Chaldee by Jean Patou c1927

In the vibrant cultural landscape of the late 1920s, Jean Patou's introduction of Huile de Chaldee marked a pivotal moment in the convergence of perfume and sun tanning trends. Influenced by the bronzed allure of figures like Coco Chanel and Josephine Baker, whose celebrated tans symbolized health and leisure, sunbathing became a fashionable pursuit among the elite. Patou, recognizing the burgeoning desire for sun-kissed skin without the drawbacks of sunburn, innovated with Huile de Chaldee. Named after the ancient region of Chaldea in Babylonia, renowned for its legendary beauties with amber-toned skin, the sun oil not only protected but also enhanced the bronzing effect, setting a new standard in skincare and aesthetics.

The French word "Chaldee," translating to "Chaldea" in English, carried layers of historical and exotic connotations. Patou's decision to name both the sun oil and later the perfume "Chaldee" was deliberate. It evoked images of ancient sophistication and beauty ideals, appealing to the imaginations of women of the time who sought luxury and adventure in their pursuit of glamour. Henri Almeras, Patou's in-house perfumer, infused the perfume Chaldee with a sensuous blend of orange blossom, hyacinth, jasmine, daffodil, vanilla, narcissus, opoponax, amber, spices, and lily of the valley, creating an olfactory journey that mirrored the warmth and allure associated with sun-kissed skin.

Sublime by Jean Patou c1992

Sublime by Jean Patou: launched in 1992 and created by Jean Kerleo.

Vintage Counterfeit Perfumes and Fantasy Fakes

During the 20th century, the perfume industry was rife with counterfeiting at every turn. There was some trickery going on in the 1930s-1950s regarding designer named perfumes. I can find famous names on bogus labels for perfumes in bottles that you would never see used by that brand. Various con men had boxes and labels printed up, then decanted or adulterated, refilling cheaper bottles with even cheaper perfume, then slapping the newly printed labels on them, and passing them off as genuine.

I have created a comprehensive guide for fake vintage perfumes going back to the 1920s and into the 1970s. Much of the crucial information I have gathered has been revealed nowhere else and it can answer a lot of questions regarding so called "rare" editions or bottles of designer perfumes. 

Discussed in this guide are rebottlers, fake pricing schemes, and outright counterfeits. A significant portion of the guide is devoted to what I call "fantasy fakes." Fantasy fakes are, in my own parlance and definition, is the usage of bottles and labels that a genuine perfumery brand would have never used. This also includes names of perfumes that were never part of their catalog such as "Ce Soir Ou Jamais" by Christian Dior. I have done extensive research on these in order to determine whether they are genuine or fake. You might be surprised, delighted or even disappointed at the information I uncovered.

Before you shell out hundreds for a rare "Poiret" perfume bottle, please see my guide first!

Vacances by Jean Patou c1934

"Vacances" perfume by Jean Patou holds a significant place in the fragrance world, debuting in either 1934 or 1936, with the latter marking the trademarking of its name by Patou. The scent was crafted by Henri Almeras, a renowned perfumer of his time. "Vacances" translates to "vacations" in French, a fitting title for a fragrance that celebrates a pivotal moment in French history: the establishment of mandatory paid vacation. It symbolizes a luxurious getaway encapsulated in a bottle, evoking the essence of leisure and relaxation amidst the hustle and bustle of everyday life.

Le Sien by Jean Patou c1928

Sporty types of perfume and colognes are very popular today, especially among the younger set and it seems as if they have always been around, however that is not the case. Sporty or clean fragrances are named for their freshness, a quality that roughly akin to the smell of a warm shower or a good soap. These fragrances are found most often in eau de colognes. Given their refreshing nature, women and men who are active or athletic may find sporty fragrances appealing. Some classic sporty fragrances are Estee Lauder Alliage, Lily Chic by Escada, Cashmere Mist by Donna Karan, Ralph Lauren Polo for Women and Tommy Girl.

L'Heure Attendue by Jean Patou c1946

L'Heure Attendue by Jean Patou: launched in 1946. Created by Henri Almeras as an homage to end of the Nazi occupation of Paris during World War II. Patou registered the perfume's name as early as 1940 in anticipation for the war to end. It was recommended to be worn by brunettes.

Lasso by Jean Patou c1956

Lasso by Jean Patou: launched 1956 , advertised as "your secret weapon." It was created by Guy Robert.

Cocktail by Jean Patou c1984

Cocktail, launched in 1984 as part of Jean Patou's "Ma Collection," was inspired by the iconic trio of scents originally crafted in the 1930s by Jean Patou himself: Cocktail Dry, Cocktail Sweet, and Cocktail Bitter-Sweet. This reimagining is credited to Jean Kerleo, who brought his own modern interpretation to the fragrance, particularly focusing on Cocktail Dry.

Jean Kerleo's approach aimed to capture the essence and allure of Cocktail Dry while infusing it with contemporary elements. This modern interpretation retained the sophisticated and lively character of the original fragrance, making it accessible to a new generation of perfume enthusiasts while honoring the legacy of Jean Patou's olfactory creations.

The launch of Cocktail in 1984 under the "Ma Collection" series not only preserved the spirit of the classic Cocktail perfumes but also introduced them to a broader audience who appreciated both the historical significance and the timeless appeal of these scents. Kerleo's adaptation ensured that Cocktail continued to resonate with its original charm while adapting to contemporary tastes, solidifying its place as a beloved fragrance in the lineage of Jean Patou's enduring creations.

