance all around the edges, adding to the sweetness of the floral bouquet. The castoreum feels much more distant now than in the opening, as does the dry, woody guaiac, but there is still a subtle muskiness that infused the scent.



Shanghai Lily becomes increasingly floral in nature. The lily is joined by jasmine that is potent, heady, and languorously indolic. There are hints of rose and tuberose that flitter about, and something that resembles the purple, airy, fresh delicacy of violets. The overall bouquet is infused primarily with frankincense smoke and cloves; the orange and cumin are long gone by the twenty-minute mark. Yet, for all the heady, heavy, oriental opulence of the florals, Shanghai Lily has some dryness, too. The smoke and lurking, distant guaiac wood create some balance to the sweetness, ensuring  that it’s never pure goo or syrup. Still, the fragrance is extremely potent in strength, and somewhat heavy in feel, at least initially.



At the end of the first hour, Shanghai Lily is primarily a quartet of cloves, lilies, jasmine, and frankincense atop a base of amber and woods, and it remains that way for a number of hours. Although the notes don’t change significantly, the lily and jasmine do fluctuate in strength, as do some of the background florals like the tuberose. I also noticed that the lily becomes much more prominent when the fragrance is worn in the heat and humidity.

The main change in the first few hours, however, is in texture. Around the 90-minute mark, the perfume’s edges blur, and the notes start to overlap. Shanghai Lily still emits its main bouquet of notes, but a lot of the sweetness has faded, as has the strength of the smoke. The dark, syrupy resins underlying the scent seem much fainter, too, though the vanilla still lingers. Shanghai Lily feels much drier and woodier, with slightly more peppered, smoky woods that now have a somewhat sour, bitter edge to them. Still, as a whole, Shanghai Lily is a rich, spicy floriental with a dry, woody smokiness. It’s not as dense in feel, and it hovers just an inch above the skin with substantially reduced sillage as well.

One thing I’ve always noticed about Tom Ford fragrances is that it is better to err on the side of caution when it comes to dosage and application amounts. His Private Blend fragrances, in particular, carry a wallop at first, so spraying your usual amount of perfume can be a deadly thing. Not only is their projection enormous, but the potency of the Private Blends can overwhelm the nose, sometimes making it harder to detect all the subtle nuances. Spraying (as opposed to dabbing) simply compounds the problem, as aerosolization just makes fragrances stronger. With Shanghai Lily, as with many Tom Ford fragrances, I tested it twice, with the second time focused solely on the perfume’s range and sillage in the first 3 hours. The first time, I was recklessly dabbed on a very large amount — about 4 large smears or the equivalent of 2 extremely large sprays– and the sillage was unbelievably potent at first. The perfume also showed a good range of layers and notes. However, during my second test, I applied only about 2 medium-ish smears (the amount you’d get from about 1 moderate spray), and I noticed a difference. Shanghai Lily turned flat, amorphous, and abstract shortly after the first hour. The notes all blurred into each other, and the fragrance lacked significant nuance. It’s something to keep in mind when you test the fragrance for yourself.

Photo: Henry Hargreaves Photography. "Smoke and Lily" series. Source:

Photo: Henry Hargreaves Photography. “Smoke and Lily” series. Source:

Yet, even with the greater dosage, Shanghai Lily becomes a skin scent much faster than that initial power and potency would lead you to believe. Less than 2.25 hours in, Shanghai Lily is just a sheer, unobtrusive, soft veil right on the skin. It’s also almost wholly abstract in nature, a vague puff of white flowers just barely dominated by lily and which have a slightly bitter, spicy, incense nuance. Around the start of the third hour, that odd, sour bitterness in the woody base bothers me even more, but I’m starting to be distracted by something else: the vanilla. The light flecks of vanilla that darted around Shanghai Lily’s edges in the opening are now becoming very noticeable.

At the end of the third hour, the vanilla starts to feel like the only individually distinct, concrete note in the spicy, floral blur, and it’s quite lovely. It’s creamy, frothy, airy, and very smooth. It almost feels rich enough to be called “custardy,” but the note is ultimately too sheer and gauzy for that adjective to truly apply. It’s a very well-balanced element that is far from sweet, thanks to the woody dryness and the black, frankincense smoke underlying it. From this point forwards, for the next three hours, Shanghai Lily is primarily a dry, smoky vanilla scent on my skin. The other notes — from the amber and spices to the florals — are wholly nebulous, amorphous, and tangential blurs in the background. Around 6.25 hours in, even the vanilla turns hazy, and Shanghai Lily is nothing more than smoky sweetness. It remains that way until the end, though the perfume’s smokiness sometimes seems much stronger than it was during the nebulous middle stage.

Source: Micks Images.

Source: Micks Images.

All in all, Shanghai Lily seems to have three distinct stages. In the first, the fragrance is dominated by a very spicy, smoky floral quartet of notes (lily, jasmine, cloves and incense) atop a plushly ambered base. In the middle stage, the perfume becomes more vague, hazy, and the edges between the notes blur. It also becomes woodier, and drier. There are growing hints of vanilla which helps Shanghai Lily transition into its final stage of being a very airy, frothy, vanillic confection infused with dry smoke. In its final moments, the fragrance is merely a lingering trace of smoky sweetness. Shanghai Lily lasted just over 9.25 hours on my perfume-consuming skin with a large dosage (about 4 large smears), and the projection was extremely soft after the first potent hour. I suspect those numbers would differ dramatically if one sprayed, instead of dabbed, and if one sprayed on a lot.

