Bohea Bohème by Mona di Orio

*****

Year: 2016

Notes: Italian bergamot, bay leaf, Sichuan pepper, smoked juniper berry, cardamom, fir balsam, boxtree, Bohea tea, geranium, blue chamomile, osmanthus, Florentine iris, Siam benzoin, vanilla, poplar bud, hay, oak, guaiac wood, sandalwood, beeswax

Comment: Bohea Bohème is part of the Monogram Collection

Attempting to capture the essence of Bohea tea (also known as Wuyi tea), Bohea Bohème is a smoky woody-aromatic that comfortably resides in the same ballpark as Violette Fumée.

Developed by Fredrik Dalman, one doesn't discern much tea in the composition, and any florals are completely overshadowed by the smoky, spicy, woody and balsamic aspects. The juniper berry, cardamom, fir balsam and geranium grant a slight greenness to the proceedings, while the benzoin, vanilla, poplar bud, hay and beeswax altogether bequeath a sweet and warm undertow.

However, after the initial blast, its performance on the skin is extremely soft with less than four hours longevity. Furthermore, for most of its duration, the composite aroma is more akin to charred juniper berry and fenugreek. Personally, one would have preferred it to be stronger, and for the spicy and smoky attributes to be much more commanding.

Overall, it's an interesting fragrance, which severely fails to live up to the accompanying press release. If it was richer and lived up to one's original expectations, it would have received at least an extra star.

Myrrh Casati by Mona di Orio

*****

Year: 2014

Notes: Peruvian red berry, pink pepper, Guatemalan cardamom, liquorice, saffron, Somali myrrh, Somali frankincense, Siam benzoin, Indonesian patchouli, cypriol, guaiac wood

Comment: Myrrh Casati is part of the Monogram Collection

Myrrh Casati is the first fragrance from the new Monogram Collection, which showcases exclusive creations by other perfumers. Composed by Melanie Leroux, it's inspired by Marchesa Casati, "the legendary patron of the arts and muse of eccentricity". However, if this is the best that Jeroen Oude Sogtoen can muster, the future of this house looks extremely bleak.

With the most noticeable accords being myrrh, cardamom, saffron, liquorice and benzoin, it's a soft and spicy oriental. But it's also anaemic and exceedingly dull, with poor sillage and below average staying power. With a distinct soapy demeanour, it's also quite sweet. Personally, one would have preferred something richer, darker and with some edge.

Even though one wasn't a great fan of the Signature Collection, by comparison, Myrrh Casati comes across as both uninspired and very pedestrian. With none of the subsequent releases, after Mona's untimely death, being particularly noteworthy, one may be forced to completely write-off this niche house.

Violette Fumée by Mona di Orio

*****

Year: 2013

Notes: Calabrian bergamot, saffron, Mediterranean Lavender, oakmoss from the Balkans, clary sage, Egyptian violet leaf, Egyptian violet, Turkish rose, tobacco, Haitian vetiver, guaiac wood, opopanax, Somali myrrh, cashmeran

Comment: Violette Fumée is part of Les Nombres d'Or Collection

Violette Fumée was originally composed for Mona di Orio's business partner, Jeroen Oude Sogtoen. However, since her death, he has decided to share this creation with the general public.

Its concept as a smoky violet is rather unique and, in the opening, a tobacco-infused aromatic smokiness can be instantly detected. Earnest verdant accords intermingle with the lavender, and the violet itself is discernible but remains gentle throughout. As the smokiness subsides, a demure rose and vetiver pairing gradually fleshes out the proceedings. With light woods, resins and musk, the grand finale is sweet, powdery and tender.

Overall, it's an elegant masculine rendition of violet, which is also a significant improvement on this house's last couple of releases. However, there's something plastic-like or even synthetic about the first-half of its evolution, with a noticeable waxiness at the beginning. Also, its presence is soft and remains a skin scent for most of its duration. But, regardless of such flaws, one can't deny that it's a respectable effort.

While its projection could have been more pronounced, it still possesses longevity of at least eight hours.

