Shalima
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Shalima
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After the church a wonderful summer day
Among many other things I also appreciate cultural aspects very much.
So, for example, I also like visiting interesting exhibitions or museums, as well as ...churches! ... Yes, also churches or mosques, etc. belong to it!
The older and bigger they get, the more reverence and respect they instill in me - respect for the architecture, the early architects and people who came up with all this and also for those who built them up to dizzying heights and decorated them with paintings and decorations down to the last detail. Again and again I am confronted with the question of how many people may have already been here, in which respective times, why and on what occasion they came, in all the many past years and centuries. The often perceptible standing air sometimes even contributes to the assumption that they are still all somehow around me.
I see churches in principle as places of peace, of silence. They have a natural coolness at any time of the year, no bright light, often there is a discreet scent of incense in the air. Mental relaxation pure actually, opportunities for a brief pause and become one with yourself.
Izia" totally gets me into this atmosphere, right from the first test.
Each time with the application I feel right away-teleported away with every first breeze that is influenced by Izia.
At the beginning I feel pure "frankincense", as if an altar boy, swiveling the corresponding vessel, is standing right next to me. The intensity lasts for the first moments, but then it diminishes more and more, as if I were moving away from the place of the ceremonial action into outer spheres, but not completely leaving it.
After the ceremony I leave the church and when I step outside it is bright summer and sunshine, and I do not step onto the street, but into a lemon grove under permanent light swirls of air. Warm, not hot, but more intense the further I go in. The incense accompanies me as if it had still got stuck in the clothes, had become part of them.
The further the path leads me, the sun leans towards the horizon and I stop, because something changes. The scent of lemons recedes and I think I can perceive roses. I'm looking for it, with my nose on my wrist, are they really roses? I think so and I'll go further, just a few steps at first. And soon the moment becomes increasingly magical, right here where I want to stay for a long time, right on the border where rose and citrus balance each other out, it becomes indifferent for me between the two.
Where should I move on, one more step back again, or still forward - or maybe to the side, but where, left or right?!
How trapped, unmoved, I suddenly perceive a slight sweetness, is rather flowery or somehow vanilla-like, but where does she want to come from?
I want to sit down on the ground and touch everything around me, to smell, to sniff what exactly gives me these moments. I don't want to leave either, absolutely not, this is where I belong, right now. I turn around again, the church and the incense, puffs of it are still there.
The sun has long since fallen below the horizon and yet it still warms me, because the scent of roses is beginning to take hold of the situation, the fresh lemon scent is giving way more and more.
"Abaq" - my beloved Abaq, is that you?! No, why should I?
It gets cooler and the wind freshens up a bit. Again and again I put my wrist to my nose. The magical moment from earlier seems to be over, but I don't necessarily miss it. Everything now suddenly appears more set, more earthy, is soothing, enveloped in sweet warmth, surrounded by peace, silence and serenity.
Now I would like to go home and let this wonderful summer day experience end there, exactly as I feel it now. And even now everything seems to be still there, somehow swinging along - even because some hours have passed in the meantime.
So, for example, I also like visiting interesting exhibitions or museums, as well as ...churches! ... Yes, also churches or mosques, etc. belong to it!
The older and bigger they get, the more reverence and respect they instill in me - respect for the architecture, the early architects and people who came up with all this and also for those who built them up to dizzying heights and decorated them with paintings and decorations down to the last detail. Again and again I am confronted with the question of how many people may have already been here, in which respective times, why and on what occasion they came, in all the many past years and centuries. The often perceptible standing air sometimes even contributes to the assumption that they are still all somehow around me.
I see churches in principle as places of peace, of silence. They have a natural coolness at any time of the year, no bright light, often there is a discreet scent of incense in the air. Mental relaxation pure actually, opportunities for a brief pause and become one with yourself.
Izia" totally gets me into this atmosphere, right from the first test.
Each time with the application I feel right away-teleported away with every first breeze that is influenced by Izia.
At the beginning I feel pure "frankincense", as if an altar boy, swiveling the corresponding vessel, is standing right next to me. The intensity lasts for the first moments, but then it diminishes more and more, as if I were moving away from the place of the ceremonial action into outer spheres, but not completely leaving it.
After the ceremony I leave the church and when I step outside it is bright summer and sunshine, and I do not step onto the street, but into a lemon grove under permanent light swirls of air. Warm, not hot, but more intense the further I go in. The incense accompanies me as if it had still got stuck in the clothes, had become part of them.
