Joined in 2023 
82 
63 About this deal
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.
This is a scent for lovers of old school, vintagey warm florientals. If you, like me, are more into newer fragrances, this is most likely not for you. It doesn‘t smell like a typical 90s fragrance (I love the 90s), it smells like it‘s older. Especially the opening of rose and slightly indolic jasmine and a hint of LOTV (a flower I don‘t like) is really old school, more dated than classic to be honest. But the drydown is much better. Amber, a not too sweet vanilla and ylang ylang join in and make the scent warmer. This still feels very ladylike and grown-up and has a touch of powder and old fashioned soap (aldehydes?), but it does smell good and more timeless than retro.L'Heure Attendue: For those who love well blended fragrances that are timeless and create mood and ambiance, a contemplative beauty. Given those differences, there are some contemporary reformulations of classics that are successful. While they don't -- they can't -- smell like the originals, they are similar and are very pretty and wearable on their own merits. perfumer Henri Alméras, 1984 Ma Collection reissue); orange blossom, hyacinth, lilac, jasmine, narcissus, opoponax, amber and vanilla. Chaldée – Patou's Huile de Chaldée sun oil had become so popular, many customers were buying it purely for its smell, therefore, Chaldée the perfume (a dry musk) was produced
My batch of Sublime unfortunately smells like dirty alcohol. Just alcohol, patchouli, ylang-ylang, talcum powder, and this weird plastic metallic Duracell note. I adore this and if this reformulated version is already impressive enough, I am dying to know what the original must have been like. This is not a deep faithful rendition of the vintage colony. However, it is lighter, vintage in tone without feeling "old" It has medium depth. I cant really say there is a modern comparison to this. So in that respect, it is different and well done for an "inspired or updated" piece. 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). Sometimes it will become green sometimes vanilla ish either way it is a warm fragrance. DONT let people tell you its for dressing up etc. Wear it with ripped jeans or whatever you like. It will dress you up !The original Chaldee was a mix of orange blossom, narcissus, and vanilla predominantly over a musky base meant to evoke sun warmed skin. When you sniff the 1927 or the re-released 1984 Ma Collection version it is mostly the deep musky aspects which predominate. My small sample of 1927, or so, Chaldee and my Ma Collection bottle both smell very similar so I am guessing that somewhere after around 20-30 years of aging the oils have hit their steady state. That is something that should always be taken into account when doing these comparisons. Any vintage fragrance has had tens of years to continue to evolve. In essence it has continued to macerate in the bottle which means it has changed somewhat. This was especially brought home to me when Patricia de Nicolai of the Osmotheque shared with me their freshly made versions of vintage perfumes. There is an essential brightness that is lost upon aging for an extended period of time, although an extra level of depth is probably commonly added. Which brings me to the new version of Chaldee. This perfume disappointed me so much. I love all of the notes listed, but the opoponax in the dry down is so sharp and powdery on me. The opening is all daffodil and orange blossom, and absolutely beautiful. Within 5 minutes it turns to hairspray on my skin and makes me feel like those old ladies at church in big hats, brooches, and too much too-light face powder. My beloved Guerlains spring from similar creative impulses and structural systems as cinematography and story-telling. L'Heure Bleu, Vol de Nuit and Shalimar are journeys, and I am not referring to evolution of the fragrance over it's wear. I mean Guerlain's greats tell stories, create mis-en-scenes, and inspire journey's in the wearer's imagination. Cold, fresh and smoky, just lovely. I'm starting to enjoy Chypre's more and more and smelling my wrist now gives me a clue why it's like that. By the way, I have one other Heritage Collection Patou. It's Vacances. It's also very well done, in my view.)
