Rickbr

I left Oudh Infini at last in my journey of brand evalution precisely because of the most controversial air surrounding its existence. The constant launching of oud-themed perfumes in the marketplace has made people saturated and not very tolerant. It only complicates if such a perfume has a price and luxury positioning - today many reviewers falsely believe that the easiest thing to do is to buy the available agarwood bases in the market and make a creation that emulates the complex and complexion of the resin generated by the infection of Aquillaria trees. This is not only not true as approaching OUDH Infini with such a prejudiced view certainly closes the eyes to the fact that Pissara has been able to maintain here the animalistic aura of the wood at the same time that it makes a multifaceted creation and with a evolution in the more classic and French style of perfumery.

It is interesting how OUDH Infini seems orchestrated around the absolute of agarwood of good excelence, one of those with nuances that refer to barnyard and cheese. As much as these words may sound scary (and indeed they are), there is an interesting care in balancing the elements in the composition while strengthening the richness that makes it an expensive perfume. In addition to the Agarwood, I have the feeling that in OUDH Infini there is an excellent quality of natural absolute of civet and castoreum, which complement the nuances of the note giving it an animalic aura with a certain vintage feeling as well. It is interesting that there is also citrus floral nuances that act in the background balancing the weight that would be the composition if it were composed only of animal and heavy elements. As time passes on the skin, OUDH Infini extends the naturalness of its main raw material with a quieter woody base, where it is possible to perceive the cypriol by playing the oudh at the base in conjunction with vetiver and musks. Vanilla finishes giving a creaminess to the intense animalic tone of the composition and rounds very well the whole work. After passing the heavier and more challenging opening OUDH Infini behaves like a classic scent, demonstrating different aspects of its personality on different days. Sometimes more woody, sometimes more animalic and even with a musky and clean civet scent. It is a very interesting perfume that certainly delivers what it charges for.

Although we see some niche brands exploring chypre perfumes in their lines, Le Sillage Blanc is a rare case where you can see without much effort the vintage inspiration of its chypre leather. It is quite interesting how Le Sillage Blanc refers to the unforgettable Bandit of Robert Piguet in its splendor combining a very green and slightly bitter note of galbanum to a nuance of rubber leather. It is possible to see Sillage Blanc through the eyes of 2 other perfumes that have suffered creative influences from Bandit, Cabochard and Aramis, being linked mainly to bitter herbal aspect opening of Aramis. What sets it apart from them, however, is precisely the balance between the vintage leather chypre aura and a successful attempt to make them less heavy, certainly a reference to the luminosity of the poem that makes its way into the cold, arid air. It is also interesting to note that there is a certain creamy and vanilla sweetness counterbalancing the heavier aspect, a combination that also positions Le Sillage Blanc in the contemporary scenario. And altough 2 of the fragrances that Sillage Blanc references are feminine ones its aura seems certainly more masculine in the current fragrance scenario.

I would say that Melodie de L'Amour is of all Dusita the easiest to fit the name, poetry and aroma. Everything makes sense in an immediate and instinctive way for me. The poem chosen here is interesting and compares the feeling of love to a flower that blossoms in an empty room - it is a metaphor for how love begins somehow innocent and timid and in its way becomes an intense and sensual feeling. The white flowers are perfect to convey this connotation and I think it's incredible that Pissara has managed to conceptualize a form that shows just that blossoming of them on the skin. Inspired by the perfumes of tuberose and her passion for Fracas, Melodie de L'Amour chooses to focus on creating the intensity of the tuberose through a bouquet of white flowers instead of saturating it in a very carnal way. We have a greener look at the opening, complemented by what seems to me a moderate use of herbs. As time goes by the floral outlines shows better - it is possible to perceive nuances of jasmine and gardenia complementing the white and carnal floral aroma of tuberose. As much as Melodie grows and blossoms like Love, it is interesting that it does not lose its luster and freshness, which to me represents a love that endures like flowers that never seem to die.

La Douceur de Siam was more challenging for me, difficult to connect all aspects of creation. The name made me wait for perhaps an oriental creation with some well-marked resin -benjoin perhaps, while the poetry chosen links to what seems to me a sense of contemplation brought on by dusk - one that "sweeps the grief into the anonymity of life." I believe this is related, however, with La Douceur de Siam being the perfume that chronologically represents remote times, of a Thailand that no longer exists. So instead of sensuality the chosen flowers seem to balance a more sober and clean feeling with a sense of contemplation. Nostalgia for times that seem perfect is present by the opening, in the choice of a balanced Champaca flower accord - a flower that symbolically expresses the supreme perfection and truth. The Champaca accord seems to capture its fruity nuances with its slightly waxy aroma texture and is beautiful and delicious. Unfortunately it is ephemeral, and makes the transition to a moment of fact a little more anonymous, in an accord of greener, dewy roses and a musk base with light touches of wood.

When it comes to luxury perfumery in both the commercial and niche segment attention to detail is crucial so that the whole of the work passes a wealth consistent with the price range in which it stands. One of the important details in this process is to be able to reconcile the acquaintance with the new, the familiar with something of more universal appeal and, ultimately, be able to create a collection that has a coherence and is able to tell a story through its fragrances. This is for me a set of factors by which the perfumer and business woman Pissara Umavijani have stood out and been so well received in the scenery of the perfumery.

Dusita is one of the levels of the Thai Buddhist Paradise, a country of Pissara descent. It is seen as a haven of pure pleasure and contentment. And when I think of a paradise, it is certainly something with a personal and universal appeal. For Pissara, her paradise honors the memories of his father Montri Umavijani while it is clearly a collection of her olfactory memories of classic perfumes that enchant Pissara and that are part of several periods of the history of the perfumery. Each perfume is conceptualized around one of the poems of Montri Umavijani.

Issara is related to Montri's poem which says "Here where the tree once stood, is a shelter for ancient rains." The minimalist and short poem certainly evokes for me the nature and renewal of life and fits with the choice, an olfactory family that from the golden times of perfumery abstractly portrays harmonious aspects of nature, the Fougeres. I think Pissara was inspired by one of the most influential perfumes of all time, Houbigant's Fougere Royale. However, where Fougere Royale stood, like the tree of the past, it is a shelter for a new soul around one of its key elements - the tonka bean.

It is interesting that Issara is capable of such a feat because one of the main components of tonka bean is restricted in the current scenario - the coumarin. In addition, you can no longer use the same levels of oak moss of the past, another important element of a fougere accord. Nevertheless, by a balance between tobacco and coumarin, Issara is able to maintain in a realistic and prolonged way the various facets of the tonka: its smell of cut grass, its slightly bitter aroma, the earthy aspect that can be seen only in the beans itself and even the smell of almond and with a faint cherry tone. The Pine is well balanced, giving more volume to the almond herbal freshness of the composition without giving a connotation of cleaning. Tobacco is becoming more evident as the composition evolves, replacing the lavender in the center of the fougere accord and leading to a base that compensates for the moderate use of oakmoss with a good amount of tobacco smoke smell in combination with musks and a woody vetiver scent. Issara is a known melody played in a new way and with refinement and balance. A beautiful Fougere that honors the golden times of perfumery.