Rozy Voile d'Extrait

“A Rose Is Still a Rose,” said no Vero Kern ever. Next to Onda, Rozy is the most complex work in the Vero Profumo catalog. A perfume that fascinates me on multiple levels, apart from the name. I don’t know what inspired it, but to me it sounds rather discordant with the fragrance itself. Such a convivial title for a composition that steers quite mature and dangerous. But perhaps that is how it all started. The journey of coming of age. With a little girl named Rozy. There is nothing "breezy" about Rozy. There’s not even much rose to it. I also feel quite reserved about placing it in a group of fragrances since it spans such a vast territory, but if I were to squeeze everything and have it fit in one slot, it would be the Oriental genre. It is really fascinating how Vero managed to pull inspiration from the classics to later develop her own original ideas. The way she used materials in ways they were rarely used by other perfumers, and how she always thought outside the box. With a name like Rozy, one would expect a big rose at the center of the composition, but that is hardly the case. The floral part of this fragrance is built upon a mutant “TuberRose.” I say mutant because it is neither tuberose nor rose, more like a hybrid of the two. Of course, Vero wouldn’t just glue them together, but further transmute the individual parts. Therefore, the tuberose keeps some of its innate characteristics: green and camphoraceous, while its rubbery and almost leathery aspects are amped up. The rose is pressed against the pages of a book and left to dry: a dusty carcass of its former self, while its natural fruity/berry-like facets are further exploited. She opted for blackcurrant/cassis to emphasize the delta-damascone-like molecules naturally found in rose. And so, Rozy opens with a burst of juicy blackcurrant supported by camphoraceous and green facets, quickly followed by the bouquet of transformed flowers. But the floral part doesn’t get to hold the limelight, as one can almost immediately sense darkness creeping under. I pick up a prominent leather accord, quite dusty and dry. It feels like the florals are growing out of a leather garment, perhaps partly because of how the tuberose is transfigured. And this leather accord will continue to hold its ground for a long time, joined by other Oriental motifs as Rozy morphs on the skin: honey (again, dry and not syrupy), incense, resins (styrax and cistus), woods, oakmoss, and a noticeable animalic cocktail of musks, very similar to the one used in Onda, only slightly toned down by comparison. The brighter bits of Rozy disappear as swiftly as they appear. You get a glimpse of the currant buds and an impression of the florals just before they get engulfed by this harem of sins. Its fall from grace is predestined with no turning back. She was once a little girl named Rozy, and she turned into a beautiful woman who has mastered the art of seduction. Ultimately, Rozy feels like watching someone’s coming-of-age journey, or perhaps witnessing one’s transgression. It is a story of becoming. I enjoy every chapter of it, as each part is satisfying in its own way with no dull moments. A thorough olfactory composition where quality materials, skillful crafting, classic and modern alike, summit. IG:@memory.of.scents

My initial impression of Rozy Voile d'Extrait was a nose-gasm, eyes rolling in the back of my head laid flat on my back. The sweetened florals, resins, cassis and vanilla are so exceptionally well-blended that it becomes a singular scent, but within it I can smell nuance after nuance and, specifically, it reminds me strongly of several great perfumes I already enjoy. In particular, there's something in the powderiness of the florals combined with the honey and vanilla that takes this STRAIGHT into Guerlainade-like territory, indeed I get touches of Insolence, Nahema and Chamade, the rose and cassis likely being responsible for the latter two but I struggle to understand why Rozy is reminding me this much of Insolence too, or indeed where this incredibly cosmetic powderiness is coming from. I can believe that here the tuberose and rose have been conjoined to create some new, impossible flower which is utterly without counterpart in the natural world, but to me is a rosy-purplish kind of colour (and, indeed, not a white floral at all). On rare occasions a slight, tart fruitiness appears and then instantly recedes, I assume this being mostly from the cassis. At the bottom a fairly distinctive leathery note, not unlike that found in Lutens' Cuir Mauresque, takes the occidental floral of the heart and transplants it somewhat to the East, though not hugely far. All that said, Rozy VdE gives to me the emotions and imagery that are conjured by Insolence and the "vortex florals" (Nahema and Chamade) of Guerlain - a fragrance which is totally enormous but also extremely heavy, like brocades of near-black fabric falling around a Victorian bedchamber and faintly illuminated by the moonlight. It is more nocturnal than any of the fragrances I've mentioned, and heavy and rich with sweet and spicy resins as it dries down. If you're a lover of the vintage, orchestral Guerlain you are near-guaranteed to like this. Gender-wise it does lean more to the feminine side, though its enormity is uncharacteristic of the watery and fruity scents that dominate contemporary women's perfumery. I may update with further thoughts as I wear this more.

