Perfume Directory

N'Aimez Que Moi (1917)
by Caron

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N'Aimez Que Moi information

Year of Launch1917
GenderFeminine
AvailabilityIn Production
Average Rating
(based on 63 votes)

People and companies

HouseCaron
PerfumerErnest Daltroff
PackagingFélicie Bergaud
Parent CompanyAles Group

About N'Aimez Que Moi

1916. To keep up the troops and their lady friends' good spirits, Caron launches N’Aimez que Moi. Young soldiers offer it to their betrothed as a true pledge of faithfulness.

N'Aimez Que Moi fragrance notes

Reviews of N'Aimez Que Moi

At first the whump of the hefty Caron base (deep, powdery-resinous) masks the floating quality of N’Aimez que Moi. Then there is the ferocity of clove and something like the brambly undergrowth from Malle’s Une Rose that also make it appear to be more of a drama queen than it is.
But wait a short while and the rose, liquered, a bit musty but also powdery soft, wafts its magic gathered in clumps of cloudy violets and lilac. A touch of fatty, waxy orris gives it a discreet sheen. I find violets often give perfumes a watercolour, daydream-like quality – perhaps it’s because their scent seems so borderless and diffuse – and that is certainly the case here. Later the base re-emerges, but gently, a pillow to lean back on, giving the florals a touch of earth.
If you have a tendency to dismiss this kind of perfume as old-fashioned and fusty, then N’Aimez que Moi will do nothing to change it. For the rest of us, it is a quiet pleasure, rich yet restrained about it.

Review is for the current EDP formulation.

10th May, 2017
A wonderful powdery Bulgarian Rose, surrounded by iris and violet. This lovely creation from 1917 is typical of what reviewers now call "old lady," with its heavy emphasis on potpourri florals (others have detected cedar, jasmine, lilac). The oakmoss support is also rounded out with notes that have been identified as: civet, sandalwood, amber, musk, vanilla.

This is truly old fashioned and set in its time. It is one of the best rose scents available today.
17th April, 2013
redrose Show all reviews
United Kingdom
One of my all-time favourite scents, and one I'd never want to be without. The opening of cedar and rose, quite dark and mysterious, like a half-hidden path through the woods, and then the swelling of yet more rose, this time with iris and violet, and something I can't identify; and finally the deep Caron base with its civet and oakmoss (which presumably is now tree moss, because of IFRA regs). You wear this perfume like a voyage of discovery. First, the cedars and wild roses shade your way through the forest, and then you discover the violets and irises blooming amongst the undergrowth. All the while, the civet and musk base draw you deeper and deeper into the woods, until you are almost lost. But the beautiful rose and violet notes act like Ariadne's thread, so that you never actually lose your way as you press forward all the way to the forest edge.
On me, both extrait and EdP last several hours.
Yes, it's old-fashioned in a good way, reminding me of the beautiful art nouveau jewelry and lace-bedecked clothes of the Edwardian era. It brings a touch of that lost world of quality and manners into our hectic 21st century lives. I have both the extrait and the EdP, and whenever I wear them I'm taken back in time to that more gracious era. If you appreciate vintage and classic scents, this is definitely one to try.
21st May, 2012
The heart of this vintage is the rose. But it does not sit alone. Violet, lilac & iris are listed but as support players they exist as nuances, and are not quite as easily identifiable as the central rose accord. To smell the rose, one has to get really close to the skin. It is a deep dark rose with a slight metallic tinge, certainly not of the dewy-fresh, budding variety. I'm testing the parfum which has depth to spare and unveils each layer at its own languid pace.

While I wouldn't exactly describe this bouquet as 'fusty', the freshly powdered aura represents a style that was popular in that era but may well be viewed as 'out of its time' particularly by a generation raised on a diet of 'instant gratification'. A true fragrance connoisseur however will have much less of a problem appreciating this composition from Ernest Daltroff.

26th September, 2011
I feel it is quite a shame that this great classic (nearly 100 years old) enduring the challenges of times (with rather completely different tastes in the perfume market today etc.) gets very little mention and obviously very few reviews.
It is very easy to dimiss this as musty and dated. Most of all, it has to do with the fact that today we hardly understand the nature of grand classic extraits de parfum that take their time to settle down and notes melting together on our skin, in order to create a dense, complex and rich olfactive experience.
Violet is certainly an important contributor in here at times while the fragrance shifts, which makes it tricky territory for myself and also adds much to the dated feel. The dark musty rose with a slightly smoky (I can't help but thinking of a component this shares with Tabac Blond) musk don't really help to change the mood of this composition. Actually, this stage in its really long-drawn drydown, where the smokiness is clearly perceptible, is my very favorite. It is the almost nocturnal blend of these exquisite dark rosy facets with a violet candy touch, a distinctive vanilla (not too sweet) and exactly this smoky muskiness that is very alluring.
N'aimez que moi is an old-world beauty from times bygone with class and eventually less innocence than the first two hours make you believe. Moderate sillage (elegant and comfortable) with very good longevity. Again, I only care for the extraits of the great Caron fountain perfumes. One last comparison: N'aimez que moi is far superior and interesting than Amouage Opus III to me.
13th August, 2011 (last edited: 26th August, 2011)
BayKAT Show all reviews
United States
A few miles down the road from me is the (in)famous Winchester House, built by the unfathomably wealthy widow of the Winchester fortune. If you don’t know the story, she lost her husband and infant daughter at a relatively young age, and spent the rest of her life in a depressive state, supposedly haunted by the spirits of all who met their fate by a Winchester gun.

She believed if she ever stopped building her mansion, she would die, and today the house stands as a testament to her state of mind. Staircases lead nowhere, walls were built and not finished with plaster, and after the 1906 earthquake an entire wing was boarded up and made off limits, proof that the spirits were out to punish her.

The one shining exception to this shrine to insanity is Sarah’s bedroom. As you climb an uneven set of 3 inch stairs (she suffered from arthritis later in life), you stumble into a room where you are hit by a blast of opulence. Deep, red velvet curtains and tapestries cover the windows, chairs and sitting couches. Her four poster bed and dressers are made of dark, well polished wood. The floor is made of intricately weaved overlay, and the marble fireplace is stunningly ornate.

If you tour this house may I suggest wearing N’aimez que moi. It is THE scent for this landmark, as it opens as a moth-ridden, mess of a fragrance that appears to go nowhere. But then… it turns the corner and bursts forth with an incredibly rich Bulgarian rose and violet accord. It’s as if you were channeling Sarah herself, who at one point was one of the wealthiest persons in America. I love this complex scent; it is mysterious, grand, and utterly original.
28th February, 2010 (last edited: 28th April, 2010)

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