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The Word We Knew ...
...or from yesterday to today. It may not be usual to open the headline to a commentary with the title of a Sinatra song from 1967, it may seem trivial, but the title on Cartier's Pasha fits like a fist to the eye. In both cases, concerning Sinatra as well as Cartiers Pasha, personal taste plays the decisive role and as "opulent" melting as the Sinatra song, which is well worth listening to, Pasha also reveals himself to the wearer. In doing so, I should fairly mention that I am wrongly using this as a dubious and macho scent to save Cartier's honor. The fragrance is a victim of its name and not of its quality. Nevertheless, I have to admit to all critics that in 2018 Pasha seems to have fallen out of time with his concept of a fresh fragrance and could easily have appeared five to six years earlier. A time, which will not exist again in such a way, coined by a hedonistic basic attitude from today's perspective. Allowed was what appealed and not what the premature "olfactorical-correctness" whispered to you.
As a child of his time, Pasha also opened the round dance directly, almost frivolously with a mixture of mandarin, lavender and thyme of distinct freshness, whereby the mandarin at that time was not yet squeaky sweet, but more herb-fruity, and the fresh soapy prelude of lavender and thyme as a counterpart was opposed. It's like pepping up a classic shaving soap with a few drops of mandarin oil and throwing in a few mint leaves as you walk by. For me, this is still an absolutely timeless fresh start, which unfortunately only lasts about thirty minutes before a canonade of exquisite herbs begins, described here by Cartier as stone herbs, paired with a warm wood note and a rest of the mint from the top note. Anyone who thinks of the cuisine and hearty Westphalian dishes when they hear the word stone herbs should be reassured, because we don't find such rusticity. Rather, a Mediterranean finesse is spreading that quickly offers room for the grandiose base note. Warm-sweet patchouli paired with oak moss really get Pasha going, because even if they don't keep the head and heart notes long, they bring a light veil of their fragrance into the base note, so that we don't expect a patchouli bomb at the end, but a warmed mandarin-wood-herb orchestra, which is preparing to play a big finale and that over a felt eternity, that means a relaxed twelve hours.
There was much speculation about the type of man who in his way was the godfather of Cartier's Pasha and who should be addressed. I always find this discussion extremely difficult, as it reflects the spirit of our time today, which sets out to make a retrospective judgement that can only be fair in the rarest of cases. The eighties and early nineties were a time that, from today's point of view, resembled a world that is no longer quite comprehensible today. Yes, there was a time when women sat languishing in front of the TV and gazed at Sascha Hehn when he once again jumped "gallantly" into his white Golf convertible to rush into the clinic. Today unimaginable? In my opinion, Pasha is not directed exclusively at the macho type of a Sascha hen, but at a male image that was not characterized by metrosexual restraint. A picture of a man, which not only meticulously shaved his body in the morning, but showered freshly and started the day a little bit brashly. Was aware of his masculinity without placing it at the centre of his actions. Pasha could and still can be worn by a large number of men, whether by a young Sasha Hahn, a Frank Sinatras or Pierce Brosnans.
Unfortunately, these times and this world are passé