“Everyone praises the endurance of the ascetic, but no one appreciates the stamina of the hedonist. To laugh until the throat burns and smoke a cigar to soothe it, to black out but not pass out, to love without climax, to be immortal in the moment – what stoic has such fortitude?” - Bauvard, The Darkness of Nature Rozy is an immolation of a perfume. Don't expect a stoic rose soliflore, or even for Rozy to be Rubj for roses. It's neither. It's more Knize Ten than Une Rose: a bombastic dinosaur of '80s floriental cut at odd angles with niche oddity. Boucheron in a burlesque retrospective. The rose itself in Rozy is more hinted at than present, lost and buried somewhere in between honey and blackcurrant, realized more as a whiff of Caronade in the manner of Or et Noir than as a living blossom. Tuberose has got your back on this caper, and your front, middle, and sides, in case you might miss my meaning, buoyed up on a plush duvet of orange blossom, opopanax, and benzoin. While this ( the Voile d'Extrait I'm reviewing, that is ) doesn't reference other fragrances of Vero's, it shares their common thread of smelling simultaneously like a vintage perfume, and also one of the stranger creatures in niche. I'd recommend it to fans of Knize Ten ( uncannily in the top notes ), Miel de Bois ( in the heart ), and among newer releases, Calice Becker's Sweet Redemption ( the fuzzed-out orange blossom palpable throughout ). Fans of the Caron urn scents and larger '80s feminines should also find something to love in here. Word to the wise: Rozy is a tank. The Voile d'Extrait is the dilute variant of the ( presumably Brobdingnagian ) Parfum Extrait, but even given that, one spray makes its presence felt far beyond arm's-length. Tread cautiously.

This is one of the least Floral floral scents I have ever smelled, although it is the complete opposite of the dry non floral floral Le Labo Rose 24! Hey maybe it's just moi, but I get neither Rose nor Tuberose nor “white floral” which are in the notes pyramid up there! I do smell purple, green, gold and silver, none of the Floral variety. The opening sharp fruit blast is one of my favorite parts, and lets you know that this is not going to be a conventional perfume tumble — if you couldn't tell by the bottle and the name — and it's a wild and wonderful ride! It's like a perfect dish by a brilliant chef. It has wonderfully balanced elements of acid, spice, sweetness, texture, color and flavor, perfectly seasoned, and you have never really tasted anything like it before. Very entertaining! On the other hand it is easy to have an intense chemical reaction that makes it impossible to appreciate any of the Vero fragrances, which I happen to have with Onda, the scent everyone adored when her line launched, so samples are a must! PS I just wore this on a rainy cold day in Paris and although I found the sharp fruity aspect as pleasurable as always, more of the floral quality was present for me than ever before (and I am almost finished with my bottle!) maybe a body chem thing or else an exhausted nose, go figure!

I have sampled or have in my collection many types of perfumes. I can love and appreciate them all, but I have discovered that my chemistry has to have the old fashioned rose jasmine accord. I bought a sample of this from Lucky Scent because the review said that it was like a contemporary version of Nahema or Shocking, my two most favorite fragrances of all time! Obviously, I had to try it! The first sniff was wow, this is how perfumes used to be made! The three notes that I get in spades are tuberose,honey and benzoin. There may be rose somewhere in there, but I can't distinguish it at all. The drydown is really lovely, a little smoky and full of honey and very much resembles the reformulated Shocking and something in the drydown hints of the the original Shocking. I do not tolerate tuberose very well, but the first shot of it doesn't last too long before the honey takes over. This fragrance is very beautiful and gives me hope that old time perfumery is not dead yet! Thank you Vero!

