CD1810

With this new eau de toilette from Acqua del Garda, I was particularly attracted by the name. Juniper and cedar seemed to me to be guarantors for a perhaps not revolutionary, but fresh spicy, probably rather masculine scent. In the context of Black Friday it was reduced, so it was time for a blind purchase.

I have not regretted it, if Ginepro e Cedro comes across differently than I expected. The juniper is dominant in the beginning, but is soon slightly sweetishly underlined by Tonka. The cedar gives it a very pleasant spicy, yet clearly aquatic freshness that lasts until the end. However, contrary to expectations, Ginepro e Cedro is not woody or zietric. The later musk even adds a very fine powdery note, which clearly turns the fragrance towards unisex. But this is not wrong at all.

The whole thing is very well balanced. As always with this brand, nothing stings or disturbs. If you are looking for something extraordinary, exciting, you will not find it. But if you are looking for an unexcited, very clean and well-made spicy newcomer, this is the place to go. And all this at a price that is really more than fair for this quality. Clear recommendation! Acqua del Garda has convinced me once again.

Who else knows Else Stratmann?

Who reveals himself to be old enough to know this art figure of the wonderful Elke Heidenreich from the eighties? And what in God's name does Else Stratmann have to do with Amyris Homme Extrait de Parfum by MFK?

Else Stratmann was, as written, a figure of art by Elke Heidenreich. She appeared on the radio and television as the butcher's wife from Wanne Eickel with cryptic and humorous comments on current events and "Sonz noch wat". I loved her! Her texts were then also available in book form and one of them was called "May it be a little more?"

"May it be a little more?" is, I think, the motto that fits perfectly with Amyri's homme Extrait de Parfum compared to Eau de Toilette. It seems that Francis Kurkdjian has turned all the screws on this fragrance and added a little bit more of everything. I could hardly say that or if the Extrait would be accentuated differently from the eau de toilette. If anything, it's less citrusy and slightly less fresh than the eau de toilette. But actually, the eau de toilette has simply been raised by several degrees to a wonderfully dense, opulent, even opulent fresh-sweet-fruity woody scent with enormous durability and projection. One has the feeling that Amyris has only arrived with this version. That's the way he should be!

In this respect, Else Stratmann's question is clearly affirmative for me. I have been diligently wearing the eau de toilette over the past few weeks, so that it is used up and replaced by the extract. Else Stratmann would probably have shouted out in indignation at such ideas (and especially at this price): "Sonz noch wat!

I admit that what I'm writing now is perhaps only a tribute to Eau Sauvage Parfum (2012) in part and a swan song to the Dior brand in part. Because in addition to Eau Sauvage Parfum I also mention, and not too briefly, the current, very successful fragrances from Mr. Damachy's Dior chemistry set. This is probably forever yesterday and, in addition, quite culturally pessimistic.

But I can't and don't like to do otherwise, because that which just once again delights me on the wrist after a long time has so much strength, stubbornness and character that it deserves a tribute, combined with a swan song to a house that is apparently only able to launch unspecific fragrances at ever shorter intervals.

Dior Eau Sauvage Parfum is only eight years old in my version of 2012 and seems to be out of time. Strong bergamot at the beginning is the connection to the wonderfully floating original, but in my case it is accompanied almost instantly by extremely potent myrrh. The latter then very soon pushes strongly into the foreground, leaving only a hint of the original. I like this scratchy, smoky myrrh very much, it makes the fragrance unmistakable and unique. After a good hour it is also only slightly cushioned by a grassy sweetness of vetiver. If you believe the comments on parfumo about the reformulation that appeared five years later, which did away with myrrh and which I don't know, in 2017 (i.e. just three years ago) Eau Sauvage Parfum even managed to improve and accentuate Eau Sauvage Parfum again closer to the original, without giving up its originality and potency. As I said, I can't judge that.

I can say, however, that Dior apparently no longer intends to launch such powerful, high-quality fragrances: even the magnificent Dior Homme recently underwent a complete redesign towards contourlessness. Heaven knows what else LVHM is up to with Homme intense. The very idea gives me the creeps! And about Sauvage and its offshoots I cover the (old, so dusty) cloak of silence.

I suppose that's the problem: Fragrances in the designer area are no longer made for "dusty" people like me or my age (46). All others, who like the "new Dior", are welcome to do so and you may please be lenient with me regarding my tirade on Dior.
But perhaps there are more perfumers I speak or write to from the depths of my soul who are mourning the not-so-long ago days when Dior was still making fragrances with character.

I would like to be in Gallipoli, I would like to be in Puglia now. I walk through the small alleys of the old town on the peninsula, let myself drift. I would go to a bar for an espresso and pasticci and look up at the rather greyish sea, which was probably stirred up in January.

And I wear Audace. Because at this time of year, this place, Audace fits in wonderfully.

It is as I remember the air in Gallipoli (though in late autumn): Spicy, opulent, slightly sweet and above all incredibly smooth. Nothing bites, nothing stings, nothing annoys - pure well-being, pure joy. The name- audace means "foolhardy" - does not want to fit at all.

Audace is on the one hand typical Profumum Roma: heavy, long lasting, very neat sillage. The high concentration and quality of the fragrance oils ensures, as is usual for this brand, a very noble, very long-lasting, rather one-dimensional fragrance experience. And for stained clothes if you're not careful.

And then Audace is again untypically Profumum Roma: no gourmand, no exploding, loud sweetness.

Instead, Audace is quiet, self-confident, green-grassy (vetiver), yet slightly sweet (tonka). Powerful, but noble. You can smell the high price in every moment.

I would like to put an end to the lack of commentary on this fragrance, which is somewhat lost in the Profumum Roma catalogue. Audace is also great in the German winter. Even if one would rather wear it in Gallipoli.

Sometimes Northwest Germany is a challenge in summer. We don't have most of the sun straight, the days are often cloudy.
Today's another one of those days. It rains heavily again and again, the air almost stands still. Due to the long dryness it steams everywhere, but it is quite warm.

This morning a feeling crept up on me that this is a day for Galbanum and Rain.
And I was absolutely right. It smells spicy, damp, green and woody outside. Just like Galbanum and Rain. I wear this beautiful fragrance and feel like I'm in a steaming, damp, fresh, mossy forest. I don't think it's aquatic, but it's fresh. And also warm and balsamic, I guess by the vetiver. It's just like this weather.

I've owned Galbanum and Rain for a few months now and it's funny that it never seemed right to me. Today it's just perfect, made for this weather, for this day.
Maybe I can even come to terms with Northwest German summer weather.