Eau Absolue by Mona di Orio

*****

Year: 2013

Notes: Sicilian bergamot, mandarin, clementine, petitgrain citronnier, St. Thomas bay leaf, Peruvian pink pepper, Chinese litsea cubeba, Egyptian geranium, Haitian vetiver, Javanese vetiver, Virginian cedar, labdanum, musk

Comment: Eau Absolue is part of Les Nombres d'Or Collection

To be perfectly frank, a sparkling woody-citrus offering is something that Eau Absolute is anything but.

With lethargic citrus notes, the composition mainly focuses on the lemongrass-like litsea cubeba and honeyed rose greenness of the geranium. Beyond that, the cedar is vaguely detectable, with further support coming from a creamy yet translucent vetiver and musk combination. And while its general demeanour is dusty and wispy, it still lacks substance, especially in terms of tenacity and sillage.

Based on this house's recent mediocre releases, one wonders if Mona di Orio is turning in her grave.

Rose – Etoile Hollande by Mona di Orio

*****

Year: 2012

Notes: Calabrian bergamot, aldehydes, white peach, clove, Egyptian geranium, Bulgarian rose, Turkish rose, heliotrope, Madagascan vanilla, patchouli, Atlas cedar, Virginian cedar, leather, amber, Siamese benzoin, Peru balsam

Comment: Rose – Etoile Hollande is part of Les Nombres d'Or Collection

Rose is the first posthumous fragrance from this house, after Mona di Orio unexpectedly passed away in 2011. Her business partner, Jeroen Oude Sogtoen, has since made the conscious decision to continue her legacy by releasing previously unpublished creations.

While that's great news for those who admire her work, based on Rose – Etoile Hollande, one has to wonder if such posthumous compositions will be nothing more than unfinished works-in-progress, being hastily bottled to maintain this house's market share. Call one sceptical but, after all, business is business.

Basically, it's a complete mess and has very little to do with rose, as it's more about the peach, aldehydes and heliotrope, with some spicy geranium. The only real highlight is the first few moments of the top notes, which is highly reminiscent of rhubarb and custard boiled sweets (those pink and yellow pear-shaped confections). But, once the peach and aldehydes hit their stride, it all ends up smelling cluttered and synthetic.

Whatever rose is there is overshadowed, the heliotrope is slightly bitter, the leather is crude and too intrusive at times, the woods are negligible, and the ambery-vanillic aspect is moderate yet lacks much clarity. Ultimately, it's a lacklustre affair, with a tepid balsamic drydown that vaguely recalls Caron's Parfum Sacré.

Such a disappointing performance compels one to muse on what might have been, had Mona's life not been so tragically cut short. Sillage is moderate with at least six hours staying power.

Oud / Oudh Osmanthus by Mona di Orio

*****

Year: 2011

Notes: Calabrian green mandarin, Paraguayan petitgrain, Philippine elemi, apricot, honey, Chinese osmanthus, jasmine, Laotian oud, Indonesian patchouli, Indian cypriol, Atlas cedar, ambergris, musk

Comment: Oud / Oudh Osmanthus is part of Les Nombres d'Or Collection

When the late Mona di Orio first announced launching her interpretation of oud, one wasn't pleased at all. With so many synthetic oud fragrances available, one was hoping for some niche houses to resist the temptation of joining the 'oud club'. But, after sampling Oud, one has been left both impressed and pleasantly surprised.

Since genuine oud oil has become increasingly scarce and more expensive, one was surprised to discover that Oud would contain high-quality Laotian oud oil – especially as this variety of oud oil is now extremely difficult to attain (wild Laotian agarwood trees are now an endangered species). With syrupy sweet, animalic and leathery undertones, Mona's creation certainly contains the real thing. But what's even more astounding is the degree of complexity and originality it encompasses.

Unlike most oud fragrances, there's no reliance on the now clichéd coupling of rose and saffron. Instead, Mona incorporated a complementary union of osmanthus, apricot and honey, alongside a gentle serving of citrus and elemi (in addition to a base of dark smoky woods and musks). The oud is present throughout the composition's development, but remains soft and modest. All in all, the blending is velvety smooth, warm, refined and utterly beautiful, with understated jasmine embellishments.