The further the path leads me, the sun leans towards the horizon and I stop, because something changes. The scent of lemons recedes and I think I can perceive roses. I'm looking for it, with my nose on my wrist, are they really roses? I think so and I'll go further, just a few steps at first. And soon the moment becomes increasingly magical, right here where I want to stay for a long time, right on the border where rose and citrus balance each other out, it becomes indifferent for me between the two.
Where should I move on, one more step back again, or still forward - or maybe to the side, but where, left or right?!
How trapped, unmoved, I suddenly perceive a slight sweetness, is rather flowery or somehow vanilla-like, but where does she want to come from?
I want to sit down on the ground and touch everything around me, to smell, to sniff what exactly gives me these moments. I don't want to leave either, absolutely not, this is where I belong, right now. I turn around again, the church and the incense, puffs of it are still there.
The sun has long since fallen below the horizon and yet it still warms me, because the scent of roses is beginning to take hold of the situation, the fresh lemon scent is giving way more and more.
"Abaq" - my beloved Abaq, is that you?! No, why should I?
It gets cooler and the wind freshens up a bit. Again and again I put my wrist to my nose. The magical moment from earlier seems to be over, but I don't necessarily miss it. Everything now suddenly appears more set, more earthy, is soothing, enveloped in sweet warmth, surrounded by peace, silence and serenity.
Now I would like to go home and let this wonderful summer day experience end there, exactly as I feel it now. And even now everything seems to be still there, somehow swinging along - even because some hours have passed in the meantime.
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The sample in the shop made a good impression.
15ml for the price of 1€/ml seemed very appropriate to me there.
So you can imagine the result - "Buy that!"
Arriving at home I was a bit disappointed at first, because I had perceived the scent more intensively. As time went by I convinced myself that he might have had support, carried by the sweet warm scent of the store's interior. In any case, Khalifa first became a "2nd choice" in comparison with the other "Arab treasures".
I was surprised that the photo of the perfume had arrived here halfway well, especially as the bottle itself looks quite simple. This is just a mass bottle, used for many other fragrances in this size, nothing special, and then the unloving (because crooked) sticker. Unimaginative - unimaginative, because only the name changes with every other fragrance ...
In the end, however, it depends on the inner values, so I had to try it out, and see there:
"Liquid gold" as a reference to the contained oud - this is how the manufacturer describes it in a short description consisting of only 2 sentences (these have 36 words in English). The indication that Khalifa is not irritating and can be applied directly to the skin is included.
No special product apparently so for "Hamidi Oud", with such scarce information.
Why is it so common for Arabic perfumes to be a perfume oil? I have known this for a long time and I like it very much, for various reasons, especially because of the handling and dosage. I also think that perfume oils also have a longer shelf life, especially in garments.
Khalifa starts with a delicate, sweet fragrance of fresh fig. I "assert" this here (own perception, without knowing whether fig is actually in there as well). This is accompanied by an oud that is only slightly and sweetly perceptible, warm and earthy at the same time. Also dry wood is added to it.
Seen together this reminds me of "Abaq" again, but here much finer, more delicate, and the rose is exchanged for fig. After all, both come from the same house, so the comparison is not by chance. And although finer, but therefore Khalifa is not more elegant than "Abaq", rather simply more everyday.
So Khalifa is quite good if you just use a little more of it. Where other perfume oils are 100% sufficient, here it is perhaps 120%, so one can imagine perhaps also that.
And then Khalifa really pleases, not mildly, not at all gringlich, in the process increasingly very closely. It lasts about four hours, maybe five. And with the small bottle it is no problem to take it everywhere!
15ml for the price of 1€/ml seemed very appropriate to me there.
So you can imagine the result - "Buy that!"
Arriving at home I was a bit disappointed at first, because I had perceived the scent more intensively. As time went by I convinced myself that he might have had support, carried by the sweet warm scent of the store's interior. In any case, Khalifa first became a "2nd choice" in comparison with the other "Arab treasures".
I was surprised that the photo of the perfume had arrived here halfway well, especially as the bottle itself looks quite simple. This is just a mass bottle, used for many other fragrances in this size, nothing special, and then the unloving (because crooked) sticker. Unimaginative - unimaginative, because only the name changes with every other fragrance ...
In the end, however, it depends on the inner values, so I had to try it out, and see there:
"Liquid gold" as a reference to the contained oud - this is how the manufacturer describes it in a short description consisting of only 2 sentences (these have 36 words in English). The indication that Khalifa is not irritating and can be applied directly to the skin is included.