Rozy is indeed a scent that might arouse a thinking mind- The smell conjures vero's own -Onda-laying at the top- A kinda deep nutmeg cloak with mild spice as deeper breaths take you into the labdanum, which (though i find generally comforting) can puff baby powder vibes-But here it wears its harness- and does not stray from within the entire composition Rich and Dry Two sides touch side by side The tuberose shows its rubbery, chewy facets and peek a boo rose lie between them as if they are held together by honey atop charred leaves and woods the 'honey' is like a concept- putting its arms around it all to act like a thread that connects elements to unity - Its not particularly the sugary facets of honey that come into play- its as if honey were a skin, warm, smooth and ever changing as a dense, thick liquid that bends and mingles with what is around it -the infinity symbol is the visual im getting

Rozy is complicated, unpredictable and interesting. These qualities make her exciting and compelling. In so many well blended perfumes you don’t smell individual notes after a short while, just the whole as the smooth impression the perfumer intended. This one is completely opposite to that for the first half of its life on the skin. What you get are individual notes, that change and cycle constantly in one wearing and if you wear it different days, different seasons, each time smells different. In addition to that, two of the main notes I get, honey and camphor, are such polar opposites it’s like a weird wrestling match with rose and tuberose caught in the middle, occasionally coming up for air. Eventually it does settle into a lovely light honeyed pink rose. So pretty. I think this is for people who wear perfume for themselves, not for others. I love it. It lasts on the skin forever, 24 hours.

Now this is not different from the others but quite captivating although i didn't like the top note or in other words never thought that it would transform into something quite charming! as the very first spray was kind of chaos and confusing with that harsh roses soaked in sticky honey with some flavors of white floral and some fruitti notes. The roses remains conquering the whole scene with it's harshness and unique essence for several minutes. And as it calms down i can sense Knize 10 with more of a rosy notes, something like dry rice from sackcloth bag, slightly animalic with a twist to alter the rosy dominant note and goes quite dry. this is unisex and never feminine only.

I really appreciate this perfumer. The compositions take risks and always tell a story. Rozy is a sunset fragrance that is reckless in direction. I feel like it was made for people who have suffered great disappointments in life and have developed an attitude of "$*(# it". The white note here is so loud, so sure of itself. Yet so lonely. Far in the distance is a dry, reedy vibe. At the end of a deep inhale I can sense its tenacity, and this I fully appreciate. this is a complex scent that I recommend sampling

EN. "Rozy" has 2 editions, but I liked the Voile d'Extrait one. It so great tuberose, I ever tried. Then, some honey, coriander and rose, but I feel that is's still the unisex perfume, magical and highly concentrated. IT. "Rozy" ha 2 edizioni, ma mi è piaciuto solo quella di Voile d'Extrait. E' così perfetta la sua tuberosa, una come questa io abbia mai sentito prima. E poi un po' di miele, coriandolo e la rosa... Nonostante gli ingredienti "femminili" è un profumo unisex, magico e concentratissimo.

I had very high hopes for this one, but thankfully only bought a decant because after applying, on my skin at least, it smells exactly like Tabu. Now Tabu does seem like something Anna Magnani would have worn but would pay a LOT less for it than Rozy Voile. Yes, it is a high quality fragrance, much higher than Dana's Tabu, but it is still Tabu.

While tuberose plays a supporting role, it's the rose that takes center stage, it is rich, dirty, powdery and oriental in character.

