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A Sillage with tricks.
From Dior's "Exklusivlingen" I already know the classic "Ambre Nuit", the always beautiful "Happy Hour" and also the Mediterranean-fruity "Balade Sauvage". They all captivate by a rather smooth, cuddly, nowhere magnificently offensive scent character and so I came to the perhaps premature conclusion that Dior, similar to Kurkdjian, creates a niche, which is meant for every nose, without losing character, however, and to chum up to the "frowned upon mainstream". That Kurkdjian can work with corners and edges, I realized later, when I dared to work on "Baccarat Rouge".
But can also Dior with corners and edges?
I had already heard of potential candidates like "Leather Oud", but I hadn't heard of them yet - until now.
"Oud Ispahan" moved in with me in the form of a bottling. The comments here on Parfumo were very mixed. The fragrance maker is sometimes said to be unimaginative and it is also written that it is a simple, often smelled rose and oud combination.
But now my opinion:
"Oud Ispahan" starts with a not-so-dark rose I was actually betting on. Rather, it is slightly fruity, but really only very light. The oud is not long in coming and envelops the thornflower with a very dark, dry woodiness, which also seems to resonate with a little smoke. In my opinion, the Patchouli, which is only small listed in the fragrance pyramid, can be weighted bigger. Thus it is he who gives the woody rose, which has long since ceased to be fruity, a very discreetly herbaceous character and in combination with the dark oud even imitates the smell of dark chocolate. This imitation will not be for people who love to consume the milk chocolate of well-known manufacturers, which is sweetened in my eyes, but rather for those who truly love chocolate as much as we all love our scented waters. It is a chocolate - or at least a skilful pretence - for all those who still have water in their mouths even with 60 percent cocoa. In olfactory terms, this is expressed by bitter, absolutely unsweet notes that accompany the dark floral rose and above all fill entire rooms. The durability and sillage are strangely strong and not in line with the less potent fragrances from the Maison Christian Dior series, which I mentioned at the beginning of my commentary.
I promise you, this scent will catch your eye. The Sillage, by the way, is pretty sophisticated, I think. Far away, third parties perceive the dark rose to a large extent, which neither female nor male, but absolutely unisex-suited comes along. As we get closer, the oud gradually becomes noticeable and the gender-neutral rose becomes more angular, dirtier and thornier. If one dares to get even closer, the bitterness sets in, which might frighten some, others might be even more fascinated.
The behaviour of "Oud Ispahan" reminds me in some way of the sirens that Odysseus encountered on his odyssey. They, too, appeared friendly and loving at a distance, serving bait and curls to reveal their monstrosity when the sailor was already in their clutches and escape was hardly possible.
Have faith in this fragrance, dear perfumas and perfumos. Don't let this little story scare you away. "Oud Ispahan" is not a monstrous siren, really not, but the example occurred to me spontaneously while wearing this fragrance. I can't help it.