Like grey oil paint that mixes with others, it combines, harmonizes and tints in pastel tones. Vetiver seems to be a strange plant, which can be almost arbitrarily shifted and varied in its expression, provided that it has the appropriate skill. And while the oasis city, threatened by desertification, longs for it, Timbuktu ironically fits perfectly into rainy weather. For me, there are very few perfumes that do not suffer from such changes due to very different temperatures. Even in summer it doesn't get too much for me and just, as already mentioned, changes more into the slightly fruity, balsamic direction. ![]() Despite a certain heaviness, Timbuktu is not only worn in the cold seasons. Actually I would rather classify Timbuktu as an Ü35 fragrance, since he already has some maturity, but I have owned him myself for almost four years (I was 25 then) and he has fascinated me more and more while wearing. There are enough 80s retro hipster trash or unbalanced experiments in the niche market, but this creation doesn't seem too demanding despite the exotic notes and already a bit familiar in the drydown. That's why Timbuktu also falls into the timeless men's classic category for me. A really similar scent hasn't come under my nose yet. From my point of view, all components form a perfect balance and are relatively closely interwoven. These more modern notes are thwarted by a base of vetiver, patchouli and papyrus, which is thoroughly woody, slightly green, smoky and dry. At warmer temperatures, however, I perceive both more strongly. In addition to the balsamic, this has a slightly sweet quality, which Duchaufour has added as well as the mango in discreet form. For me, less frankincense than myrrh is also influential for the further course. How exactly Karo-Karounde should smell now, I don't know and there are different descriptions of them (warm, soft, fruity, sweet, indollic, animalistic), but Timbuktu has indeed a facet, which I can't classify exactly and could come from the African plant. Furthermore, a slightly exotic side is created by the mango, which is fortunately used subtly and rather as an unripe fruit. I think that this impression is achieved by the cardamom and the initially cool incense. This association may seem plausible to me, but when I smell Timbuktu, I think above all of the fact that Orient and Occident, nostalgia and modernity meet here.Īlthough the long-lasting foundation is formed by woody and balsamic notes, Timbuktu starts off fresh and ethereal - almost reminiscent of mint. ![]() The source of inspiration for Bertrand Duchaufour's creation was the mixture of woods, roots, spices and resins, "Wusulan", which is widely used in West Africa as a perfume substitute in burnt form. But Timbuktu should not come to most people's minds much more than that the city is somewhere in the middle of nowhere - more precisely, in Mali, on the edge of the Sahara. ![]() Making a connection between the name of a perfume and its fragrance is usually a good way to start a commentary.
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