The review by Db 1417 of 🥀 Rozy, the scent of a midlife crisis in a Bottle is rather contradicting and based on fictious assumptions.... "A Rose Is Still a Rose," indeed! Evidently, some people think slapping a saccharine, bubblegum-pink name like Rozy onto a dark, dusty, musty composition makes it "complex." News flash: it just makes it confusing, like naming a heavy metal album Fluffy Bunnies. Db 1714 claims this Rozy bilge is "the most complex work" next to Onda. If Onda is a masterpiece, Rozy is the awkward, pretentious little sibling no one talks about. The name is "discordant with the fragrance itself"? No, it’s just plain stupid. A "convivial title" for a "mature and dangerous" scent? Sounds like someone trying desperately to find deep meaning in a marketing fail. The "journey of coming of age" is apparently synonymous with smelling like you’ve been locked in an antique shop’s basement for a decade. There's nothing "breezy" about Rozy because it’s heavy and suffocating. And there's "not even much rose to it"? Then why is it called ROZY? The only vast territory this spans is the one between "Wearable" and "Wipe-Off-Immediately." Squeezed into the Oriental genre? More like crammed into a dusty, overstuffed trunk of forgotten scents. The supposed brilliance of Vero pulling inspiration from the classics is just a fancy way of saying she rehashed old ideas and then smothered them with "original" twists that make them worse. The "mutant 'TuberRose'" sounds like a failed science experiment. It’s "neither tuberose nor rose," which is a polite way of saying it's an unrecognizable floral mess. The tuberose is green and camphoraceous? Great, so it smells like a medicinal mothball. The rose is "pressed against the pages of a book and left to dry: a dusty carcass of its former self." It's a decaying flower, folks! Who wants to smell like that? The juicy blackcurrant opening is a fleeting lie, a momentary distraction before the real horror creeps in: the darkness. That prominent, "quite dusty and dry" leather accord doesn't make the florals seem like they’re "growing out of a leather garment"; it makes them smell like they’ve been forgotten inside a leather garment that hasn't been aired out since the 1970s. The "harem of sins"—better described as a gaggle of grim notes—includes dry, non-syrupy honey (pointless!), dusty incense, resinous goo, and a "noticeable animalic cocktail of musks." Ah, the dreaded animalic musks! Just like Onda, only "slightly toned down"—so, still a potent reminder that someone's trying too hard to be avant-garde and ending up just smelling vaguely stale and dirty. The brighter bits "disappear as swiftly as they appear" because they're terrified of the musty leather and bodily fluids. The "fall from grace is predestined"? Yes, the grace of smelling pleasant! The story of Rozy isn't one of becoming a beautiful, seductive woman; it's a story of becoming a musty, brooding liability that everyone gives a wide berth to. "No dull moments"? That’s because you’re desperately trying to scrub it off your skin before the oakmoss fully settles in. The review below is just as fictious as the thought of sancta claus climbing down the chimney on Xmas. Have a good one everyone , stay sharp and stay critical😇