I like Shanghai Lily, quite a bit, and, yet…. it doesn’t move me. It hits all the right notes on paper: I adore the walloping clove-incense combination; I love lilies and tuberose; and I enjoyed the drydown. But Shanghai Lily didn’t evoke anything emotionally, it didn’t transport me, or conjure up visions in my head. I like it more than a number of existing Tom Ford Private Blends, but something is holding me back. I don’t know what it is, but I suspect the nebulousness and the flatness of the notes after the first 90-minutes have a lot to do with it. Something about Shanghai Lily simply doesn’t seem as interesting as it might have been, given those notes and that powerful spicy, complex beginning. I suppose the fragrance just seems to go a little downhill, a little too quickly, and nothing about the middle phase or even the last one is all that interesting, dramatic, or original. When I smell the opening, I perk up a little, but I suspect I’ll remember Shanghai Lily in the months to come as “that perfume with the really lovely opening that I should have liked more but ultimately didn’t, because it wasn’t interesting.” None of this is helped, of course, by Tom Ford’s prices which have just gone up to $210 for the smallest size. I could tolerate a fragrance that goes from interesting to amorphously flat and abstract, if Shanghai Lily weren’t such a muted creature with a hefty price tag. And, yet, I have to repeat again, it’s actually quite a lovely perfume. It simply isn’t lovely enough, for me, especially for the price.

Bois de Jasmin doesn’t share my ambivalence towards Shanghai Lily. She adores it, though she wishes she didn’t, given Tom Ford’s prices. Her review reads, in part, as follows:

I like my flowers with a twist, and Shanghai Lily is a white floral with a dark mood. The jasmine and tuberose are warmed up and cossetted with plenty of spices and dark resins, which is already interesting. But the best part is that nothing about Shanghai Lily is heavy or oppressive. Instead, it sparkles from its gingery top notes to the incense accented drydown. […]

As much as it pains me to admit it, given Ford’s price tag, Shanghai Lily is beautiful. I love how it sizzles with pepper and clove, which are then toned down by orange. The promised lily is composed out of different floral notes, and its waxy white petals take shape slowly out of rose, violet, and jasmine. And then suddenly, you have on your skin a corsage of Madonna lilies powdered yellow with sweet pollen.

Later, the lilies wilt, leaving you with the scent of an antique rosewood box that not only smells of wood shavings, but also of incense, musk, and something earthy and smoky. The sweetness is mild, the darkness is tempered, and yet without being heady or dramatic, Shanghai Lily clings to the skin for hours. […] (On the other hand, if you want something to announce your presence, this won’t fit the bill).

At the end of her review, Victoria says Shanghai Lily is significantly easier to wear than some other famous florals, like Serge Lutens’ “femme fatale” perfume, Fleurs d’Oranger: “[Shanghai Lily] is mild stuff, but it’s also easier to carry.” Perhaps that’s my problem. My style is not about “wilting” and “mild stuff.” I like hardcore Orientals that bloody well epitomize “heady or dramatic,” and “mild stuff” simply doesn’t cut it for me. I want my damn vintage Opium, not some wanna-be copy that wimps out after an hour and descends into a nebulous blur, while charging me $210 for the dubious pleasure.

For everyone else, however, Shanghai Lily may be the perfect ticket. Those who find Amouage‘s intense, heady, opulent, complex, powerhouse Orientals to be too much will undoubtedly be grateful for the tame, mild version offered by Tom Ford. It’s a very feminine floriental that is unobtrusive and subdued, but with great longevity, and some interesting bits. It’s easy to wear, versatile, approachable, and may even be suited for conservative office-environments if you’re extremely careful with the amount you apply. And I really do think it’s a sexy, seductive scent. In fact, I have no doubt that Shanghai Lily will be a best-seller, especially as Tom Ford doesn’t have anything else quite like it. (If I’m not mistaken, it is his first non-oud Oriental that is primarily floral in nature, and with heady white flowers instead of the usual roses.) So, I definitely encourage those of you who love white flowers and Orientals to give it a sniff, but if you’re used to really dramatic, heady, smoldering scents like those from Amouage, I fear you may be a little ambivalent as well.


Cost & Availability: Private Blend Shanghai Lily is an eau de parfum which comes in three sizes that retail for: $210, €180, or £140.00 for a 50 ml/1.7 oz bottle; $280 or £320.00 for a 100 ml/3.4 oz bottle; or $520 for a 200 ml/8.45 oz bottle. The line is not yet listed on the Tom Ford websiteIn the U.S.: you can find Shanghai Lily at Neiman Marcus and Bergdorf Goodman. I don’t believe Nordstrom or Saks has the line yet. Outside the U.S.: In Canada, I believe Tom Ford is carried at Holt Renfrew, but they only list 2 of the old fragrances on their online website. In the UK, you can find Shanghai Lily at Harrods or Selfridges. Both stores sell the small 1.7 oz/50 ml size for £140.00 or £320.00 for the super-large 250 ml bottle. The smaller size is also carried at House of Fraser and UK-5th Village. In France, Shanghai Lily is available at Premiere Avenue which sells the 50 ml bottle for €180. For other all other countries, you can use the store locator on the Tom Ford website to find a retailer near you. Samples: You can buy samples of Shanghai Lily at Surrender to Chance starting at $3.99 for a 1/2 ml vial.