Robbenbingo

Atkinsons is for me such a brand that has amazingly beautiful things in amazingly many fragrances in the program. Maybe they do not deliver one highlight of the millennium after the next, but quite pleasant everyday companions, which often bring their own twist. Tendency rather unexciting, but always with a smooth feel and fine aura. And so this fragrance is also one of my favorites for a long time, now I describe it here finally times:

The first hour is like a picture book for good top notes. It opens with an orange freshness that is mild and round the rest of the way. It quickly combines with a sharp, cooling accord, which is also the theme of this fragrance: a very clear, beautiful licorice, which is really something special in its bright, fresh naturalness. The fragrance is here now in full bloom and lifts the mood enormously. The strong, juicy salmiac-citrus blend is fantastically balanced and strengthens the cozy like a refreshing aftershave. Applied after a nice pattering shower, it has a truly invigorating effect on the mind and senses. Cleansing, clarifying, spring-fresh and wonderfully moody.

The bright licorice experiences after a while a small flattening in terms of sharpness and becomes increasingly tame and milder. a pity that the fragrance can not quite hold the tension of the top notes, but what fragrance can? The woody parts increase, but remain extremely radiant and get an almost cherry-like touch. Thus, the fragrance continues over the further hours, slowly runs out in an unspectacular but sympathetic manner, without further highlights or disappointments.
For those who like aromatic spicy wood, this perfume is a really fine candidate. Not exactly robust or over-charismatic, but with a lovely lively nature and massive feel-good potential. I can only recommend it!

He's got something. That can't be denied. What develops after a few minutes close to the skin, is in any case a round, cohesive thing, recognizably thought up and made by experts. And it is also only due to a small detail that I still have to wave off at the end.
The main theme is lavender. That's perfectly clear and unquestionable from the start. It has a rich, full character and dominates with gentle power the complete fragrance picture across all phases. So far, everything is excellent. The nutty toasty aromas that soon join it and already have something grounding, priming them, are also a perfect match. I think they are largely due to the tonka bean. So the familiar pairing of lavender and light gourmand sweetness forms here, as can be found in many other fragrances.
That was the nice thing about the scent. The stupid thing for me is a mixture of notes that I rather perceive as chemically alienating. For one thing, it's an accord that clearly reminds me of hot air, the kind that often blows at you from big bulbous clothes dryers. It's a crazy scent impression in itself, which I can still appreciate as a clever conceit because it permeates the entire scent in a great abstract way. Dry, clean, slightly cokey, ironing, maybe that's a good way to describe it. That dryer breeze or surge of ironing water turns the time-honored lavender-tonka melange into something much more modern, independent. that's what I like.
But there's still some little synthetic twinge to it that makes it tip definitively into unpleasantness for me. All together now reminds me of the scenting of a fashion store. A not so bad fashion store, perhaps, but still with this chumming lure character of a fragrance designed for casual feel-good. Don't get me wrong: feeling good is the best thing in the world and day after day my big inner goal, but this idea of feeling good here is already very superficial and in reality has a very shallow breath. You can't take even the most beautiful lavender seriously anymore. He disappears behind an aromachemienebel, which is really no joy.
Too bad. Maybe you can reissue the again without the put on Kladderadatsch. Then I'm on it immediately. However, then he would also lack the special. Anyway, we'll just leave it as it is and I'll move on. Thank you for the brief experience, Serge Lutens.