rozy Perfumery gets away with a lot. It can tell you quite a bit if you're listening, but because it can't be pinned down to any literal meaning, it appears entirely subjective. It's the ongoing problem of scent and language. Because we can’t express clearly to others what we smell, we confuse the personal for the subjective. Scent doesn't convey a repeatable, specific meaning in the way a visual image does. Show 10 people a photo of a cat, ask, "What is this?" and they'll all answer either a cat or an image of a cat. Representation is easy with the visual. It gets harder with the olfactory. Wave a fragrant rose under 10 noses and ask the same question and you might get a majority of "Rose" answers. Try the same with perfume and who knows what the responses will be. Vero Kern creates the tools to look a little closer. The three versions of her fragrances--extrait, voile d'extrait, eau de parfum--are not just different concentrations. They are different points of view. Kern states that the purpose of the voile d'extrait is to combine the potency and shape of the extrait with the lift and expansiveness of the edp. In investigating an idea over the course of three versions of the perfume, Kern does in one shot what Edmond Roudnitska did over his career with Eau Sauvage, Diorella and Parfum de Thérèse. Both perfumers explore an idea or set of principals over the course of a number of perfumes. Branding is apparently a necessary evil, and Kern's approach is both old-school and effective. Not the the marketing blunderbuss of Chanel or the LVMH subsidiaries. Not the dancing-as-fast-as-I-can dissembling of Creed PR. Not the bell-curve mediocrity you get when design and marketing are so close as to be indistinguishable (Maison Francis Kurkdjian). Vero Profumo’s strategy appears to be this: make a concise and well-edited line of exceptional products, package them beautifully, let the artist speak. The three versions of her perfumes aren't an attempt to gain a larger demographic foothold and they aren't the product of focus group tinkering. They are the expression of fully explored creative concepts. Each model stands on its own, but smelling the different versions feels like an exploration. Perfumery tends to have a very limited view of the relationship of perfumes in a line. A line is formed by throwing everything against the wall and seeing what sticks ( ie., serial releases) and then copying what does stick ( ie., flankers) Kern's approach borrows from other art forms and, while each of her perfumes is a complete work, it can also be understood as an episode, a movement, an act, a part of a series or triptych. .rozy highlights perfume’s capacity to explore aesthetics. Despite marketing that tells you that a perfume is 'about' yachting, privilege, hipness or cupcakes, or that a perfume will make you sexier, what perfume in fact offers is the chance to explore the world from a particular sensory angle. Kern's work shines when it's viewed conceptually. For all its complexity and density, .rozy has clarity and it wins me over for its beauty and its integrity. Kern doesn't try to convince you, she offers you excellent perfume and asks you to consider it. No bullshit. No yachting, no promise of heightening my allure. .rozy is thick with ideas. Large dynamic qualities sit next to subtleties. Acute angles and body-shaped curves intersect. While there are references (Knize Ten and Jean Desprez’s Bal à Versailles, Anna Magnani’s performance in The Rose Tatoo) they aren’t overstated. They are enhancements to your experience. The punctuation and spelling of the name tell you that rose is involved, but that it is a qualified rose, 'not your mother's' rose. Rose is nested so far into leather notes that I only notice it out of the corner of my eye. Even the leather is a moving target, ranging from rubber to dust to honey. .rozy isn't the expected woody, balsamic, syrupy or ambered rose. It's hardly a rose perfume at all. It's more of an Easter-egg hunt for the rose that you're told is hidden somewhere. Expectation of a rose might take you into this perfume, but the leathery tar is what sticks to you. .rozy has a long arc over the course of a day, though. Where you first feel caught in a tar pit, by the end of the day you find yourself lounging in a honey pot. Were you captured? Did you choose to stay? Did you submit? Were you seduced? I was. .rozy is a serious perfume and requires backbone to wear. Wearing .rozy is like going to the ballet or the opera. Anyone can buy a ticket, but the audience who are taught the language and history of the form appreciates it differently. The same goes for .rozy. Anyone could wear it, but perfumists will just squeal over it. from scenthurdle.com

Now, we're talking! This completely moves in masterpieces territories in my book. The funny aspect is that I'm generally neither a fan of rose nor of honey (which both play quite a relevant role here) but, again, Vero's take on the main theme is indeed one of a kind. She takes a very classic theme and completely turns it into her very own take giving birth to one of those fragrances that will surely live a trace in modern perfumery. Seriously. Inspiration here is Anna Magnani, her imperfections, her disarming charme, her fragility, her strength, her peculiar features that made of her one of the most loved and talented actress ever. In order to fully appreciate Rozy Voile D'Extrait, you have to be fine with beauty achieved through imperfections as opposed to pretty (and boring) features. With daring choices, with unconventional solutions. Don't get me wrong, Rozy VdE is NOT a difficult fragrance but, given its depth and complexity, it surely can be appreciated on several levels. The opening is one of the best things happened to perfumery in a while. Cassis and an almost camphorous tuberose. Seriously, WOW! The fragrance starts evolving by introducing a mix of spices and rose while a dry sandalwood note starts lurking in the back together with honey. In this phase, I get distant echoes of other perfumery pillars (at one point I thought I was catching a kinship with Knize Ten but I'm pretty sure it will probably be just me). With that said, the fragrance still feels incredibly unique and cultured as opposed to safe and stereotypical. In this context, it doesn't smell french, it doesn't smell middle-eastern...it simply smell like something only Vero Kern could deliver. Honey takes over together with other moderately sweet elements (vanilla? sandalwood?) while a subtle dose of styrax provides smoky facets. The drydown is basically endless with continuous kaleidoscopic effects involving all the ingredients into play. It goes from dry and smoky, to sweetish and velvety via woody and obviously...Rozy. Rozy is an act of love, a tribute and a gift from one of the most passionate and talented perfumers around. In 2014, I hardly can see fragrance going any better than Rozy and, believe me, either you will agree or not, I'm being 100% sincere here. Now, I'm seriously wondering how long it will still take to officially declare Vero Kern as probably the most valid *tout-court* artist in modern perfumery. All of my love and support. Rating: 9/10

