Perfume Directory

The Vintage Cities: Paris 1948 (2014)
by 4160 Tuesdays

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The Vintage Cities: Paris 1948 information

Year of Launch2014
GenderShared / Unisex
AvailabilityIn Production
Average Rating
Not enough ratings.

People and companies

House4160 Tuesdays
PerfumerSarah McCartney

About The Vintage Cities: Paris 1948

4160 Tuesdays say: 'So many of the great chypres – all made with a blend of oakmoss, patchouli, bergamot and other deep naturals - have disappeared, too expensive or complex for today’s tastes. Here’s one inspired by the Paris masters - working in the late 1940s as their industry was able to start creating once again - with rich heart, a fruity top and a soul of pure oakmoss.'

The Vintage Cities: Paris 1948 fragrance notes

  1. Top Notes
  2. Heart Notes
  3. Base notes

Reviews of The Vintage Cities: Paris 1948

Wow! A realistic peach note, pulverized in a blender with grapefruit and basil, to create a breezy, garden feel, with some panache. I really like this so far!
Has an ancient accord - familiar yet unknown. Cedarwood moves quickly in, to create something totally different, an unnamed mood. Then, the cedar changes. It merges with the rosewood as it creates a lovely, old-fashioned, antique furniture odor, with little touches of floral and honey. Is this Paris in 1948? Get me a time machine and I will go back to find out. This fragrance does seem to evoke old memories for me, from another time or parallel universe.
The breezy clear, woody accords hang on a long time, in the middle phase. I get a vague iris accord later. Powdery, distant iris. Like a memory of it. Hay and musk are wispy, ephemeral. Labdanum is diluted, ghostly. A lovely, slight metallic note. Ozone note. It's hypnotic.
It garners a dry, violet accord, after time. It has also has a sweet, newsprint paper smell. Most strange yet lovely creation. I'm a fan.
31st August, 2019
Stardate 20180718:

Rosy peachy chypre. I like rose and dislike peach. So meh.
18th July, 2018
The fruity opening blast was a bit shocking, and not a pure peach to my nose, at least not as I think of peach in Mitsouko terms; more like a stone fruit mixture, peach/plum perhaps. I couldn't detect the listed grapefruit, but there is a charming touch of yuzu that joins and lightens the fruit effect. As the heart opens up about 30 minutes in, the fruit yields much of the stage to a very woody rose (rosewood?), and the whole concoction takes on a very warm tone and dense texture, super-creamy and waxy, almost like it should be a lotion. Extremely retro-1940s in feel, like Lana Turner in a bottle. As the drydown approaches, a mossy hay and musk join in, but the woody rose is still going strong pretty much right up to the end.

Although it's not a scent for me, I do admire the concept and it's easy to see how this could steal the heart of a rose lover, with its va-va-voom curves and velvet peignoir feel.

Longevity: Vivid for 4 hours, skin scent for at least 2 more.
05th October, 2017
After Roma 1963, 4160 Tuesdays Paris 1948 is another Sarah McCartney's (personally tested) twist on the fruity-floral vintage chypre's tradition (an admirable experiment which is focused on a synth re-creation of a basic waxy and mossy labdanum). Please, don't judge the whole olfactory fatigue yet from the chemical top-blast guys, give time the juice to completely evolve instead. Opening is actually too kind of fizzy-bitter, tickling and chemically berrish (it seems to detect blackberries or bilberries combined with dark woods and fruity-floral syrup) to be kept as quite appealing olfactive introduction while on a distance (space-time) the juice develops its sensual and evocative "high class" qualities. This creation has great projection and is better (in terms of perception's quality and individual nuances) to catch the waves from a certain space distance indeed. There is a weird rubbery-leathery tone throughout, combined with synth labdanum, fruity-waxy honey and with an obscure fruity-floral piquant melange (peach, red forest berries and orange). I get surely the aromatic and bitter basil's presence while rose is mostly on the shape of dark rosewood (kind of vaguely oudish, mossy-rosey and neutral). The final issue is kind of bold, subtle, sophisticated and fruity-mossy. Rose comes finally out royally (more "presencefully") but it seems flanked by violet, dark berries from the forest, plums, patchouli, woods, heliotropic honey and lily of the valley in a quite classy obscure sort of new Annick Goutal Mon Parfum Cheri Par Camille. In this stage I get the british touch straight from a rosey/waxy background-accord. From a certain distance (and after a couple of hours) the juice seems structured, classy and elegant, probably not enough to summarize all the parisian grandeur but surely enough to unfold dark classic sensuality and subtle mystery. A pity for the longly chemical top.
10th August, 2016 (last edited: 12th August, 2016)

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