Lovely Patchouli 55 (Repost)

(Update: I grew to love, love this. I now have a full bottle and it’s one of my favorites from my whole collection. It took me months of wearing it though…)


Although Krigler is a very luxurious, and respectable house I’m afraid Lovely Patchouli 55 (Krigler 1955) is not exactly…what I expected.   It’s very sweet, and there’s something almost abrasive about the way it plays with my chemistry.   It’s also tart.  

The notes mix together to form a particularly loud patchouli and then collectively punch one in the nose.  I would not say it is pretty…or handsome.  And, while the drydown improves it, it doesn’t alter it entirely.

Notes: bergamot, leather, amber and patchouli.

Bal à Versailles (Repost)

Sweet jasmine, neroli and cassia start Bal à Versailles (Jean Desprez 1962). Then a strong rose is flanked beautifully by warm orris root, a passionate and slightly airy patchouli and sandalwood. Ylang ylang is fruity and bright and a soft balsam, benzoin, musk and cedar bring a roundness and depth.  

Nose: Jean Desprez 

Top notes:  rosemary, orange blossom, mandarin orange, cassia, jasmine, rose, neroli, bergamot, bulgarian rose and lemon.  Middle notes:  sandalwood, patchouli, lilac, orris root, vetiver, ylang-ylang, lily-of-the-valley and leather.  Base notes: tolu balsam, amber, musk, benzoin, civet, vanilla, cedar and resins.

Câline (Repost)

The opening of Câline is beautiful (Jean Patou 1964). Truly lovely. It’s a burst of aldehydic, green, typically 1960’s charm. Think of Chamade, Miss Balmain, and Fidji. But frankly, of all of those 60’s lovelies, I think this is the most elegant… It’s a pastel scent and the pretty, ladylike florals are powdery but with a sensual muskiness and a slightly pungent oakmoss, citrus and labdanum. It’s a chypre and it’s gorgeous… *Ahh*

Top notes: mimosa, mandarin orange, basil, aldehydes, bergamot and neroli. Middle notes: rose, cyclamen, orris root, coriander, ginger, patchouli, ylang-ylang, African orange flower, jasmine and carnation. Base notes: musk, amber, Virginia cedar, oakmoss, French labdanum, and sandalwood.

Nose: Henri Giboulet

Divine Folie (Repost)

When I first smelled this one my reaction was, “Wow.”

I’m not sure if reincarnation is possible but if it is I’d bet I wore this in a past life… I love this fragrance (Jean Patou 1933).

How ironic the name is…

The orris root is intoxicating in this one. It’s rainy, earthy, and sweet but very elegant and really just sublime. It blends magically with the musk and vanilla. I struggle to better describe this one… But I’ll also add that it’s one of the loveliest rose notes I’ve ever smelled and it’s a little reminiscent of Shalimar.


Top notes: neroli and ylang-ylang. Middle notes: orris root, jasmine, orange blossom, rose and vetiver. Base notes: musk and vanilla.

Nose: Henri Almeras

L’Heure Attendue (Repost)

When I tried to create my own fragrance a few years ago I think this is what I was trying to make… Except, I like this *a lot* better. And that’s an understatement. Oh dear…

Anyway, citrusy, aldehydic lily-of-the-valley mixes with rose and other florals (perhaps hyacinth and lilac?) and sparkles (Jean Patou 1946). It sparkles like a diamond in sunlight.

And syrupy, ylang-ylang and jasmine are flanked by supple and warm base notes. This is a 1940’s floral done to perfection. Absolute, charismatic and romantic perfection. Actually, L’Heure Attendue would be perfect for a warm spring day…

Nose: Henri Almeras

Colony (Repost)

For whatever reason I picture a 1930’s southern gentleman in a straw hat with patent leather shoes and rolled up khaki pants when I smell this. This fragrance is so unisex. The vetiver and leather are like a manly tonic that play perfectly against the carnation and iris. And then there’s pineapple. Really though, if I had to pick a note that shines I’d say instantly, without hesitation that it’s pineapple. Sweet, juicy, delightful, authentic and vintage pineapple! Lovely!