now the best revelation with Vero.Kerns 'Rozy' came a couple of days ago while I have quite the collection here as off 2014 I guess starting with Rubj extrait and going all the way to Naja. I love rose perfumes and Rozy is a kind of 'abstract rose perfume' yet it isn't so conceptual as 'to make the rose perfume without a veritable presence of rose de mai in it or rose taif or bulgarian rose. well a couple of days ago (Rozy stood in waiting for some years) I came from work and when spritzing on two spritzes of Rozy I immediately was transponded to perfume heaven not in the least due to the sheer force of the enveloping, well it was rather a blast, of this perfum-ey perfume in my nostrils with this heady thick wall of honey, rose and tuberose. after work this was pure delight and...happiness. it is a formidable perfume with a force 9 on the Richter's scale. but it is also, not so much of a conceptual (although the 'tattoo narrative and reverence to Anna Magnani' are touching and strong) but here the aromatherapeutic blending genius of Vero Kern come to full fruition. it is Rozy Extrait de Parfum I am talking about and what hangs in the air, continuously with [Gouldian] 'variations on a theme', is this hypercloud of olphactory sensations with everchangeing character out of which a spicey, honeyed rose-tuberose emerge. the spices are very insistent and 'complexisizing' which enriches the perfume only incessantly and ballistically. nutmeg, coriander, black berry leaf notes (amiably piss-like), labdanum and styrax all come to the fore making this an extraordinary complex yet soothing and (luckily) at times haunting perfume. this blast I got 'postWork' got also rid of all little sorrows I was still carrying along. the perfume makes you want to search for the rose which interferes with all notes and forms a diva bedecked with jewels, gems, couture. the Vero.Kern DNA is clearly recognizable and it is a true pleasure to define a day with one of her perfumes but hey, I have Pissara Umavijani here also to reckon with and several Oudh-Roses, Montale, Ex Idolo's Thirty Three et cetera. like Dusita Vero.Kern suits as well in nichiste levels as in the tradition of the old european perfume makers (with Asian references for Dusita and Swiss 'edelweisschian' exceptionalities/tonalities for Vero.Kern) . what pleasure it is to have these ladies enrich the reigning perfume establishment.