You feel elevated, clean, posh but very comfortable at the same time. Sublime, in word! (pun intended). I've always found Patou fragrances conceived as balls of energy, perfume solar systems of various sizes, molecules orbiting and dancing among each other and a core concept. and always try to buy a smaller amount of the higher concentration. i generally find edts that aren't formulated as such (4711 for example) are already at the corner before one is even done dabbing or spraying them on. one has to run like a fiend to catch up with their evaporating molecules - which is counter productive.There almost seems to be two perfumes in Sublime: it doesn't seem possible that the opening could transition to the dry-down. The opening is fierce and steely: it doesn't waft in the least--it claims its territory aggressively. It's cold sharp green flanked by civet, cinnamon and coriander (acrid enough that it has to be the leaf). If you were to put your nose to your wrist at this point your eyes would sting. After about 10 minutes the citrus and the florals begin to appear and warm the coldness. If you're like me you'll forget the perfume at this point. Somewhere around the half hour mark you'll notice a rich, soft, cloudy amber-wood-vanilla, which is savory and intriguing: the coldness and the green have disappeared completely. In the next few hours this amber beauty pulls closer and closer to you until it fades away. In 1927, Chaldee was the fourth fragrance released by Jean Patou. It sprang up from another Jean Patou product Huile de Chaldee which was meant to be used a suntan oil, as “sun culture” was just coming into its own in the late 1920’s. Suntan oil in those early days was just castor oil and so Jean Patou asked their perfumer Henri Almeras to add something to the castor oil to make it smell nice. After its launch they found women wearing it even when they weren’t in the sun because they liked the smell and so M. Almeras designed the perfume version simply named Chaldee. Since the 1984 version of Chaldée is becoming hard to find and prohibitively expensive, I was anxious to see if new Collection Héritage Chaldée would save me from a Chaldée-less future. Jean Patou Collection Héritage Chaldée Eau de Patou (1976) ~ "Known for his inventive spirit, Jean Patou revolutionized fashion in the 1920s by unveiling groundbreaking sportswear innovations. Timelessly modern, Eau de Patou reflects the essence of the Patou style: dynamic sophistication. Part of the Collection Héritage from the House of Patou, the fragrance is a light tonic, subtly flowery and fruity with a freshness that lasts all day. It is a sparkling, crisp and airy fragrance where accords of Bergamot, Sicilian Citrus, Guinea Orange and Sweet Lime are mixed with Pepper Lavender and Orange Flower." The saddest part of Collection Héritage Chaldée? The base. Though its heart notes are OK and true to smell, and conjure the spirit of 1984 Chaldée, gone is my beloved tropical beach/suntan oil experience that's so sensational in 1984 Chaldée. Perhaps those dense musk and floral amber notes are forbidden by IFRA now...or no longer available? Or was that particular accord deemed "unstylish" for today's consumer? We'll never know.
As for the new-born fragrance, Chaldée 2013 Jean Patou is a white floral-aldehydic perfume from the East. It's like the Magi of Babylon who brought home memorabilia from a different era: A bouquet of flowers wrapped in a lace veil, floral soap and powder, tonka beans, musk and opoponax. How could a bouquet of flowers ever be old-fashioned? Well, just add some lilac and daffodils, jasmine and fleur d'orange, and this bouquet will soon remind you of another era. The powerful aldehydes complement the classical florals. Not many modern perfumes follow the path of real beauty and grandeur, apart from a few exceptions like Chanel №5, Ode by Guerlain and Amouage Gold; and even those were (or are going to be) considerably reformulated.
The new Pour Homme is a ladies man who likes sweet floral chords and carries a bouquet of roses and jasmine. Sweet fir resin highlights the floral notes and their fruity, sweet and jelly-like scent. The next stage is fresh, tangy, spicy and as green as grass. Soon earthy shades of patchouli complement the aromatic scents of lavender and citrus. At last smooth and delicate suede and olibanum make for quite an exit. Undoubtedly modern, the new fragrance is ready to enchant, delight, and entertain every woman's needs—until it disappears. The new and the old Jean are like champagne bubbles and powerful peaty whiskey. Guerlain perfumes are more distanciated, and in that sense more symbolic, than Chanel and Patou. A lot of today's perfumery, if it's any good, and particularly luxury and niche conceptions, is story telling as well. So it seems indebted to Guerlain's artistry. In my rough estimation, the story telling style of fragrance gained traction in the 80s. Mugler a major practitioner. All the French design houses at least put their feet in this water.
Great Deal 
New Comment