Oud isn't really about showcasing Laotian oud, but rather demonstrating the juxtaposition between Laotian oud and the honeyed nectar-infused sweetness of the osmanthus. Providing moderate sillage and longevity of under six hours, it's easily wearable, and bestows both an exotic and esoteric aura.

Yes, it's considerably expensive. Yes, from a reliable source, some quality oud oil can probably be acquired for a similar price. And, yes, it could have had better sillage and been longer lasting. However, as it stands, Oud is Mona's crowning achievement and remains one of the most unique Western renditions of oud around.

Vétyver by Mona di Orio

*****

Year: 2011

Notes: Argentinian grapefruit, clary sage, Madagascan blue ginger, nutmeg, violet, Bourbon vetiver, Virginian cedar, labdanum, tonka bean, musk

Comment: Vétyver is part of Les Nombres d'Or Collection

Opening with spicy and herbaceous accords, Vétyver possesses a delicate floral sweetness, which ushers the composition into the olfactory direction of moist warm hay (rather than an archetypal vetiver denouement).

The vetiver isn't particularly stark but, instead, blends seamlessly with the violet, clary sage and cedar. The end result is a serene and relatively unique interpretation of this earthy accord. Both the labdanum and tonka bean are prudently incorporated, as the composition steadily sweetens over time with its core still intact.

Although one finds it too genteel to sufficiently enjoy, its addition to the pantheon of quality vetiver fragrances is unconditionally welcomed.

Ambre by Mona di Orio

*****

Year: 2010

Notes: ylang-ylang from the Comoro Islands, Atlas cedar, benzoin, Madagascan vanilla, Tolu balsam

Comment: Ambre is part of Les Nombres d'Or Collection

Ambre is a soft, inviting and inoffensive rendition of amber but nothing more...

With opening accords of cedar and ylang-ylang, it effortlessly progresses towards the heart of the composition, mainly consisting of benzoin, vanilla and Tolu balsam. Yes, it's pleasantly sweet, creamy and slightly dusty but there's nothing particularly distinctive, memorable or compelling about it.

It's a reasonable effort but, at the same time, it lacks any real bite. With a multitude of niche amber alternatives available, it simply fails to hold its own against such stiff competition.

Cuir by Mona di Orio

*****

Year: 2010

Notes: absinthe, cardamom, cade, leather, opopanax, castoreum

Comment: Cuir is part of Les Nombres d'Or Collection

Even though Cuir is brash, tarry, smoky and a challenge to wear, one initially deems it as olfactorily closer to a smouldering campfire than the charred barbecue smokiness of, say, Tauer Perfume's Lonestar Memories.

The opening is dark, peppery and coniferous (with some sweetness from the absinthe), and persists throughout most of the composition's development. However, the prime accord isn't leather but cade – the Mediterranean equivalent of juniper (also known as prickly juniper). This perennial evergreen conifer possesses a compelling aroma and, because it shares a very similar olfactory profile, the oil is known to be often adulterated with birch, pine, tar or even petrol. Thus, this would explain why certain components present themselves to the nose when they actually aren't there.

As it evolves, the cardamom both tampers and complements the spicy undertones of the (now less aggressive) cade accord, paving the way for a moist leather note to emerge. With both a resinous and balsamic foundation, the animalic aspect is further reinforced by some castoreum – adding a subtle body odour aroma that could be offensive to some. The overall effect is a marvellous rendition of leather that's earthy, mysterious and erotic.

While one isn't a huge fan of leather fragrances, it's been an utter pleasure getting better acquainted with Cuir – so much that it's almost full bottle-worthy. However, one's main reservation is that it's currently only available in Eau de Toilette concentration. With most of this house's releases available as Eaux de Parfum, one hopes that this 'issue' is rectified very soon.

Possessing good sillage and longevity, Cuir is further proof that modern perfumery can still be uncompromising and yet equally rewarding.

Vanille by Mona di Orio

*****

Year: 2011

Notes: Brazilian bitter orange, petitgrain, rum, Indonesian clove, ylang-ylang, Madagascan vanilla, guaiac wood, Bourbon vetiver, leather, tonka bean, amber, Tolu balsam, Indian sandalwood, musk

Comment: Vanille is part of Les Nombres d'Or Collection

Vanille is a very commendable grown-up vanilla fragrance, which attempts to distinguish itself from the plethora of vanilla scents overcrowding the market. But it doesn't quite manage to succeed.