Top notes: pineapple and ylang-ylang. Middle notes: carnation, iris, oak, vetiver and opoponax. Base notes: leather and musk.

Nose: Henri Almeras

Normandie (Repost)

This beauty (Jean Patou 1935) opens with an exquisite orange blossom and neroli. They’re slightly green and very creamy, gentle and pleasant. But then, as it continues, all the warm, richly hued carnation, jasmine and musk emerge. Actually, it’s one of the most noticeable progressions I’ve encountered and it’s lovely. Also, Normandie has one of my favorite notes: styrax.

It would be easy to draw a comparison between this and Arpège, but intriguingly this feels much more dated and distinctly early Twentieth Century than Arpège in my opinion. But that is not necessarily a bad thing at all.

It reminds me of when I used to go on explorations at my grandmother’s in her weave loom room, or in rooms with forgotten closets. Sometimes you’d find very old things that seemed familiar none-the-less, like an iconic pillbox hat or a classic pair of white gloves. But then occasionally you’d unearth something that required an open mind and a historical decoder. And when you held those pieces of the past in your hand you felt an enormous connection to a time long ago. Normandie is that sort of talisman.

Top notes: neroli and ylang-ylang. Middle notes: orange blossom, rose, orris root, jasmine, vetiver, styrax and carnation. Base notes: moss, vanilla and musk.

Nose: Henri Almeras

Madame Rochas 1960 (Repost)

The aldehydes in vintage Madame Rochas remind me of those in vintage White Linen. They’re crisp, green, and a bit spicy. Very clean! (And they’re both floral aldehydes)

But, the orris root, vetiver, and oakmoss really stand out (to my nose) to a large degree in vintage Madame Rochas. The florals are tender and they do add a certain piquant, delicate beauty. And the aldehydes, again, are certainly present, but they do not dominant that spicy oakmoss. Not on my skin.

Even though I tend to “clean things up” on my skin, generally speaking, this is an exception. I think it’s the jasmine… Jasmine goes totally wild on my skin.

Indeed. While Madame Rochas is still polite, she is certainly a woman. And on my skin this fragrance is actually animalic. Indolic even. The jasmine and musk are not playing games…

Actually, I think I would have to be in just the right mood to wear this one. It’s truly that punchy, lusty and dirty… (Regardless of the aldehydes.) But it’s an absolutely necessary fragrance for my collection!

Top notes: aldehydes, bergamot, lemon and neroli. Middle notes: jasmine, rose, tuberose, Lily-of-the-valley, orris root, ylang-ylang, violet and narcissus. Base notes: sandalwood, vetiver, musk, cedar, oakmoss and tonka beans. 

Nose: Guy Robert

Vacances (Repost)

Lilac! Green (galbanum), fresh, sublime and totally elegant lilac (Jean Patou 1936).

I am in love with this fragrance.

It’s a woody lilac too. It’s just fantastic. 😍 And it has a somewhat delicate and perfectly paired musk at the base. This is now near the top of my list for a larger bottle.

Top notes: hyacinth and hawthorn. Heart: lilac, mimosa, and galbanum. Base: musk.

Nose: Henri Almeras

Que Sais-Je (Repost)

Actually at first I wasn’t sure I would like this fragrance (Jean Patou 1925) at all. It starts out a bit gruff and almost overly green…

But in the proceeding moments it’s sort of like Henri Almeras married the sparkling, Art Deco, edgy, powdery beauty of Chanel No. 5 to something akin to what would later be the sensual spice of Rochas Femme and the brazen animalism of Revlon Intimate. I cannot imagine wearing this in a large dose without genuinely turning heads (nowadays).

It’s hazelnut translates to cigarette smoke (similar to the smokiness of Soir de Paris) and while the fruity sweetness is rich and decadent, again, it’s a rambunctious scent. Beautiful, maybe even divine, but wild. Wild.

Notes: hazelnut, honey and peach.

Nose: Henri Almeras