Top Notes
Bergamot
Mandarin orange
Lemon
Heart Notes
Hyacinth
Iris
Jasmine
Tuberose
Ylang-ylang
Base Notes
Amber
Leather
Moss
Musk
Pepper
Frankincense
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Notes06/03/2021
Serenissima
Translated Show original
Serenissima
Top Review
17
I'm going to Maxim's...
Count Danilo from Franz Lehar's operetta "The Merry Widow" spent his nights there Who does not remember Johannes Heesters, when he threw his white theater scarf with a brisk swing, put on the top hat and left the stage with a wink enterprisingly?
First it went behind these, whether later really from time to time into the "Maxim's", that is not known.
On April 7, 1883, former waiter Maxim Gaillard opened a restaurant to which he gave his name. At first, its clientele consisted primarily of the neighborhood cab drivers.
Only with the Belle Epoque this should change seriously.
Who went to the Parisian "Maxim's", left his wife at home; because there the most famous Grisetten (see "The merry widow") waited for the enterprising men and also soon could be eaten there excellent.
After the war, Maxim's experienced its heyday: anyone who was anyone was to be found there; the list of guests certainly resembles a "Who's Who" of the celebrity/glitter world of the time.
Even though the three "Michelin stars" have been lost in the meantime, a visit to the museum set up by Pierre Cardin is still certainly just as interesting as the restaurant's art nouveau interior, which is well worth seeing. This was nevertheless classified as a "Monument historique".
What, you may ask, is she talking about again?
Who cares about this establishment; it is, after all, about perfumes.
Exactly!
Because in 1981, Pierre Cardin, known as a couturier who never copied but always went his own way, bought Maxim's.
(Oh, what a "rustle in the papers" that was back then!)
Under this name the enterprising man sold all sorts of gourmet stuff.
I still remember well the champagne truffles in the tasteful packaging with the then for me still somewhat disreputable sounding name "Maxim's". - Yes, it's been a long time!
Also the champagne of the same name was bought with pleasure: How happy our working students were when there was a bottle of "Maxim's" champagne from the boss on their birthdays or at Christmas!
Thus Pierre Cardin managed to make his name very widely known and to stand on more than one leg.
Always more innovative than others, anticipating and betting on the spirit of the times, Pierre Cardin was the first to gain a foothold in both ready-to-wear and "prêt-à-porter" women's fashion.
As early as 1958, he created a unisex clothing line and in the sixties, he and Courrèges were part of the avant-garde.
After his first Eau de Parfum "Choc" (1957) (already the name sets itself apart from the so shielded world of couture), he brought 1983 - one hundred years after the first opening of the Paris "Maxim's" - "Paradoxe", also as Eau de Parfum, on the market.
This man knew his craft and mastered the art of riding the right wave at the right time.
Although Pierre Cardin was a creative mind and never copied in fashion, he did follow the successful chypre fragrance paths with "Paradoxe".
Thus, the fragrance pyramid shows the typical course of a classic Chypre, which was appropriately embellished and adapted: "Paradoxe" has yet a pronounced strong character!
The top note is a stylish fresh combination of citrus notes gathering around the bergamot; mandarin and lemon thus give a first cheerful impression.
Relying more on iris and foregoing the classic rose for this, "Paradoxe" changes quite quickly in the powdery direction.
The two fragrant white bloomers tuberose and jasmine, get their portion from the powder puff and also hyacinth and ylang-ylang have to duck a little.
The heart of "Paradoxe" is not as flowery radiant as it would be expected.
Rather, it already points to the base in shades of brown, green and smoke; an interesting transition!
The already strong moss in itself is supported by leather and spicy pepper:
Immediately, "Paradoxe" becomes darker, deeper and is no longer so cuddly; some barbs can already be guessed.
Even if musk and amber draw a light curtain in front of this fragrance power and thus want to maintain the soft-feminine character of the previous fragrance course: "Paradoxe" does not want to swim with the elegant chypre current!
It wants to give women with self-confidence an additional fragrance personality that draws attention!
To this end, generous use is also made of incense:
The woman of the eighties was strong and herself - and that she should also show!
Perhaps "Paradoxe" was also intended as a counterpart to the exuberant profusion of color and fabric in the fashions of those years.
I only recall the gorgeous gowns in "Denver Clan" and similar cult series.
The woman there so elaborately "wrapped", showed strength and a fragrance underlining this was therefore just right!
The selected and very skillfully dosed fragrance notes give "Paradoxe" a corresponding sillage and shelf life.
A, for the time quite appropriate business fragrance: I remember only a few offices in which Chypre fragrances were not the most present "employees".