With top notes of bitter orange and rum, the opening is enticing and not that far removed from the juicy premise of Profumum's Dulcis in Fundo. However, such a comparison is merely short-lived. After the smoky emergence of the clove, the composition reveals a heart of ylang-ylang, vanilla and Tolu balsam that's highly reminiscent of distilled vanilla absolute – rich, luscious, buttery and somewhat dry.

Although the leather and woods help to keep the sweetness to a bare minimum, it doesn't last with the gradual arrival of tonka bean and amber. But by the time some cinnamon unexpectedly accompanies the sandalwood, Vanille smells like the niche equivalent of Organza Indécence by Givenchy. While that's not necessarily a bad thing, one was expecting it to remain unique beyond the first half of its development.

Regardless of this personal disappointment, it's still one of the best niche vanilla creations to have emerged in recent years, with moderate sillage and excellent longevity.

Tubéreuse by Mona di Orio

*****

Year: 2011

Notes: Calabrian bergamot, pink pepper, green leaves, Indian tuberose, heliotrope, coconut, Siamese benzoin, amber, cashmeran

Comment: Tubéreuse is part of Les Nombres d'Or Collection

Tubéreuse starts off with a green, almost aldehydic, astringency. However, after several minutes, this subsides to reveal the true nature of the composition – a sweet, buttery and warm blend of tuberose, heliotrope, coconut, benzoin and amber.

While it isn't as powdery as originally expected, it still smells more conventional than it tries to make out – so much that one can't see much justification in acquiring Tubéreuse over, say, Robert Piquet's Fracas. With that said, it's probably best suited for tuberose aficionados.

Musc by Mona di Orio

*****

Year: 2010

Notes: angelica, neroli, rose, heliotrope, tonka bean, musk

Comment: Musc is part of Les Nombres d'Or Collection

Musc is a catastrophic floral-musk concoction, which focuses more on the sweet and powdery heliotrope than the so-called precious musks. Opening with a vivid rose accord, the composition is utterly crude and synthetic, and exudes an industrial detergent cleanliness.

In summary, it should be approached with the upmost caution.

Chamarré by Mona di Orio

*****

Year: 2009

Notes: aldehydes, clary sage, lavender, Turkish rose, violet, iris from Florence, opopanax, ambergris, cashmeran

Comment: Chamarré is part of the Signature Collection

As a disjointed floral-oriental, Chamarré opens with sharp aldehydes before swiftly being oppressed by a crude and prevalent violet accord. Ultimately, the rest of the florals remain suppressed, while the composition exudes a persistent cardboard note that quickly outstays its welcome.

Possessing an earthy, aromatic and fruity musk foundation from the cashmeran, it becomes rather evident just how frustratingly taxing many of Mona di Orio's earlier creations can be... even with sufficient perseverance.

Jabu by Mona di Orio

*****

Year: 2009

Notes: South African petitgrain, orange blossom, sweet pea, Damascus rose, ylang-ylang, plum, myrrh, Siamese benzoin, amyris

Comment: Jabu is part of the Signature Collection

Jabu commences as a fruity-floral, with a plentiful serving of petitgrain and orange blossom. But there's nothing particularly sparkling or bright about the jammy opening.

Unfortunately, the proceedings are marred yet again by a dusty wax or plastic note – it isn't as intrusive but it's certainly present in the background. As the composition further develops, it transforms into something darker, more piercing and austere, as both the plum and myrrh gradually become more discernible over time. With a sandalwood-esque base, courtesy of the amyris, the drydown is more ambery and floral.

Although there are the odd interesting moments, one gets the distinct impression that it panders more towards a mainstream audience than its older siblings. While it succeeds somewhat, one can't help but sense a whiff of desperation in such an artistic compromise.

Amyitis by Mona di Orio

*****

Year: 2008

Notes: caraway, chilli pepper, saffron, green leaves, violet, iris, guaiac wood, Virginian cedar, opopanax, amber, moss

Comment: Amyitis is part of the Signature Collection

With the notes so tightly interwoven, Amyitis isn't particularly easy to pin down. There are some creamy, green and woody nuances that reveal themselves, throughout its lifespan, but the composition is too dense to dissect any further. Add some dusty wax to the proceedings (due to a heavy-handed serving of caraway and moss) and what's left is both an unbalanced and unfocused clutter of accords.