I have always loved ROZY. I guess (I know) I acquired this perfume in 2014. I have two flacons and the what- or, where abouts I do not exactly remember... what I do remember is the Narrative with which ROZY came on the scene. it was an Homage to Anna Magnani. the movie 'the Woman with the Rose Tattoo'. but I remember Anna Magnani specifically in the film MAMA. (Mama Roma 1962, The Rose Tattoo 1955) she was a more down-to-earth Solphia Loren, Gina Lollobrigida, Claudia Cardinale and at the same time they were that themselves too. so ROZY is an utterly feminine perfume. what struck me at once last night (evening) is the Strong Perfume of Rose. what I remember of ROZY's Rose is that it was characterized as a Rose-Perfume without (so much) [the Rose]. but I also read that one of the inspirations for Vero Kern was Guerlain's perfume Nahéma. and thát is a veritable Rose-Perfume. yet what I discovered is that ROZY is that too and vehemently so. I smelled first and only a Rose, then with the Black Currant Leaves backup. then I would never have guessed there is also a Tuberose in it. only afterwards. again the sheer force of the opening. I remember from around 2014 someone visiting his Grandma with whom I spend the day and immediately said: 'what is THAT for a smell...'. and it wasn't meant prosperously nor pleasurable. with such responses I got my affirmations that I had precisely chosen the right perfumes. yet this very characteristic of turning her notes quazillion times up and the one Superimposes the other and vice versa. that this was a personal Trait of Vero Kern the perfumer. and the Cat Fight between the Rose and the Tuberose give this perfume her depth and drama. perhaps the Labdanum, Sandelwood and Vanilla bring in some peace between the Cats from Hell. but the Honey, Styrax, Coriander and Nutmeg pierce the things still further up. Vero Kern loved Italia. as I do too. and those unforgettable Nymphs no Diaboliques on Ink Black Stilettos make it all the more worthwile for me.

ROZY is a lovely perfume. it smells rather towards 'pot-pourri' than it is a full fletched rose-perfume. with the late Vero Kern we had always the schism between aromalogy and perfumery, she was both. aromaloger as therapist and virtuose perfumer whose carrier lasted too short. I wondered what she had made of 'oudh', the four letters already in line for a new name and perfume. I have them all, incl. NAJA, but regret to have never bought KIKI, which from samples smells divinely after caramelized lavender. a kind of JICKY homage post ante quem. ROZY she accompanied with the narrative of MAMA ROMA, Anna Magnani, a strong woman like herself, plus a perfume like a tattoo. it is longlasting already. it hovers between a 'constructed' or 'deconstructed' rose and some other queens tuberose, labdanum and vanilla. then (always important with Vero.Kern, the spices and herbs). coriander, nutmeg, styrax and honey, which she used often as animalistic layer. not that I smell these notes separately. they complexisize the perfume and it is a truly layered yet with one strong identity, perfume. the first perfume I bought was RUBJ which I conceived as a neoGiorgio. (also 2 flacons de parfum.) I really have mourned as I did with Karl Lagerfeld, when she died [15 dec. 2017 ?]. I also see a double figure of her with Pissara Umavijani whose carriers doubled and who were and are brilliant parfumistas. they have in common that they make brilliant and sparkling narratives for exceptional perfumes. Adieu ma chère Vero. [ † dec. 18th, 2018 ]

This is a complex and long-lasting fragrance. I have tried the EdP, but felt that the fruity rose in that one was not meant for me. The Voile d'Extrait on the other hand suits me much better. It is most of all a tuberose fragrance, as others have pointed out. Starting a bit crisp and fruity on my skin, and soon develops into a full tuberose scent. But not pure tuberose; there is certainly a strong element of Knize Ten as alfarom mentioned, a kind of floral-leather-petroleum scent, which is also somewhat powdery. On my skin Knize Ten is more petroleum than leather and it feels the same here with Rozy. There is also a bit of honey, but it is not very prominent on my skin. All in all it feels like a classical, perhaps a bit old-fashioned 'real' perfume. Unisex and long lasting and with a good projection. The quality of the materials seem very good, but I can't really sense any rose.

An absolute masterpiece of perfumery. This fragrance twists and turns and is not scared to throw some unpleasant tones at you while also making you swoon. This is a massive honeyed floral with a vintage style feeling. The weird pairing of white flowers, an almost urinal honey (yep) with powder and greenery makes for an unpredictable wearing. I spray two sprays and it’s way too much. It’s has very strong characteristics of both Amber AND chypre and I don’t think I’ve ever smelled that before. This is a REAL fearless perfume it’s just wow! It has the honeyed feeling of vero’s Onda perfume but this is strangely easier to wear somehow. It’s rich but soft... prettty but ugly... vintage yet modern. And I’m sad I didn’t get myself a bottle before it disappeared. Feeling regretful. They don’t make perfumes like this very often. Bravo!