Simply put, Ingrid is a clash between masculine and feminine, a confrontation Tauer has chosen to express in olfactory terms by pitting leathers against florals. So on the one hand, the scent presents snarling, rubbery, well-burnished hide (accentuated with a hint of the furniture-polish note which seems to be doing the rounds at the moment). And on the other it reveals a frangipani facet (Tauer claims no other flower could have captured Ingrid's personality more aptly) rounded off by gentle suggestions of citruses, honey and greenness.
The battle between the two camps is undeniably interesting, but only up to a point. For some reason, Tauer decided not to punctuate the stand-off with many contrasts: there's almost a sense that he thought his central premise was sufficiently complex and therefore didn't need any further highlights or emphases. There's certainly merit in a single-minded adherence to the purity of one's core idea, but I can't deny that, whilst wearing Ingrid, I found myself wishing for a greater interplay between light and shade, a wider range between the highs and the lows.
That said, the vanillic drydown is difficult to resist. Just about as silky, nocturnal and seductive as anything Tauer has built into the foundations of his scents, it reconciles the leathers with the florals and brings the earlier strife into a state of equilibrium and peace. After the opening struggle, the conclusion of this story is utter contentment.
[Review based on a sample of eau de parfum provided by Tableau De Parfums and Scent & Sensibility in 2013]