I've been lurking around this fragrance for a long time. So really he has not taken off here and it is also in doubt for me whether he is bought quite generally like. He is and remains very modest and unimpressive, especially for a floral fragrance. There is nothing opulent here. But just that makes him very sympathetic to me.
The composition is quickly explained: for me is actually not so much the lavender, but rather the noble cool rose in the center. The one has to imagine here of course not in full dove-netted bloom, but rather dimmed and understated. It does not shine out of a magnificent flower arrangement, but rather hangs down from a wild hedge, which the late summer has already bleached and dried a little. Here the aroma doesn't explode, here a withered hint of it shimmers nobly. You could almost call it bitter. The result is a very restrained aura for the perfume, which emphasizes the adult, timeless casualness through this dry aspect. I like that very much. British I find this here in any case.
But of course, there's also the lavender in this fragrance. He is rather sweet-tempered and gives the rose a bit of the fullness that she herself may not show. In addition, there is another co-player, an herbaceous accord, which makes the whole thing even more cool and sober. May it be mint or eucalyptus, something grassy or leafy green, it's not that discernible. In any case, it gives it that crucial twist. Those familiar with "You or someone like you" by ELDO may have found a much less gaudy, much darker relative here.
The base isn't particularly powerful. Wood is there, but in twig rather than trunk strength. It gives the thing the appropriate extension, but doesn't really prop it up. So the fragrance remains very fine in texture and doesn't get much heavier towards the end than at the beginning.
I just see that I wrote earlier: "The composition is quickly explained." It wasn't now. I can recommend "Lavender on the rocks" to all of you. A quiet, good representative of the thinly populated fraction of slim, slightly floral perfumes that also work very well on the gentleman.

"Yes, rich," I think as I take three sprays of this potion, but only skin deep, or whatever you call it. It hits me so some and all around me a wave of characterful smells spills into the room.
What stands out is the sweetness. It is latently there, has the upper hand in any case and pours out unrestrained. It seems to come from all sorts of velvety fruit: Plums perhaps, quinces perhaps, apricots, sloes, pears, dark berries perhaps. That it is nevertheless not a classic juicy fruit scent is thanks to the tart impact. It flickers and showers alcoholically under the layer of fruit, so it never becomes smooth or tuttifruttiquietsch. Together, it makes for a sugary, yet somehow adult melange. It doesn't remind me of hard whiskey as much as many here feel, though. To me, it's more of a thick punch that's been sitting for a while and is very well aged, so to speak. I also barely detect any wood, like the cask often mentioned here. To preface something of my opinion: Maybe that's what this fragrance lacks a bit. A creaky contrast would have done well to the hodgepodge of fully ripe fruit. There's already a slight twist in that direction, especially close to the skin, but in the vibe of the scent there could easily be more edge, I think. A richer, perhaps smoky darkening would have stood the fragrance very well.
"Baraonda" triggers something, anyway. The buzzy fruity notes are blended so exceptionally beautifully that a deep breath definitely evokes a strong feeling in me. This fragrance is strengthening, nourishing and robust. It is a fragrance like autumn. Deep colors, melancholic undertone, suggestively raw. And yet perhaps not rough enough to really carry me away. Maybe the edition "Baraonda dark woods essence" will come out again. Since I'm then the first in line.
Until then: Much respect for the perfume, but no final "yes".

First of all, there's a big "pro" towering over everything: I've never found such a genuinely drawn fir tree interpreted in a fragrance. The implementation is rather abstract and floating, more a touch of trickling needles than a rustic trunk with dripping tree blood, but just by this slimming the whole thing comes alive. Delicate and green, slightly nutty and almost otherworldly unwooded. I don't think you can get much closer to the idea of conifer aroma in a perfume. And it does it so effortlessly and with a light spring. Quite masterful. A great break from the association with creaky old school masculine fragrances with a heavy, dusty needle resin flair. Instead, modern, ultralight and very urban.

And then comes the con: somewhere in the shallows of my olfactory center, resistance stirs. It's something metallic, dull-chemical that buzzes steadily and artificially in the very back corner of the scent. Is this the shadow side of a molecule doing something good for the scent on the other side? In any case, I can't take a deep puff of the scent without the illusion of beautiful needle splendor turning out to be a decal at the end. And that's really weird, because really, "Ormonde Man" has everything for my holy needle grail. But in the end, I miss depth and warmth, which woody notes absolutely need for me and which are lost at the expense of transparency and lightness here.
I think it is simply the stylistics of Geza Schön, with which I do not get along there. For all those who are just lurking around this fragrance and find out here: For you, even just the first paragraph may be true. Don't be put off. My doubts are certainly not universal.
A gorgeous, artful and very ambivalent fragrance!