Moment Supreme by Jean Patou c1929

Moment Supreme by Jean Patou: launched in 1929 and created by Henri Almeras.

Caline by Jean Patou c1964

Câline by Jean Patou: launched in 1964 and created by Henri Giboulet.

1000 by Jean Patou c1972

1000 de Jean Patou was released in 1972. I have read that it was supposed to be only a limited edition perfume.

Joy by Jean Patou c1929

Jean Patou launched "Joy" in 1930, a time marked by the economic hardships of the Great Depression. In the context of perfume and haute couture fashion, this period saw a significant shift. The opulence and extravagance of the 1920s gave way to a more restrained and cautious approach in the early 1930s. Yet, amidst this backdrop, Jean Patou decided to create an exceptionally luxurious product, showcasing resilience and a commitment to beauty even in difficult times.

Renowned as "the costliest perfume in the world," the Joy line was created in 1929 by haute couture designer Jean Patou. The perfume was first used commercially in 1931 according to trademark records. Jean Patou was the first designer to use his initials as a logo, presaging the monogrammed designer labels of today.

The name "Joy" was chosen with great care. In a period characterized by financial struggle and uncertainty, a name evoking happiness and positivity was a deliberate and thoughtful choice. "Joy" as a name for a perfume encapsulates the essence of what perfume represents: an escape, a moment of pleasure, and a touch of luxury. For women of the time, a perfume called "Joy" would symbolize a beacon of hope and a brief respite from the harsh realities of daily life.

Henri Almeras, a master perfumer, was tasked by Patou to create something strong yet simple, without regard to cost. The result was a lavish blend that included an unprecedented amount of rare and expensive ingredients such as jasmine and rose. The creation of such a costly perfume during an economically challenging time was a bold statement and an expression of undiminished quality and craftsmanship.

Cocktail Bar a Parfums by Jean Patou c1928

In the late 1920s and early 1930s, cocktail bars emerged as cultural icons, embodying the spirit of the Jazz Age. This era, characterized by its roaring nightlife and sense of modernity, saw the cocktail bar as a central social hub where people gathered to enjoy innovative and stylish beverages. The atmosphere of these bars was glamorous and lively, appealing to the growing middle and upper classes who sought sophistication and new forms of entertainment. 

In 1928, Jean Patou, ever the innovator, introduced a unique and charming feature to his Parisian showrooms: a cocktail bar. This was not merely a place to serve drinks but a strategic and thoughtful addition designed to enhance the shopping experience for both his clients and their companions. The bar was specifically intended to entertain and quench the thirsts of husbands and other men who often found themselves accompanying women during the sometimes lengthy and tedious process of fittings and fashion consultations.

In the luxurious fitting rooms of the popular Parisian couturier Jean Patou, an unusual invitation might have been heard: "Madame, while we are making this little alteration in your frock, won't you step down to the bar and take a cocktail?" This innovative concept, a cocktail bar complete with a polished counter, cozy seats, glistening bottles, and a white-coated bartender with an easy smile, became a significant hit among Patou's fashionable customers. The bar served as a delightful distraction from the tiresome delays of fittings and alterations, the indecision over which model to choose, and the doubts about prices and whether to splurge on one more dress. The affable barman, always sympathetic and helpful, added to the experience.

Interestingly, this bar was designed specifically for women. Originally, Jean Patou explained,"This is not a bar for men. I have installed this accommodation for women. Husbands and boyfriends can do their drinking around the corner. I want this to be a haven of rest and reflection for my clients." Patou believed that women appreciate a good cocktail as much as they do a good frock, and found that one stimulated them quite as much as the other. His three-piece cocktail, consisted of gin, Bacardi rum, and a secret ingredient, was particularly popular among his clients. While men were not barred from the salon, they were not particularly encouraged to stay, as the space was intended for women to think about fashion without the distraction of dressmaking bills.

The conversation at Patou's bar was unlike any typical bar setting. Politics, sports, and last night's party were replaced with discussions about dresses. Women exchanged phrases like "Have you seen this one?" rather than "Have you heard this one?" It was a space where only those who understood and appreciated tucks, ruffles, and hemlines would have felt at home.

Psychologists among the Paris dressmakers had long understood that keeping a customer's mind off the bill could ease the sales process. This insight led to the introduction of tea-dances and mannequin parades in the dress-making salons. Jean Patou's cocktail bar was a modern and most elegant evolution of this concept. The skill of his bartender in mixing drinks like "sidecars" and "rose" cocktails had even started to attract a clientele that might be tempted to buy a dress on the side, akin to a "chaser."

Patou’s showroom cocktail bar was a masterstroke in customer service and marketing. It transformed what could have been a dull and tiresome wait into a pleasant and enjoyable experience. Originally meant exclusively for women to enjoy, Jean Patou's cocktail bar eventually evolved to accommodate men who accompanied their ladies. Despite Patou's initial intention to create a haven exclusively for women to relax and reflect away from the pressures of dressmaking decisions, the appeal and convivial atmosphere of the cocktail bar extended its allure to both genders. The men, who might otherwise grow impatient or bored, were now engaged and entertained, making them more likely to view the shopping trip favorably and support the purchasing decisions of their wives or partners. This clever addition fostered a relaxed and convivial atmosphere, making the entire process more appealing and luxurious.