Oudh Osmanthus

(2018) after quite a while I spritz on again Mona di Orio's 'Oudh Osmanthus' (perfume from 2011). it is if I have never smelled it and now, for the first time become aware of its truly richness and the refinement of her oudh. this all awashed in eveninglight and me, tired from a day's work. it is a smashing sensation the refinery and subtlety of O.O.O. I guess my feeling now senses the (already not harsh) oudh becoming smoothed out by predominantly the osmanthus, upon which I wrote a review yesterday with MEMO's INLé an, also osmanthus-centered perfume along with Dusita's La Douceur de Siam. here, with Mona di Orio's Oudh Osmanthus a woodiness prevails and then again, reciprocally, this woodiness accentuated by the floral scent of the osmanthus. Ensor, our 'Papa d'Oudh', says the oudh doesn't necessarily has to behave in grades of barnyardness, skankiness, tarriness and, or, her degree of pissoir and all substances of the netherzones. Oudh, good oudh he says, precisely combines thousand other scents (and images) varying from rum to flowers to civetlike pungency to forestriality etc. personally I prize Dusita's 'Oudh Infini' (the best oudh I know) because of the unbelievable forcefull skankiness of the Laotian Oudh Palao that, and with the civet and unbelievable beauty of the used Rose de Mai. in the sense in having created this genius perfume builded around oudh with flowers, patchouli, petitgrain, also an animalic fixatif and orange, these two perfumes are hi-octane. but tonight I discovered the also, true beauty of Mona's Oudh Osmanthus and there are velvet revolutions too. I shall always judge the powerhouses- perfumes as ballistics as Fenomenal-Fabulous. Poison, Giorgio, Knowing, Coco, Oudh Infini, al Waad (Promise) of Dominique Ropion / Frederic Malle, Ex Idolo's Thirty Three, Vero Kern's Rubj, Naja, Onda et cetera. but this chic lady whispers with sophisticated voice and has a beautiful woody emanation backlit by the yellowwhite light of Osmanthus, Orange and Elemi. Mona Di Orio had a unique vision and her prematurely death Rifted up the Perfume House until finally, the close-down. (2024) (july 2026) while I never would get tired of still another Rose-Oud, especially by Montale, I must say that the perfume that I have here which I suspect to be from a few years after 2011, is a very special and radiant perfume. what foremost imposes to me is the veritable Oud-oil used, which I everywhere see is from Laos, and has quite a deep and full Woody aspect, of Noble Birth. the specific Oud pedigree one smells perhaps best appears in the beginning when I can detect a slightly sour, medicinal note. which then gets suffused by all the other Notes that perform in the perfume. even the Petitgrain, a slight Tea note (discernable), combines splendidly with the Osmanthus, to then later again being caught up in Oud and Ambergris for which mme. Di Orio only seems to have signed for their excellence and preciousness. an Exquise Woodiness together with the Noble Animalcy of Ambergris, combine to give this perfume heft and expression. the Elemi-resin, Cypriol-oil, Patchouli, Atlas Cedar & Musk underscore the wonderful 'Western Jungleness' of this very perfume. Mona Di Orio seemed to have had a virtuose hand in perfumery. I am glad to have acquired this perfume then and there. I saw the initial 'Oudh' already had the same ingredients as the Oudh Osmanthus in the later 'Gilded' bottle. I was remembered of the excorbitant price [Pound Sterling 275 for 2.5oz75mL Edp] but then later I would encounter Dusitas 'Oudh Infini' for Euro 395 per 1.7oz50mL Extrait de parfum. only in their Exceptionality are these perfumes comparable. these Ladies proved and prove to be as fabulous as also knowledgable.