Khrodino

Inspired by the Ukon Juhla, an ancient Finnish pagan feast dedicated to the god Ukko, a celebration that is now known as Juhannus, this perfume is a hymn to our closeness to nature and takes its name from a Finnish epic poem.
Kalevala - this is the third version of the perfume - speaks of our link and mutual dependence with the earth, with trees and fruits, speaks of human needs that become part of our spirituality. And it does it with whispers and echoes of plants, berries and distant bonfires.
The opening is a very well blended accord of pine needles and fruity notes. The fruity part is initially the more prominent one, but slowly it merges with the greenest, balsamic and pungent smell of pine needles, a smell that will always remain soft and balanced without overpowering the fruity part.
From here, going towards the heart, the perfume will become intimate, it will feel like a music that can be listened to from afar, without assailing the senses and letting itself be appreciated in its lightness, creating a truly evocative atmosphere.
In the heart, the fruity and syrupy notes leave room for the forest and earthy notes, then develops in a more flowery and woody smell with resinous shades, without completely abandoning its initial character.
It is a light and airy perfume that lasts a lot, returning continuously as an echo.
I would see it on a hypothetical druid, on a dreamy person who finds refuge in nature.

Sour, sweet, soapy, wonderful. I spray it on my hand, put my nose closer and see a bathtub full of a lavender scented foam. There is a balsamic and creamy aftertaste that recalls the smell of hair spray and completes the image that is drawn in the opening by the citrus and lavender. This accord remains throughout much of the evolution. But what about the leather accord? It will reveal itself soon, announced by a light iridescent smokiness which mixes with the flowers and with a subtle fresh and sour fruity note that gets dirty, covered with a veil of bitterness, perhaps cocoa, in the background. And in the background it remains to give a nuance to what remains the main verse and refrain of the perfume, namely that clean, "foamy" lavender with a balsamic aftertaste.
Fantastic Cristiano Canali.

The name refers to a crossroads between two important streets in Barcelona, ​​at number 600 of the Avinguda Diagonal and, through its evolution, it should paint the flow of a day in that Catalan city.
D600 opens with an explosion of spicy notes, mainly black pepper, resting on an intertwining of iris and vetiver. The initial impact is decisive, green and quite fresh, a sensation that continues even when the top notes give way to a more powdery heart, where you can see sweet veins given by vanilla, but everything remains hinged on the woody notes, which will characterize all evolution.
Evolution that, to say the least, is interesting, especially when in the drydown I found myself sniffing in the air something similar to the "old" Dior Homme (it would be incorrect not to mention it) and I was wondering how it was possible to now be in front of this iris full, "buttery", since the opening started with pepper and vetiver. But, in fact, the stated purpose of this fragrance was to accompany the wearer through the streets of Barcelona during all different phases of the day. I don't know if they have succeeded, I will tell you when I'll go there, but for sure the D600 lasts a whole day: almost 12 hours have passed and I still feel it clear and strong.
In conclusion: a very interesting perfume for its evolution, which I do not fully think it's my kind of fragrance, due to the spicy opening, but which deserves a lot of respect, especially for its duration.

An alcoholic blast, in the opening, that inebriated me, a woody background that opens and wets the nostrils and it smells somewhat dense, almost sticky. It's the smell you can find in one of those pubs when people drink until they pass out or find themselves singing together with perfect strangers, while glasses and beer mugs
potrebbe trovare in uno di quei pub dove si beve fino a ritrovarsi a cantare assieme, mentre bicchieri e mugs inevitably end up spilling onto wooden planks which have recently been given the finish.

Les Jeux Sont Fait is always there, on the edge that separates audacity from exaggeration.
Insomma Le Jeux Sont Fait it is a seductive provocation, intensely masculine (but I would love it on a woman), amiably bold, an emblem of self-confidence. It should be worn in those days, rare or frequent, in which we feel invincible.

I blind bought this and I was expecting a real gourmand gem, strong, full, sweet. This is not it but hear me out.
It start off with a big blast of saffron and cinnamon, but it's not too spicy since the bitter taste of almond and cacao helps to smooth the edges.
When it evolves it sweetens up and a round warm smell can be picked up when smelled in the air, but I can't distinguish any note on its own: no apple, no caramel, no chocolate, but an accord that with the saffron on top starts to remind something like Baccarat Rouge 540, only stronger and less "sugary".
When completely dried up the musk emerges with a touch of woody notes, giving some "Yves Saint Laurent Y EdP" vibes, the saffron is still there and I think it's the true protagonist of this fragrance.
I'm a little disappointed that the almond is not staying with me for all the duration, nor the toffee or the caramel. I would have loved that but apart from this, it's a pretty outstanding fragrance.