A little while ago I got a very nice parcel from Tara (formerly of Olfactoria’s Travels) including amongst other things three Jul et Mad fragrances, called ‘the white collection’ and comprising: Néa, Geruda and Nin-Shar.
The PR mentions the golden age of Byzance, Babylon and Angkor, so it’s clear at least that the intention was to do an oriental themed range with the Middle Eastern (oud, anyone?) customer in mind. For me it’s a welcome new direction away from the ‘bottling our love story’-theme.
Néa is a full-on gourmand with a nod to the oriental. The notes might say pomegranate and plum, but I instantly thought of peaches and berries. There is a huge candy rose blooming right after the fruity start, and the heart really is rather floral though still with enough sugar to scare your dentist. The sweetness increases and metamorphoses into a buff-coloured cream toffee (fictitiously) melting on the tongue. The caramel subsides slightly towards the dry down to leave room for a lower insulin producing mix of vanilla, wood- and musk-like notes (read cashmeran and ambroxan). It’s a happy and lavish gourmand.
Next up is Garuda: this is ‘the oud’-one. Fair enough, I do understand that when doing oriental themed perfumes, one needs to do an oud. Garuda starts quite full-on oudy, and with a dry woodiness which makes it feel like more of a masculine perfume. There are also hints of pepper and hesperidic notes in the opening, but it’s really all about the oud here. A rum note enters, once again putting the emphasis on a masculine character. In my first wearing of Garuda, I was very surprised to find that the last phase of the perfume loses the dry, bitter oud/wood character, and becomes an amber woody skin scent with more of a cosy feel to it.
I was surprised when I sprayed the third perfume of the range ‘Nin-Shar’, and smelled oud. I had just had the ‘oud-perfume’; surely they wouldn’t do two oud perfumes in a three perfume collection? Well, they did, but this one starts off more feminine, and treacherous. If Garuda was a masculine with a soft well-hidden cosy side, then Nin-Shar is the feminine fragrance with a backbone. A well matched pair the two. It’s the by now well-trodden road of rose-oud. This one however starts with a big red rose together with a bitter, almost sour aspect of artemisia, in conjunction with a tiny bit of incense, adding to a strangely sour feel. The oud here simply is a part of a grander tapestry. The deep red rose is what gives Nin-Shar it’s mostly feminine character, and perhaps the added jasmine flowers enforces that feel. It comes once again as a real surprise, when the base therefore is where the oud really shines through and together with the embers of the incense creates a much tougher feel than what I would have expected.
To me Nin-Shar is the star of the collection. Although I do appreciate Néa and admire Garuda, in both perfumes I was a little disappointed with the perfumes relying on things like cashmeran, ambroxan and timbersilk aka iso gama super to carry the dry down of otherwise fine compositions. To me Nin-Shar is the one that has quality all the way through the composition right till the very end.
If you wonder about the feat picture; yes, it has nothing whatsoever to do with today’s fragrances, apart from the fact that it’s just a little view into what the non-messy part of my writing desk looks like.
Both pics by me.