No special product apparently so for "Hamidi Oud", with such scarce information.
Why is it so common for Arabic perfumes to be a perfume oil? I have known this for a long time and I like it very much, for various reasons, especially because of the handling and dosage. I also think that perfume oils also have a longer shelf life, especially in garments.
Khalifa starts with a delicate, sweet fragrance of fresh fig. I "assert" this here (own perception, without knowing whether fig is actually in there as well). This is accompanied by an oud that is only slightly and sweetly perceptible, warm and earthy at the same time. Also dry wood is added to it.
Seen together this reminds me of "Abaq" again, but here much finer, more delicate, and the rose is exchanged for fig. After all, both come from the same house, so the comparison is not by chance. And although finer, but therefore Khalifa is not more elegant than "Abaq", rather simply more everyday.
So Khalifa is quite good if you just use a little more of it. Where other perfume oils are 100% sufficient, here it is perhaps 120%, so one can imagine perhaps also that.
And then Khalifa really pleases, not mildly, not at all gringlich, in the process increasingly very closely. It lasts about four hours, maybe five. And with the small bottle it is no problem to take it everywhere!
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Not every day, not every opportunity, not always and everywhere
... because Olympéa is different, at least as far as I'm concerned.
I sneaked around for a long time and, to be honest, I was more attracted to the bottle than to the fragrance. However, it was too expensive for me to simply place the bottle anywhere without any further added value.
I already knew Olympéa, but it had never convinced me. In the end my opinion was again and again on the new: "quite nice actually, but as you know only the little sister of ..." is nice
And then there is this in my eyes terrible looking and creatively unimaginative packaging! No elegance, no charisma, who only thinks of something like this and wants to draw attention to himself and earn money with it.
Compared to Olympéa, Olympéa Intense - except for the packaging - is already much more. More critical and sensitive to handle and too much of it leads at the same place to a perhaps only unique result, namely "never again".
But I'm not writing this to speak ill of Olympéa Intense - except for the box, though.
Olympéa Intense begins with an explosion! Like a laser beam that blows up a boulder, the first, second and maybe even third sprayer bounces off and whirls the complete range of contents around my nose. You stand like dazed and don't even know if you really wanted to buy it. Therefore, my tip to start with a sprayer first, in order to be able to estimate the effect better.
I have already hinted at what will happen in the statement and would like to clarify this again here. Olympéa Intense develops in me as if I could breathe through the individual layers the deeper the draft is sucked in, as if one were gradually immersed in it. It starts with the (bitter) orange paired with grapefruit. Vanilla then joins it, but does not develop sugar sweetness, but also remains tart. At the very end, just before the moment when the lung volume is reached, it becomes earthy, warm and slightly woody. Woody at least in the way you breathe on a pretty dry piece of wood in the forest, where you just have a little bit of moisture because of the scent, which transports the scent a bit more, but not more.
With some time then the layers shift in perception, the orange remains, but clearly recedes. The slight tingling in the nose may then be caused only by the pepper, but maybe I'm only imagining it because it's just so appropriate. When you take a deep breath, the earthy quality is expressed more and more early and surrounds you almost constantly, but still with this slightly fruity note of orange (which, by the way, is still a bit bitter), a softened grapefruit and vanilla spreads further. And then, yes, exactly then, then it starts to become sensual, passionate, maybe even a bit playful. An interplay, almost like the very fine continuation of the explosion mentioned at the beginning. But not so intense, not so bombastic, not so layer by layer, but as in a compressed, finer and finer fog.
Olympéa Intense - I take it about 30 minutes before the moment when I want to be noticed with it. I don't waste anything on it, because it lasts a long time, and until it gets very close ... and then can be desired from time to time even.
Thank you for reading!
I sneaked around for a long time and, to be honest, I was more attracted to the bottle than to the fragrance. However, it was too expensive for me to simply place the bottle anywhere without any further added value.
I already knew Olympéa, but it had never convinced me. In the end my opinion was again and again on the new: "quite nice actually, but as you know only the little sister of ..." is nice
And then there is this in my eyes terrible looking and creatively unimaginative packaging! No elegance, no charisma, who only thinks of something like this and wants to draw attention to himself and earn money with it.
Compared to Olympéa, Olympéa Intense - except for the packaging - is already much more. More critical and sensitive to handle and too much of it leads at the same place to a perhaps only unique result, namely "never again".
But I'm not writing this to speak ill of Olympéa Intense - except for the box, though.