Anyway, I will happily use the fragrance sample Gelis gave me (even if some iris powder has now got into my nose and mouth when I sprayed it, making me cough!).
I take this opportunity to thank you for this.
And between you and me:
One could still get through a night at "Maxim's" in the company of this fragrance work without having to touch up - unless for pleasure!
First it went behind these, whether later really from time to time into the "Maxim's", that is not known.
On April 7, 1883, former waiter Maxim Gaillard opened a restaurant to which he gave his name. At first, its clientele consisted primarily of the neighborhood cab drivers.
Only with the Belle Epoque this should change seriously.
Who went to the Parisian "Maxim's", left his wife at home; because there the most famous Grisetten (see "The merry widow") waited for the enterprising men and also soon could be eaten there excellent.
After the war, Maxim's experienced its heyday: anyone who was anyone was to be found there; the list of guests certainly resembles a "Who's Who" of the celebrity/glitter world of the time.
Even though the three "Michelin stars" have been lost in the meantime, a visit to the museum set up by Pierre Cardin is still certainly just as interesting as the restaurant's art nouveau interior, which is well worth seeing. This was nevertheless classified as a "Monument historique".
What, you may ask, is she talking about again?
Who cares about this establishment; it is, after all, about perfumes.
Exactly!
Because in 1981, Pierre Cardin, known as a couturier who never copied but always went his own way, bought Maxim's.
(Oh, what a "rustle in the papers" that was back then!)
Under this name the enterprising man sold all sorts of gourmet stuff.
I still remember well the champagne truffles in the tasteful packaging with the then for me still somewhat disreputable sounding name "Maxim's". - Yes, it's been a long time!
Also the champagne of the same name was bought with pleasure: How happy our working students were when there was a bottle of "Maxim's" champagne from the boss on their birthdays or at Christmas!
Thus Pierre Cardin managed to make his name very widely known and to stand on more than one leg.
Always more innovative than others, anticipating and betting on the spirit of the times, Pierre Cardin was the first to gain a foothold in both ready-to-wear and "prêt-à-porter" women's fashion.
As early as 1958, he created a unisex clothing line and in the sixties, he and Courrèges were part of the avant-garde.
After his first Eau de Parfum "Choc" (1957) (already the name sets itself apart from the so shielded world of couture), he brought 1983 - one hundred years after the first opening of the Paris "Maxim's" - "Paradoxe", also as Eau de Parfum, on the market.
This man knew his craft and mastered the art of riding the right wave at the right time.
Although Pierre Cardin was a creative mind and never copied in fashion, he did follow the successful chypre fragrance paths with "Paradoxe".
Thus, the fragrance pyramid shows the typical course of a classic Chypre, which was appropriately embellished and adapted: "Paradoxe" has yet a pronounced strong character!
The top note is a stylish fresh combination of citrus notes gathering around the bergamot; mandarin and lemon thus give a first cheerful impression.
Relying more on iris and foregoing the classic rose for this, "Paradoxe" changes quite quickly in the powdery direction.
The two fragrant white bloomers tuberose and jasmine, get their portion from the powder puff and also hyacinth and ylang-ylang have to duck a little.
The heart of "Paradoxe" is not as flowery radiant as it would be expected.
Rather, it already points to the base in shades of brown, green and smoke; an interesting transition!
The already strong moss in itself is supported by leather and spicy pepper:
Immediately, "Paradoxe" becomes darker, deeper and is no longer so cuddly; some barbs can already be guessed.
Even if musk and amber draw a light curtain in front of this fragrance power and thus want to maintain the soft-feminine character of the previous fragrance course: "Paradoxe" does not want to swim with the elegant chypre current!
It wants to give women with self-confidence an additional fragrance personality that draws attention!
To this end, generous use is also made of incense:
The woman of the eighties was strong and herself - and that she should also show!
Perhaps "Paradoxe" was also intended as a counterpart to the exuberant profusion of color and fabric in the fashions of those years.
I only recall the gorgeous gowns in "Denver Clan" and similar cult series.
The woman there so elaborately "wrapped", showed strength and a fragrance underlining this was therefore just right!
The selected and very skillfully dosed fragrance notes give "Paradoxe" a corresponding sillage and shelf life.
A, for the time quite appropriate business fragrance: I remember only a few offices in which Chypre fragrances were not the most present "employees".
Anyway, I will happily use the fragrance sample Gelis gave me (even if some iris powder has now got into my nose and mouth when I sprayed it, making me cough!).
I take this opportunity to thank you for this.
And between you and me:
One could still get through a night at "Maxim's" in the company of this fragrance work without having to touch up - unless for pleasure!
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