"Hair colour, skin type, personality, dress sense and lifestyle all have an influence on our fragrance style. For redheads, I often recommend an oriental; I've noticed extroverts gravitate towards chypre. But, ultimately, trying a scent on your skin is the best way to find out what suits you."
Well, I might be a little late to the party, but the little sample that has been sitting on my desk for the past couple of weeks is finally getting its day today. Pure Oud has to be ordered by phone and I’ve no idea whether it will eventually make its way to any brick-and-mortar stores, but Back to Black has been in for a while and I eagerly procured a sample recently, together with some skincare purchases. While it certainly doesn’t trump my beloved A Taste of Heaven as the absolute favorite of the line, it probably ranks in second at this point and we’ll just have to wait and see whether Pure Oud changes that. 
inhaling this sweet, deep scent that evokes images of grand fireplaces and sipping cognac curled up in luxurious leather armchairs. Gradually, a honey note emerges - subtle at first, forming perfect continuity with the fruity notes of the fragrance, but eventually gaining in intensity and becoming as strong as the tobacco. The two however do not antagonize, but rather complement each other. In fact their union is so perfect that even though I do not normally like honey in perfume unless it is subtle and very round (and this one is very mildly sharp) I find myself not being able to imagine Back to Black without it. It is perfect as it is - honey and all. The drydown is darker, with the honey having died down and the cherry now freely wafting in and out of the sweet tobacco veil that has settled on the skin. Milky almond and soft, powdery notes enhance the feeling of comforting calm, while a beautiful balsamic base simmers gently in the background. 
“I was thinking of The Little Prince, who always runs after the simplest things, but things that are in fact very real and essential. (…) So this creation is based on essential things, on the foundation stones of perfumery: amber, iris, musks, wood, patchouli flowers, violets. All major elements of perfumery, which, for the occasion, have been processed differently thanks to new forms of technology, and thanks also to the heritage of the past 20 years, in terms of transparency, the lightning inspiration of each new debut and the work done also on naturalness.”- via press release
soon to become dressed and emboldened with the sweet gourmand accents of star anise and liquorice. Soon, the fresh scent of mandarin joins in, at first a green nuance like the scent of its stems and leaves but thereafter ever more full-bodied and fruity. Suddenly its freshness becomes all the more brisk and invigorating, adding a definite sense of masculinity to the mix, which if I’m honest, I could do without. This masculinity is further explored in the heartnotes as it becomes enhanced at first by vetiver but thankfully, it soon subsides. We enter a stage of glorious fullness as the perception of rich iris becomes enhanced and the slightly harsh masculinity of the scent changes to mysterious femininity as the deep scent of patchouli joins the iris in full. Most beguilingly, underneath both I sense a burgeoning, slightly buttery and balsamic woody base, enriched with subtle hints of malt-infused tobacco. The base presents a triumvirate of ruling ambers (ambergris, benzoin & labdanum) on a bed of burning musk. The aniseedic, patchouli-infused violet-iris combo persists however softly to the end, enhancing the impression of the aforementioned skinscent version of a gourmand-oriental in the spirit of Lolita Lempicka. Blv II covers the skin with a soft gourmand-oriental veil that projects lightly, becoming drier and more powdery as time goes on and turning surprisingly transparent, allowing one’s own skin scent to glow beautifully from within. In short this to me seems like the perfect scent for someone looking for a quiet, daytime oriental that will offer sensuality and mystery while remaining subtle enough to leave others wondering whether you are wearing perfume or if indeed, the beautiful warmth perceived is produced by your own skin.
Well, what do you know. After all my bemoaning and lamenting not being able to find a Mona di Orio perfume I can appreciate, I finally got the chance to smell her newest creation, Jabu, and I am more than a little pleasantly surprised. I am even more pleased for being in the position of finally writing a positive review about this solid, full of integrity brand. 
and the perfume itself is dedicated to Orange Babies, the target group of the homonymous charitable foundation that helps HIV infected pregnant women in Africa and their babies as well as supporting HIV infected or otherwise affected by the disease children of Africa. Consciously thinking about this target group might bring somberness to our heart, but the perfume’s message is one of spirited optimism: the joy and the laughter of these children finally getting help. 
