Jean Patou Chaldee Heritage Collection Eau de Parfumee Spray for Women 100 ml

Product Information

Sublime has a finger in so many different pies that the term hybrid doesn’t quite capture it. Chypre? Oriental? Woody Floral? Yes, and then some. I think of it as a Resinous Woody Chypre. Cop-out? Sure, but it fits. It’s also fruity, floral and powdery. Powder over woods creates a sweet-tart dynamic similar to the vetiver-vanilla dissonance of Habanita, but in Sublime it is quieter, less stark. Mandarin and ylang ylang give Sublime a lusher feel than the expectable bergamot/white floral found in many chypres. It follows a long arc and the drydown takes its time arriving. Atypical for a ’90s perfume, the basenotes are the most complex part of the perfume. Resinous woods define the drydown–vetiver, patchouli, and especially sandalwood–but amber, musk and civet keep the woods from growing sharp. The pillow-soft drydown is classically proportioned and has the diaphanous depth of traditional woody orientals like Vol de Nuit and Bois des Isles. Fragrance for men Patou Pour Homme was introduced in 1980 celebrating men’s elegance. This fragrance is truly masculine—authoritative and layered. Top notes provide us with a blend of bergamot, lemon, galbanum and pepper, which give way to lavender, jasmine, rose, tarragon and violet in the heart. Robustness and crudeness come from base notes of patchouli, olibanum and amber. I have had a small travel-sized atomizer of Sublime by Jean Patou for a couple of years--I keep it in a drawer and put it on sometimes as a mild mood elevator. I'm not 100% sold on the intense citrus blast at the beginning, but it doesn't take too long for it to calm down and reveal its subtler, more long-lasting notes: jasmine, along with a bit of that intoxicating bracing medicinal odor, the note that elevates Guerlain's L'Heure Bleue from merely pretty to, well, sublime. For me Sublime by Jean Patou doesn't quite live up to that classic fragrance, but it's still more wonderful than 99% of the smells out there. The powdery drydown is a nice, clean, classic-soap smell, like fresh laundry and cedar drawer-liner paper. This, to me, is French. This is beauty. Ever evolving, this is warm, Golden vanilla Amber powder. Divine. It slowly does take you higher...

I'm not kidding! But I must say this: I have heard much of JOY and 1,000 and that Patou released masterpiece perfumes...but had NO idea! This is a very classic scent, without the usual vintage bombast of aldehydes and oakmoss so prevalent in its contemporaries. Anyone who wants to smell paradise should try this... The sillage is incredibly powerful. One could easily mistake this fragrance for being a big powerhouse from the 70's and 80's. I love the ever changing composition which goes from sweet and charming to bitter and bold in an instant. By the way, I have one other Heritage Collection Patou. It's Vacances. It's also very well done, in my view.)I sadly never got the chance to smell the vintage formula of this fragrance, so I am now testing the re-release of Chaldée launched in 2013. But the chypre seemed to lose its identity in the ’90s. It was seen as both suffocating and passé when compared to the self-effacing new style of ’90s perfumes and their notes of air, water, light and apology. After the loud florals and orientals of the ’80s, modernity in perfume came to be synonymous with minimalism and the chypre became synonymous with old-fashioned. Traditional perfumes became outmoded and ‘classical’ perfumery started to seem like bad Hollywood Regency–stylistically overburdened yet without the saving grace of true kitsch. I just acquired a bottle of Chaldée Heritage Collection and so have the good fortune to be able to compare vintage and current Chaldées side by side.

It opened with smoky citruses and burst of sweet flowers, extremely powerful and I must say - I'm pleased. You can't find that kind of quality in perfumes that are made nowdays. This is definetely not "old" or "dated".

In EDT, Sublime is a (sublimely) cinnamon-spicy, buttery-rich vanillic amber, with lots of oranges in the opening, tangy ylang ylang, rose, and neroli in the heart, and a lot of dark powder, iris and sandalwood in the base. Sublime is a bit linear, actually, some notes come and go, notably the oranges and spices fade a bit, and the rose and white florals dim out after a few hours, but the sandalwood/powder/iris/amber/ylang ylang anchor the whole thing and that's what you'll be smelling for the most part. In fact the ylang-ylang, white flower, good sandalwood accord reminds me a lot of Samsara. I've no idea where they got the sandalwood from but it smells like the real deal, it smells amazing. And it's pretty prominent note, Fragrantica should really fix the note pyramid. Why and how to restrict perfume materials is a popular if confusing debate today, but in the 70s-90s the discussion of the hazards of aromachemicals and botanicals took place behind closed-doors. The general public didn’t know what went into perfumes in the first place or who made them, so discussions about restricting oakmoss or refining bergamot had little significance. They did have a stifling effect on perfume composition, though it might not have been readily apparent in 1992. Still, Patou and Chanel are sisters in that they are designed in the decorative logic of perfumes and fragrances. Definitely a chypre, but warmer than most, with a golden aura. The ylang is dominating together with gentle aldheides and a spicy carnation; indeed spices are there with sweet note that resembles apricot (or osmanthus). The drydown is quite possibly my favourite part, with civet, sandalwood, vanilla and vetiver ending the fragrance with a big bang. It's quite animalistic and raw. I find Sublime very sexy in a strange kind of a way.

Jean Patou remained a family-owned business until September 2001 when it was bought by P&G Prestige Beaute a division of Procter & Gamble, which also market perfumes for Jean Kerléo and Karl Lagerfeld. Louis Süe designed all the perfume bottles and boxes for Jean Patou. [5] 1930s [ edit ] JOY by Jean Patou By the time the base notes take center stage, the gorgeous vintage version is at its finest. The opoponax, vanilla and tonka blend together seamlessly; they smell elegant, natural and harmonious, they're very fine in texture, and they last for many, many hours. This is when the reformulated version shows its limitations and when a little roughness to the texture is revealed. Up close, it's a touch louder and harsher, less "blurred" and beautiful. But it's still clearly Chaldée -- and from a distance, the sillage is wonderful, truly authentic, and carries more than the vintage. In conclusion I would like to sincerely thank Thomas Fontaine for his excellent work on the revival of Jean Patou's fame, and I keep my fingers crossed for Jean Patou's new fragrances in 2014. As far as I know, Mr. Fontaine promised to add some new perfumes to the Heritage collection this year.An absolute delight to wear, even for a man, in late winter, early spring, when the daffodils break through the ice and end winter. It oozes an old-wordly aura of refinement, style, class, with a certain 'joie de vivre' seen in those movies with Fred Astaire, Doris Day and Marylin Monroe. It's like a vintage car from the 40ies. Chaldée is one of the successful ones. The opening is actually lovely and an improvement over the vintage, and gives an idea of how the vintage must have smelled like with all the top notes intact. It has everything you read in the list of notes above in the description; the bergamot and florals are especially fresh and vivid. Chypre perfumes tend to have a strong presence and it’s easy to characterize the eras of the chypre. The ur-chypre by Coty and the seminal chypre by Guerlain, Mitsouko. The animalic chypres of the ’40s (eg. Miss Dior). The moonlit floral chypres of the ’50s (Jolie Madame.) The aldehydic and green chypres of the ’60s (Calèche and YSL Y ), the liberated chypres of the ’70s (Aromatics Elixir and Diorella) and the roaring rose chypres of the ’80s (La Nuit and Parfum de Peau).