Oeillet Louis XV

The red and white powders are evenly mixed and then dispersed. The standard pink pepper-citrus front call is used to set off the warm and spicy cloves, and the pale and faint carnation-rose-violet and iris coordination is surprisingly rich. like skin. The background woody aroma is dry and light, and the salty, sweet and sour are gradually balanced and the layers are clear. The Oeillet Louis XV is understated and elegant, embodying the dignified beauty of a lady. Keep the boundaries, and be sincere, warm, and intimate. The first impression is that it is tailor-made for Melanie in the movie "Gone with the Wind", because it shows the power of women (motherhood) all the time. I think Melanie, the big-hearted and all-encompassing, is the perfect literary character for the Oeillet Louis XV fragrance, and definitely represents the white carnation. Carnation aromas were widely popular in the Belle Époque and before World War II (around 1920), when Orientalism was still in vogue, and carnations with a spicy smell were loved by the French people and reached their peak at a time. Ernest Daltroff, the founder of the old brand Caron, loves carnations and uses its coordination to create the classics Poivre, En Avion, Bellodgia, Parfum Sacre. Caron's exclusive carnation coordination, including but not limited to cardamom, cinnamon, cloves and pepper. In recent years, carnation-related molecular substances (such as the carnation base Methyl Diantilis ® owned by the fragrance manufacturer Givaudan) have been restricted by the new regulations of SCCS and IFRA, and the carnation aroma has been forced to rebuild and change the previous combination.

Named for Louis the Beloved who became successor to the crown at age 5, Oeillet Louis XV indeed projects an air of innocent regalia. There is incredible beauty and artistry in this scent which, to my nose, culminates as a gossamer blend of soft, creamy flowers that lean toward delicate violets with a hint of powdered sweetness, gently pierced with aromatic warmth. The velvety orchid, rice and citrus pastiche is also an uncommon accord that I stumbled upon in Valentino's signature pink scent in the pyramid shaped quilted bottle -- totally charming and demure. Images of an eighteenth century ballroom start to swim in my mind; a slow, metered harpsichord playing at a tempo that gently wafts the scent of courtly elegance at every curtsy and nod. However Oeillet Louis XV is far from baroque. There is a clean minimalism in the clever composition of notes that finishes as clean, soft floral musk for the contemporary woman -- a more elegant, niche version of Narciso Poudree if you will. The powder note in this fragrance is so finely milled and compact that it shines like satin. With excellent performance, just one spray of this makes for an excellent boudoir scent, or for any occasion that you want to float in clean, romantic velvet luxury.

I imagine dianthus blooms of a light vermillion hue planted aside lemony floribunda rose bushes, and a light breeze mingles the two. The dianthus is delicate, not as rich as fat, fleshy Malmaisons, but no less enchanting. There is a softness, but this is not to be mistaken for a lack of substance. It's the sillage, with its facets of clove, pepper, citrus, that suggests flowers throwing their scent in the open air. Watery, perhaps dewy, slightly sour, its as if the petals were moistened by a light rain. The powder and musk is translucent, and at one point I am reminded of the piquant, green, lily-tinged fragrance of cyclamen flowers. In a way, this smells the way an oboe sounds: wistful and sweet, even pastoral, while most carnation in perfume has more the sonority of a bassoon: deep, buzzy and spicy. Therefore, this may surprise the usual aficionado, but if one leans into its intimacy, there is a likelihood that it will grow more beguiling with each wear. It is another Legrand that effectively transports me to antiquity.

Wow, I'm really liking this even to my own shocking surprise! First spray I was like: "Oh, gawd, no, sharp, suffocating, super retro smelling flowers, no, no, no... " But only a few minutes later a true magic happens and it transforms into the most sophisticated flower bouquet, spicy citrus musky goodness. This smells rich and expensive, a proper royal scent without being pompous or snobby. It just is... gorgeous, superbly well blended, where you can hardly tell notes apart. The spiciness is not in your face, it's there to create interest and intrigue while flowers shine through. Overall it's on the fresh and bright side of things, unlike my initial impression. After Relique d'amour and Reve d'Osssian, this is most certainly joining my collection next. So so worth it!

Is there any note in modern perfumery more deserving of rediscovery than carnation? Once one of the most popular of all floral notes, it's rarely used anymore, and yet it is so much more intriguing and distinctive than so many of the others. It has a spiciness that so many other flowers lack, and even a soliflore like this can easily be worn by any gender. This one is especially nice because it has kind of a kingly feel to it (hence the royal name, I would imagine). This smells classic but it's certainly not dated: notes in the pyramid like pink pepper work to sharpen the ricey powderiness to make the carnation even more zingy. I've yet to find a fragrance from Oriza L. Legrand that did not surpass expectations. Everything they make is special.