Jabu opens with the bittersweet, herbaceous, woody accent of petitgrain. Slowly, the woody-citrus freshness of petitgrain dissolves into the mounting sweetness of full, creamy orange blossom. The meeting of the two is incredibly uplifting, having an almost ‘sunshine’ effect on the senses with their jubilant character. The ylang ylang employed here is almost disturbingly oily at first, but soon calms, adding the most gorgeous exotic accent. This exuberant, fervently exotic side is further explored with the addition of monoi-tiare, which underscores the creamy lusciousness. The subtle coconut hint of monoi adds to the ‘texture’ of the fragrance, lending it an almost 'chewy' appeal. After this sumptuous extravagance, Jabu takes a surprising turn; slowly, the scent begins to quiet down, enfolding the wearer with a honeyed, serene sweetness. The buttery softness of sandalwood begins to emerge, mingling with a soft rose scent and the overall sweetness of the scent is cut slightly at the edges as the bitter-sweet scent of myrrh blooms. Together with another resin (the balsamic-vanillic Benzoin Siam - already very effusive almost from the beginning) and sweet tonka bean, these heavier base notes now firmly ground Jabu in the realm of the orientals. The impression is rounded off with gorgeous ambergris (as with Chamarre, the ambergris here is excellent and beautifully prominent) and deep, dark (albeit not dirty) musk. 
a perfume you can truly sink your teeth in. Its femininity is all grown up and mindful of 80’s power-dressing. In fact, there is one perfume that Jabu clearly reminds me of, a perfume released at the end of the decade, but still thoroughly impregnated with the effusive, baroque style of 80’s florals and orientals. That perfume is Lacroix’s C’est la Vie. It’s been many, many years since I last saw C’est la Vie on a shelf, but the moment I smelled Jabu on my skin, the thought of it popped into my mind. A check for C’est la Vie’s notes revealed that my olfactory memory was very accurate indeed: featuring orange blossom, ylang-ylang, rose, amber, Benzoin Siam, musk and vanilla, C’est la Vie reads like Jabu's predecessor. Having said that, Jabu does bear Mona di Orio’s signature and once you smell it, you will definitely have no trouble recognizing it as one of her creations. Still the two are strikingly close in feel and scent and I hope that this comparison helps you get a clearer picture of what Jabu smells like - especially important since many will have to purchase online due to the lack of brick-and-mortar distributors. If you like Lacroix’s powerhouse gem, you’ll be sure to love this one, which appeals with modernized sophistication and updated, soft voluptuousness and projection. 
The bottle in turn is as darling as can be, combining the boudoir luxury of a modern interpretation of the bulb atomizer and the brash boldness of a huge gold brand seal resting on a perfect, smooth cylinder. Try to spray with it though and you’ll immediately understand why I hate it! In order to apply you have to press the oversize logo-embossed seal between your fingers, and while this is indeed innovative, it can only be achieved by using both hands. As a result spraying your wrists or arms is out of the question. Conversely, an effort to spray a blotter or your wrist for the purpose of testing while at a store can be precarious. Will the bottle tumble and fall if you only use one hand while the bottle rests on the narrow shelf? Possibly. Will you look ridiculous if you instead try to juggle it in your hands while attempting to spray your wrist? Almost surely. 
It opens with sparkling notes of hesperidic fruit (juicy mandarin and bracing, refreshing lime) whose tartness is masterfully cut by a magnificently refined neroli note. Orange blossom can be very heady, but here its presence is airy and soft, adding a beautiful touch of femininity to the fresh opening. As the fresh notes subside, the biggest surprise this perfume has to offer emerges: a gloriously animalic floral note blooms, like a sumptuous flower which unfurls its petals to reveal a shockingly naughty core. There is a distinctive lily scent, melded with the fuzzy feel of pollen and infused with this fabulous, honeyed animalic note that takes me by surprise and makes me swoon with pleasure. The jasmine note is green and beautifully complimented by a barely-there, subtle earthiness which is in turn drenched with the scent of ylang ylang. For once, I do not find the ylang ylang oily or heavy - instead it lifts the scent to the threshold of the exotic, ‘coloring’, as it were, the fragrance with sunshine. And I use the word ‘threshold' consciously, for it is never actually crossed: the unconditionally sophisticated base exerts such influence, that this perfume never actually crosses over to the exotic - even when the gardenia-like fullness of the incredibly precious tiare absolute fully emerges. And this is not a small feat: it is hard not to admire Linda Pilkington’s mastership and finesse as one becomes aware of the skill required to tame all these rhapsodic, lustful, voluptuous florals and to compel them to behave as the most comely, sophisticated bouquet. This beautiful tension between wild abandon and perfectly groomed restrain is achieved through the strong woody-mossy base that manages to arrest the promiscuous heart and to harness and guide its potency into a polite yet powerfully meaningful, masterful arrangement. In other words, Linda Pilkington has gifted us with a return to the glories of chypres past. As we enter the drydown stage we encounter Linda’s familiar players: the soft creaminess of orris (never powdery in her hands) and her beloved vetiver. The lasting power is amazing - this is one of the fragrances you wake up with the next morning. In my case, the traces left on my skin just make me want to re-apply. This amazing composition is refined, sophisticated (yes, I’ll say it again) and most importantly perhaps, unabashedly womanly. In every sense of the word. I see a full bottle in my future.