Olympéa Intense begins with an explosion! Like a laser beam that blows up a boulder, the first, second and maybe even third sprayer bounces off and whirls the complete range of contents around my nose. You stand like dazed and don't even know if you really wanted to buy it. Therefore, my tip to start with a sprayer first, in order to be able to estimate the effect better.
I have already hinted at what will happen in the statement and would like to clarify this again here. Olympéa Intense develops in me as if I could breathe through the individual layers the deeper the draft is sucked in, as if one were gradually immersed in it. It starts with the (bitter) orange paired with grapefruit. Vanilla then joins it, but does not develop sugar sweetness, but also remains tart. At the very end, just before the moment when the lung volume is reached, it becomes earthy, warm and slightly woody. Woody at least in the way you breathe on a pretty dry piece of wood in the forest, where you just have a little bit of moisture because of the scent, which transports the scent a bit more, but not more.
With some time then the layers shift in perception, the orange remains, but clearly recedes. The slight tingling in the nose may then be caused only by the pepper, but maybe I'm only imagining it because it's just so appropriate. When you take a deep breath, the earthy quality is expressed more and more early and surrounds you almost constantly, but still with this slightly fruity note of orange (which, by the way, is still a bit bitter), a softened grapefruit and vanilla spreads further. And then, yes, exactly then, then it starts to become sensual, passionate, maybe even a bit playful. An interplay, almost like the very fine continuation of the explosion mentioned at the beginning. But not so intense, not so bombastic, not so layer by layer, but as in a compressed, finer and finer fog.
Olympéa Intense - I take it about 30 minutes before the moment when I want to be noticed with it. I don't waste anything on it, because it lasts a long time, and until it gets very close ... and then can be desired from time to time even.
Thank you for reading!
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From an Arab rose
My first comment, or: No Risk - No Fun
Abaq is one of my "five Arab treasures", as I call them all.
Abaq is certainly one of the favorites when I watch myself, because I take it frequently and very gladly. The others I use mainly "in pairs" (layering). The Abaq is my EDC perfume, maybe even "signature scent", but I can't say, Abaq is simply "mood".
The fragrance itself is quite linear and a fragrance pyramid is hard to spot if it is. Everywhere, however, the rose would stand out, it determines the very first perception from beginning to end.
So if you don't like Rose - EXIT!
But it's not stabbing, on the contrary, it's soft, somehow mature, warm. The fragrance is warm anyway, because it somehow radiates peace and serenity and does not fit into a hectic time or hectic days up to an inner restlessness. For this reason, I have also classified the fragrance as "evening" and "going out" - although I do not orientate myself towards it, let alone stick to it.
In the statement I had already hinted at it, the rose lives, stands upright, surrounded, fogged, carried (not held) by the warmth of a natural, probably wooden oud and musk that can still be spotted. Compared to music, Amber plays a kind of low bass that you would hardly hear anymore. If he weren't there, you'd notice something was missing. It may be that the sandalwood can still be found there, but if there is, then only there, in this underground carpet of 1000 and no night.
Abaq has this "depth", is grounded, rooted, to emphasize the most beautiful thing visibly, the rose, which is however no "Desert Rose".
Abaq is one of my "five Arab treasures", as I call them all.
Abaq is certainly one of the favorites when I watch myself, because I take it frequently and very gladly. The others I use mainly "in pairs" (layering). The Abaq is my EDC perfume, maybe even "signature scent", but I can't say, Abaq is simply "mood".
The fragrance itself is quite linear and a fragrance pyramid is hard to spot if it is. Everywhere, however, the rose would stand out, it determines the very first perception from beginning to end.
So if you don't like Rose - EXIT!
But it's not stabbing, on the contrary, it's soft, somehow mature, warm. The fragrance is warm anyway, because it somehow radiates peace and serenity and does not fit into a hectic time or hectic days up to an inner restlessness. For this reason, I have also classified the fragrance as "evening" and "going out" - although I do not orientate myself towards it, let alone stick to it.
In the statement I had already hinted at it, the rose lives, stands upright, surrounded, fogged, carried (not held) by the warmth of a natural, probably wooden oud and musk that can still be spotted. Compared to music, Amber plays a kind of low bass that you would hardly hear anymore. If he weren't there, you'd notice something was missing. It may be that the sandalwood can still be found there, but if there is, then only there, in this underground carpet of 1000 and no night.
Abaq has this "depth", is grounded, rooted, to emphasize the most beautiful thing visibly, the rose, which is however no "Desert Rose".
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