FabianO

I'm quite a Tauer fan, right from the start. Especially the Arabic/oriental creations are partly absoulte gems.

I am not able to say what one could expect to find in a reorientation towards the Swiss Alps, at least the list of ingredients above reads appealingly unusual.

What Schoork has already broken down in great detail below and provided with a few quality question marks, I would like to round off a bit here. Yes, I can understand that about the violet. As a floral ignoramus, I am not able to judge whether it is a lily that has slipped a bit (which is at the top), but I do notice something very violet-like in the centre

So I feel a little bit like a more airy version of Kurkdjian's "APOM" or even a somewhat powdered version of "Sculpture Homme", although here really more emphasis was put on a herbal foundation (although a somewhat aseptic one).

The 8.3 points above also seem a bit overhyped to me, because somehow I don't manage to really get into this somewhat cyber veiled bed sheet scent. The basic tone isn't bad at all, this truly cleanly powdered one in combination with "Veilililien", but behind it, above it, there's indeed a covering synthetic, milk-like veil lurking, which forces the fragrance into a stylistic unity and absoluteness, which comes across planar and doesn't allow any changes even for hours.

No, the alpine scent does not come close to his brilliant creations of past years and seems to me somewhat project/conceptual, does not dock with me emotionally. It's a pity.

Yeah, I could use Faust as a quote-unquote. I already know a mountain full of animalistic grenades, but this over 40 years old, unfortunately out of stock Aigner extends the range again with a huge, stylistically completely independent firecracker.

Complex and multifaceted, as the above list of aromas shows. At the same time spicy and herbal, sweet with a hint of sweetness, soap clean, but essentially also very musky, this is how "Super Fragrance" presents itself.

Tarragon, sage and lemon in the prelude, well-balanced, shifting into the slightly ethereal herbal, a light, almost somewhat incense-like sacral, cool note blends in. Sandalwood and especially musk really bang into it after about 10 minutes, a special animalistic basic tone (probably the above mentioned, never before smelled costus) does the rest.

Against all this elemental force of animal origin, a rather discreetly muscled vanilla/amber faction lingers somewhat laboriously in contrast.
Yes, it's an animal that is compositionally round, but for me personally it exudes an overly affected musky exuberance and almost stumbles into the splits because of its broad legs. I'm more inclined to "kouros".

The previous speaker Lacrimalus brings with the marshmallows at the campfire an interesting association to "By the fireplace", the Margiela fragrance actually succeeds in a comfortable balancing act between gourmand "indoors" and rather plant-wilderness-like "outdoors" aromas

The smoky, campfire-like quality is present, but actually very finely and elegantly woven into the aroma.

The basic theme is a special edition marshmallow arranged in a somewhat pre-Christmas style, which integrates a spice note (especially clove and chestnut) into the usual vanilla-floury sweetness, again with a subtle, slightly tart juniper underlay to counterbalance the basic sweetness

The pure vanilla appears a little later more clearly, peels out after a good half hour and is qualitatively good, natural, cuddly.

Pleasant creation, ideal for the period between October and March.

I like these somewhat subtle scents. Especially after I was tortured this morning a) in the supermarket queue and b) in the bakery queue twice by two(!) men with steaming vapours of.... do you want to guess or is it too simple?...- yes, with Dior's "Sauvage"

Yes, Yves Saint Laurent's "Grain de Poudre" is pleasantly medium-layered, harmonious and pleasantly spring-like fresh green. Sage is clearly recognizable, flanked by citric-soft bergamot, underscored by slightly undercooled violet and primed by a very fine touch of suede, which was used much more subtly than in "Tuscan Leather" or other heavyweights.

Suit-layer, I would say, slightly open shirt on one of the first warmer days of the year, perhaps in April, in Paris. Where the pretty melancholic jazz classic "April in Paris" by Louis Armstrong and Ella Fitzgerald immediately comes to mind.

Enough curves - what I simply want to say: YSL has simply succeeded in creating a fine, round all-rounder that radiates subtlety without drifting into the banal. That's what I wished for once from "Sauvage"...

Yes, I have (frighteningly) commented and also tested very little in the last year, because many newcomers simply don't give me anything except the feeling of repeatedly smelling something comparable, similar or even identical

The still very young "Moustache", an extremely modified and modernized version of the somewhat prickly 1949 lemon, is one of the 5-6 most interesting and pleasant fragrances of this closing year (although it was already released at the end of 2018).

In its density and indulgence, this Rochas reminds me of the above mentioned Guerlain classics and Tom Ford's "Noir". A little fruity by a really pleasant round, harmonious, almost creamy, unbitter mandarin, also floral with clear rose, which is beautifully waxy and also powdery framed by benzoin.

Although "Habit Rouge" and "Noir" use different palettes of aromas, the three have in common that they radiate something slightly aristocratic, almost decadent, but without the force or penetrance of many an oppressive oriental.

Durability top, Sillage quite self-confident. Already one for the holidays...