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12/15/2020
Trollo
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Trollo
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"Love no one but me!" - "N'aimez que moi!"
Paris, 1916.
There is a dense crowd at the station. Young couples stand close together in front of the open doors of a long train, saying goodbye with quiet words. On the platform at the very back, a long train pulls in. The doors open, out slowly and wearily climb many men in dirty uniforms. Tired eyes stare into space. From the sliding doors soldiers lift other men out on stretchers. Their shouts and moans penetrate through the low whispers on the other platform. The couples pause and look over. Quickly they look away again and fix their gazes firmly on each other. A shrill whistle sounds.
Before boarding the train, he presses a small package into her hand, wrapped in parcel paper, and whispers, "N'aimez que moi!" The doors close, the train rolls slowly out of the station. For a long time she stands there, the little parcel in her hand, watching the train go by. Finally, she looks at the little package and slowly unwinds the wrapping paper, "N'aimez que moi" - "Love no one but me!"
Power-hungry men had driven Europe into a war that would be unparalleled in its cruelty for decades, one that would eventually engulf the entire world and cost millions of lives. In 1916 France was engaged in a war of position against Imperial Germany, which was largely fought as a battle of materiel, especially in front of Verdun: trains brought back the dead and wounded, healthy young men were taken with them to fight "the enemy" - young men of another nation - to their positions at the fronts, the machinery of the industrial nations reliably supplied the Hellmouth with supplies of men and ammunition. The men in the trenches had to endure constant deafening bombardment and gas attacks; not a few of them suffered irreparable psychological damage, if they escaped hell.
In this oppressive situation, Ernest Daltroff created a fragrance, to comfort and as a gift for the brides of these young soldiers who stayed behind: "N'aimez que moi".
The opulent prelude is a ravishingly beautiful bouquet of delicate piercing lilacs and interspersed with dark red roses, noble and dominating the garden with their fragrance: lilacs represent May, a month when the trees and shrubs have leafed out, giving hope for the end of winter. A lilac bush is covered all over with blossoms whose sweet fragrance can be detected from afar. May is traditionally the month for infatuation, the young love that matures during the summer. As a summer flower, the rose appropriately takes the place of the lilac. So typically, the somewhat powdery iris, as the flower of constancy and fidelity, supports the two expansive fragrance beauties. The scent of cedar permeates this powdery yet expressive trio, grounding it, strengthening it, giving it depth and serenity. and also the cedar, sign of permanence and strength. Sandalwood and vanilla are not only considered precious, but also aphrodisiac, in no perfume like this with love as a theme should they be missing. They add soft and gentle sweetness to the bouquet, rounding it out without overpowering the vanilla as in today's fragrances. Finally, Caron's classic mousse de saxe of vetiver and oakmoss, along with musk, give the fragrance a somber, even melancholy, progression as it progresses, which, like people's emotions, lasts "forever". The dark base in conjunction with the still predominant floral vanilla almond woody sweetness expresses as a downright olfactory oxymoron a paradox of love between passion and loss - again a bow of Daltroff to the sacrifice of these young people.
Daltroff's creation of "N'aimez que moi" weaves the hope and despair of the people of the time into an olfactory masterpiece. The fragrance lives and feeds on the contradiction of light (lilac, rose) and dark (cedar, mousse de Saxe), romantic love and loss, and thus ultimately also reflects the thoughts and feelings of the young women who have to let their lovers and husbands go to a cruel war with their eyes open, remembering the wonderful love, wistful because of the lost time and looking anxiously into the future. "N'aimez que moi" has a deeply melancholic side: it is the contribution of a gifted perfumer to his country, to the people of his homeland, in a war that was to produce no real victor. Like "Tabac Blond" or "En Avion", for example, "N'aimez que moi" is a thematic fragrance, but a rather little-known early masterpiece by Ernest Daltroff compared to the aforementioned Caron icons
There is a dense crowd at the station. Young couples stand close together in front of the open doors of a long train, saying goodbye with quiet words. On the platform at the very back, a long train pulls in. The doors open, out slowly and wearily climb many men in dirty uniforms. Tired eyes stare into space. From the sliding doors soldiers lift other men out on stretchers. Their shouts and moans penetrate through the low whispers on the other platform. The couples pause and look over. Quickly they look away again and fix their gazes firmly on each other. A shrill whistle sounds.
Before boarding the train, he presses a small package into her hand, wrapped in parcel paper, and whispers, "N'aimez que moi!" The doors close, the train rolls slowly out of the station. For a long time she stands there, the little parcel in her hand, watching the train go by. Finally, she looks at the little package and slowly unwinds the wrapping paper, "N'aimez que moi" - "Love no one but me!"
Power-hungry men had driven Europe into a war that would be unparalleled in its cruelty for decades, one that would eventually engulf the entire world and cost millions of lives. In 1916 France was engaged in a war of position against Imperial Germany, which was largely fought as a battle of materiel, especially in front of Verdun: trains brought back the dead and wounded, healthy young men were taken with them to fight "the enemy" - young men of another nation - to their positions at the fronts, the machinery of the industrial nations reliably supplied the Hellmouth with supplies of men and ammunition. The men in the trenches had to endure constant deafening bombardment and gas attacks; not a few of them suffered irreparable psychological damage, if they escaped hell.
In this oppressive situation, Ernest Daltroff created a fragrance, to comfort and as a gift for the brides of these young soldiers who stayed behind: "N'aimez que moi".
The opulent prelude is a ravishingly beautiful bouquet of delicate piercing lilacs and interspersed with dark red roses, noble and dominating the garden with their fragrance: lilacs represent May, a month when the trees and shrubs have leafed out, giving hope for the end of winter. A lilac bush is covered all over with blossoms whose sweet fragrance can be detected from afar. May is traditionally the month for infatuation, the young love that matures during the summer. As a summer flower, the rose appropriately takes the place of the lilac. So typically, the somewhat powdery iris, as the flower of constancy and fidelity, supports the two expansive fragrance beauties. The scent of cedar permeates this powdery yet expressive trio, grounding it, strengthening it, giving it depth and serenity. and also the cedar, sign of permanence and strength. Sandalwood and vanilla are not only considered precious, but also aphrodisiac, in no perfume like this with love as a theme should they be missing. They add soft and gentle sweetness to the bouquet, rounding it out without overpowering the vanilla as in today's fragrances. Finally, Caron's classic mousse de saxe of vetiver and oakmoss, along with musk, give the fragrance a somber, even melancholy, progression as it progresses, which, like people's emotions, lasts "forever". The dark base in conjunction with the still predominant floral vanilla almond woody sweetness expresses as a downright olfactory oxymoron a paradox of love between passion and loss - again a bow of Daltroff to the sacrifice of these young people.
Daltroff's creation of "N'aimez que moi" weaves the hope and despair of the people of the time into an olfactory masterpiece. The fragrance lives and feeds on the contradiction of light (lilac, rose) and dark (cedar, mousse de Saxe), romantic love and loss, and thus ultimately also reflects the thoughts and feelings of the young women who have to let their lovers and husbands go to a cruel war with their eyes open, remembering the wonderful love, wistful because of the lost time and looking anxiously into the future. "N'aimez que moi" has a deeply melancholic side: it is the contribution of a gifted perfumer to his country, to the people of his homeland, in a war that was to produce no real victor. Like "Tabac Blond" or "En Avion", for example, "N'aimez que moi" is a thematic fragrance, but a rather little-known early masterpiece by Ernest Daltroff compared to the aforementioned Caron icons
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