Top Notes 
Heart Notes 
Base Notes 
04/28/2024
Axiomatic
23 Reviews
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Axiomatic
Top Review
30
The art of polyphony
A noble vetiver is offered here according to the molecular, polyphonic art of Geza Schön.
Playful green-violet shades dress it up in a sophisticated way.
A composition with a sense of space, Venetian ambient sound in a bottle.
And where cool breezes blow, a warm cloak comforts.
The strange lion in the coat of arms smiles at me.
Will he break the chains and swing his sword nobly in St. Mark's Square?
Hiss!
A photorealistic cardamom enters the stage and reveals every facet of its green. Sweetly bright, coarsely dignified and humanizing.
I have rarely smelled this spice so present.
Even during the opening, the main motif of the mature vetiver can be heard very gently from the second row as a warm backdrop. But it would be too early and a shame to skip this prelude.
For a delicately powdery bergamot, adhering to the strict movement requirements of the Baroque, raises its fragile voice.
Not a minute later, fresh, sharp tones counter her plea. And not overbearing, no, from another row of the stage. Nobly combative ginger with warm pepper.
What a diverse round dance in the top note! If it were the main accord, there would be no objections, quite the opposite.
And suddenly you are in the middle of the main part.
Delicately floral and earthily dry, the rhizome of iris with these very soft violet speckles of violet.
Is the exquisite blossom of the iris being recreated here? If it is, then it stands out from a border of lily of the valley.
At least the jasmine will remain rather spring-like, preventing the too powdery and heavy life of the iris. Very green, tart vetiver skilfully frames the picture and conceals the floral, pushing it away slightly.
Geza dresses the tart grass in a very sophisticated way.
He lets it mature in old barrique barrels so that it absorbs the essence of high-quality brandy, possibly Armagnac. But only the restrained, refined dose of it, which mediates between light and shade.
What a relay!
This gives the grass a mature, dignified and deliberate appearance.
The cozy cinnamon with the woods provides the right framework, a wonderful counterpoint to the bright citrusy floral notes.
The interpretation of moss in the base is also a delight.
Geza has mastered sensitivity here, as he does not embed this grandiose composition in a conventional fougère base.
His moss is not soapy, no, the lichen adapts to the white flowers. Slightly dry, green and a touch sour, as it thrives on branches.
Amazing that the vanilla is kept dark, tart and almost like a glaze.
A relief to have used only a little of it to round off the woods.
This keeps the focus on the vetiver, which could not be more precious.
And there they are, all the characters of this opera seria on the stage, their fragrance impressions blossoming again and again according to a strict division. Because the further along the fragrance progression, the more colorful the overall picture.
Exquisite polyphony!
Chapeau, dear Geza!
It is understandable that a complex fragrance of this size would not be possible without molecular help.
As a master in dealing with said technical support, you create great things! Used in a targeted manner according to strict quality criteria, the interplay of natural and synthetic components in your creation conjures up a true work of art.
Praise also for the almost Swiss precision of the temporal transitions of the notes and the stage-ready spatiality.
A bow on my part!
I have already enjoyed the scent a few times to Antonio Vivaldi's opera "Farnace".
In its plot, the situation seems hopeless. Farnace, King of Pontus on the Black Sea, sees no way out of the enemy siege other than the death of his family. A hateful mother-in-law even plots to eliminate her own daughter.
But the king's clever and loving sister, Selinda, will change fate for the better.
Vivaldi's spatial sound in particular fits as an allegory to the course of the fragrance.
Many thanks to Kokusai for the generous bottling. So I was able to find a familiar approach to the fragrance.
X for Men is wonderful to wear and enjoy.
Playful green-violet shades dress it up in a sophisticated way.
A composition with a sense of space, Venetian ambient sound in a bottle.
And where cool breezes blow, a warm cloak comforts.
The strange lion in the coat of arms smiles at me.
Will he break the chains and swing his sword nobly in St. Mark's Square?
Hiss!
A photorealistic cardamom enters the stage and reveals every facet of its green. Sweetly bright, coarsely dignified and humanizing.
I have rarely smelled this spice so present.
Even during the opening, the main motif of the mature vetiver can be heard very gently from the second row as a warm backdrop. But it would be too early and a shame to skip this prelude.
For a delicately powdery bergamot, adhering to the strict movement requirements of the Baroque, raises its fragile voice.
Not a minute later, fresh, sharp tones counter her plea. And not overbearing, no, from another row of the stage. Nobly combative ginger with warm pepper.
What a diverse round dance in the top note! If it were the main accord, there would be no objections, quite the opposite.
And suddenly you are in the middle of the main part.
Delicately floral and earthily dry, the rhizome of iris with these very soft violet speckles of violet.
Is the exquisite blossom of the iris being recreated here? If it is, then it stands out from a border of lily of the valley.
At least the jasmine will remain rather spring-like, preventing the too powdery and heavy life of the iris. Very green, tart vetiver skilfully frames the picture and conceals the floral, pushing it away slightly.
Geza dresses the tart grass in a very sophisticated way.
He lets it mature in old barrique barrels so that it absorbs the essence of high-quality brandy, possibly Armagnac. But only the restrained, refined dose of it, which mediates between light and shade.
What a relay!
This gives the grass a mature, dignified and deliberate appearance.
The cozy cinnamon with the woods provides the right framework, a wonderful counterpoint to the bright citrusy floral notes.
The interpretation of moss in the base is also a delight.
Geza has mastered sensitivity here, as he does not embed this grandiose composition in a conventional fougère base.
His moss is not soapy, no, the lichen adapts to the white flowers. Slightly dry, green and a touch sour, as it thrives on branches.
Amazing that the vanilla is kept dark, tart and almost like a glaze.
A relief to have used only a little of it to round off the woods.
This keeps the focus on the vetiver, which could not be more precious.
And there they are, all the characters of this opera seria on the stage, their fragrance impressions blossoming again and again according to a strict division. Because the further along the fragrance progression, the more colorful the overall picture.
Exquisite polyphony!
Chapeau, dear Geza!
It is understandable that a complex fragrance of this size would not be possible without molecular help.
As a master in dealing with said technical support, you create great things! Used in a targeted manner according to strict quality criteria, the interplay of natural and synthetic components in your creation conjures up a true work of art.
Praise also for the almost Swiss precision of the temporal transitions of the notes and the stage-ready spatiality.
A bow on my part!
I have already enjoyed the scent a few times to Antonio Vivaldi's opera "Farnace".
In its plot, the situation seems hopeless. Farnace, King of Pontus on the Black Sea, sees no way out of the enemy siege other than the death of his family. A hateful mother-in-law even plots to eliminate her own daughter.
But the king's clever and loving sister, Selinda, will change fate for the better.
Vivaldi's spatial sound in particular fits as an allegory to the course of the fragrance.
Many thanks to Kokusai for the generous bottling. So I was able to find a familiar approach to the fragrance.
X for Men is wonderful to wear and enjoy.
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