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Notes11/27/2019
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DerDefcon
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DerDefcon
Greatly helpful Review 15
Away with the oud scent pyramid totalitarianism
Big, fat and big is the oud in the fragrance pyramid. If you look at such a fragrance, it is often, not always, but also quite often, the moment when you scroll on, close the TAB or enter another perfume name into the search bar, if you are looking for an everyday fragrance. Maybe you are also looking for a new signature, one that you can have decorated on your skin every day.
In addition to leather, cumin and many other olfactory "specialities", the famous but meanwhile well established eagle wood belongs to those fragrance elements with which not every nose gets along so well. This is often due to the fact that oud can sometimes smell musty-animalic, sour, bitter or medicinal. It can also tickle the nose sweet, creamy and cuddly. There is no uniform appearance here at all. Francis Kurkdjian demonstrates that this is the case with this fragrance. As unspectacular as the name is, so unspectacular is ultimately his composition, which should in no way be meant negatively. I'll try to explain.
The oud in Kurkdjian's creation is not animalistic. It's not medical either. It is neither bitter nor sweet, neither biting nor particularly cuddly. It's just woody - right, right. It is quite "primitive", dark wood, which is absolutely dry, absolutely unspectacular and almost too normal. This wood ain't out for no ruckus. It does not "enrich" the entire workplace, no seminar rooms in the university and does not bite anyone's nose. This oud exercises restraint and has no problem integrating other fragrance components into its present. So there is the Elemiharz to mention, which appears discreetly raspberry. Dry, a little bit bitter saffron also knows how to make itself felt, so that the whole thing never drifts into fruity sweetness. The dry-woody oud still pulls the strings in the background, but still discreet. In their symbiosis, balsamic cedar wood and slightly earthy patchouli give the impression of having a freshly sharpened pencil in front of you. You all know how one of these smells.
Oud as the main theme? Here? No, I'm sure I don't. This oud relies on equal rank in the fragrance pyramid. This is not one that makes olfactory-totalitarian demands.
If I try to combine Kurkdjian's Oud interpretation with impressions from my own world, I would spontaneously think of an old library - the smell of the sharpened pencil, the perhaps somewhat dark surroundings, dry and massive wooden shelves, the smell of paper.
Yeah, that's what this perfume reminds me of. It is an old library which still has its own charm and one day the young Hipster-Studi stumbles into it, who previously enjoyed his e-cigarette with raspberry taste. Consumption here fortunately dates back a few moments, so that this library does not degenerate into a shisha bar and continues to retain its very own character, which is contrasted by the modern, very authentic raspberry note, which, however, weakens from minute to minute. Here the opposites attract each other formally, merge with each other, so that one does not register the oppositeness at all. You do this only when you carefully work out this fragrance, as we perfumos and perfumas love to do. Then, after several attempts and frequent testing, one recognizes - at least I do - the masterly interweaving of those opposites, so completely without corners, without edges, without exaggerated excitement.
In addition to leather, cumin and many other olfactory "specialities", the famous but meanwhile well established eagle wood belongs to those fragrance elements with which not every nose gets along so well. This is often due to the fact that oud can sometimes smell musty-animalic, sour, bitter or medicinal. It can also tickle the nose sweet, creamy and cuddly. There is no uniform appearance here at all. Francis Kurkdjian demonstrates that this is the case with this fragrance. As unspectacular as the name is, so unspectacular is ultimately his composition, which should in no way be meant negatively. I'll try to explain.
The oud in Kurkdjian's creation is not animalistic. It's not medical either. It is neither bitter nor sweet, neither biting nor particularly cuddly. It's just woody - right, right. It is quite "primitive", dark wood, which is absolutely dry, absolutely unspectacular and almost too normal. This wood ain't out for no ruckus. It does not "enrich" the entire workplace, no seminar rooms in the university and does not bite anyone's nose. This oud exercises restraint and has no problem integrating other fragrance components into its present. So there is the Elemiharz to mention, which appears discreetly raspberry. Dry, a little bit bitter saffron also knows how to make itself felt, so that the whole thing never drifts into fruity sweetness. The dry-woody oud still pulls the strings in the background, but still discreet. In their symbiosis, balsamic cedar wood and slightly earthy patchouli give the impression of having a freshly sharpened pencil in front of you. You all know how one of these smells.
Oud as the main theme? Here? No, I'm sure I don't. This oud relies on equal rank in the fragrance pyramid. This is not one that makes olfactory-totalitarian demands.
If I try to combine Kurkdjian's Oud interpretation with impressions from my own world, I would spontaneously think of an old library - the smell of the sharpened pencil, the perhaps somewhat dark surroundings, dry and massive wooden shelves, the smell of paper.
Yeah, that's what this perfume reminds me of. It is an old library which still has its own charm and one day the young Hipster-Studi stumbles into it, who previously enjoyed his e-cigarette with raspberry taste. Consumption here fortunately dates back a few moments, so that this library does not degenerate into a shisha bar and continues to retain its very own character, which is contrasted by the modern, very authentic raspberry note, which, however, weakens from minute to minute. Here the opposites attract each other formally, merge with each other, so that one does not register the oppositeness at all. You do this only when you carefully work out this fragrance, as we perfumos and perfumas love to do. Then, after several attempts and frequent testing, one recognizes - at least I do - the masterly interweaving of those opposites, so completely without corners, without edges, without exaggerated excitement.
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