Inspired by the hanging gardens of Babylon (built by Nebuchadnezzar II for his wife, Queen Amyitis), it aspires to be an earthy and aromatic green in a similar manner to Chanel's Chanel No.19. While its degree of success is highly doubtful, the interplay of the violet, iris and saffron remains intriguing nonetheless.

Oiro by Mona di Orio

*****

Year: 2007

Notes: tangerine, spices, sweet pea, ylang-ylang, jasmine, heliotrope, frankincense, Atlas cedar, vetiver, immortelle, amber, musk

Comment: Oiro is part of the Signature Collection

Oiro is both a luxurious and opulent floral-oriental, based on the golden age of perfumery. It's dense, intensely aldehydic and doesn't pussyfoot around, with an indolic jasmine accord that isn't as sickeningly vicious as Nuit Noire's skanky demeanour (but almost comes close).

Yet that acute and nauseating signature wax note still prevails, as the composition descends into a soapy floral and animalic mess. With very good projection, one couldn't scrub off this abomination fast enough.

Carnation by Mona di Orio

*****

Year: 2006

Notes: bergamot, geranium, gillyflower, violet, ylang-ylang, jasmine, amber, styrax, precious woods, musk

Comment: Carnation is part of the Signature Collection

Inspired by "the carnation that blooms not in a flower bed but on a maiden's cheek", Carnation isn't a carnation fragrance per se. To complicate things even more, the name gillyflower isn't exclusively attributed to carnations but to various fragrant plants of the Dianthus genus (wallflowers being one of them). So, just don't go expecting a spicy extravaganza.

Comprising of indolic florals, one initially detects a floral moisturising cream aroma with a faint leather accord in the background. Beyond that, it's powdery and slightly bitter with an old-fashioned aura. As for the drydown, an ambery musk base provides some extra sweetness, exuding a tender fruity finale (but with the animalic aspect kept firmly in check).

Conceptually, it somehow works but that doesn't prevent it from veering dangerously close to floral air freshener territory. Like many of this house's earlier offerings, it's most definitely an acquired taste.

Nuit Noire by Mona di Orio

*****

Year: 2006

Notes: orange, ginger, cardamom, cinnamon, orange blossom, tuberose, clove, olibanum, Atlas cedar, leather, amber, tonka bean, sandalwood, musk

Comment: Nuit Noire is part of the Signature Collection

The biggest issue that one has with many of the offerings from this house's regular line is how they rarely open in an inviting manner. One is usually either repulsed or confounded by the bizarre top notes that initially assault the nose. Whether or not the compositions eventually settle down is another matter entirely, but one can easily understand why these fragrances have been so hard to sell.

With regards to Nuit Noire, it attempts to be a modern rendition of the classic powdery floral. Unfortunately, the top notes are exceptionally foul – faecal spicy-citrus chords, against a backdrop of decaying florals. Although it supposedly transforms into a sensual tuberose scent much later, one is always left feeling either too nauseous or physically sick to even care.

Mona di Orio's early releases were once described as "gaudy and ostentatious". Personally, one couldn't agree more with such a succinct evaluation (even if this effort is allegedly a homage to Serge Lutens).

Lux by Mona di Orio

*****

Year: 2006

Notes: Sicilian lemon, South African petitgrain, litsea cubeba, Haitian vetiver, Moroccan cedar, labdanum, amber, Siamese benzoin, Bourbon vanilla, Mysore sandalwood, musk

Comment: Lux is part of the Signature Collection

Lux commences with a gloriously rich, full-bodied and tart citrus opening, before a vile wax accord intrudes and throws the composition into utter disarray. From this moment onwards, it never completely recovers – smelling more like Lemon Pledge furniture polish, with both a poorly executed and directionless second half of powdery woods and vanilla.

With notes such as lemon, petitgrain, vanilla and musk, Guerlain's Jicky could have been Lux's main source of inspiration. But, even if this was the case, it's nothing more than a crude imitation.