smell this: Halston 1-12

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Halston 1-12 launched in 1976 along with its more popular brother Halston Z-14. Both were named for the perfumer’s codes for the drafts, Halston couldn’t decide between the two and launched both simultaneously. Often considered the younger brother, overshadowed by Z-14 (a harbinger of the 80s powerhouse colognes to come), but I think it is also the more academic, more mysterious brother. Z-14 doesn’t interest me at all. I don’t typically like chypres,* often think they smell…not good. Old fashioned? Unpleasant. Musty but not in the way I like…

* “Chypre, pronounced: [ʃipʁ] or [ʃipχ], is the name of a family (or concept) of perfumes that are characterised by an accord composed of citrus top-notes, a middle centered on cistus labdanum, and a mossy-animalic base-note derived from oak moss and musk. Chypre perfumes fall into numerous classes according to their modifier notes, which include but are not limited to leather, florals, fruits, and amber.” (wikipedia)

But I like this. Probably because it meets the technical requirements of a chypre but feels like a fougère.**  Fougères I routinely like (ref. YSL Rive Gauche pour homme). Intellectually a chypre, emotionally a fougère, 1-12 is surprisingly complex for its price tag, and surprisingly contemporary for its age.

** Fougère, pronounced: [fu.ʒɛʁ], meaning “fern-like”, is one of the main families into which modern perfumes are classified, with the name derived from the perfume Fougère Royale (Houbigant) by Paul Parquet, now preserved in the archives of the Osmothèque. This class of fragrances have the basic accord with a top-note of lavender and base-notes of oakmoss and coumarin (Tonka bean). Aromatic fougère, a derivative of this class, contains additional notes of herbs, spice and/or wood.” (more wikipedia)

This opens with a bright lemon and green cedar-like accord, a little shrill for the first few seconds (but you know better than to judge a perfume in the first few seconds) but quickly softened by notes of basil and bergamot. The opening is not my favorite part of this, reminds me too much of the screaming green opening of Grey Flannel, which cologne I like but not until many minutes after application (and even then, not so much as I like 1-12). Grey Flannel, while it has its charm, could never be mistaken for a modern perfume, and I think 1-12 could be. And probably would be, as few seem to know about it.

Effervescent citrus and coniferous green soften into a soapy, lavender-infused green with a hint of gin—by which I mean juniper—, and when the creamy tonka bean (sweet, vanilla-like) comes forward, that’s when I begin to really like this fragrance. The green smells interesting and fresh, mossy yet newly laundered at the same time. This base is balanced such that the players that often dominate the base (amber, musk) are instead quietly warming and intensifying the rest of the team. The key players left on the skin hours in (and this lasts pretty well on me) are moss and tonka bean, with the aromatic cedar and juniper (and maybe lavender, sometimes I can catch it and sometimes I can’t) never quite fading away completely. This may be too soapy for some but I don’t mind it at all. My main complaint about soapy fragrances is that they are dull, and Halston 1-12 is not.

To me this smells subdued and elegant. It’s gently masculine, readily unisex. Suitable for wear year round. Especially good in the rain.

It’s been discontinued for a while but it’s still easy to find it dirt cheap all over, around $10 or less. Fantastic value here, this fragrance shows that you don’t need to spend a lot to get a quality scent. You’re not likely to bump into someone else wearing it, either. Woefully overlooked, check it out.

 

layering, a ModCloth challenge

ModCloth invited some bloggers to talk about fall/winter layering, prompting us to choose three items (tops, from them) and explain the selection. I like this kind of style challenge, where some aspect or another is limited, controlled. The challenge for me was that so many of their tops are prints of some kind and working with multiple prints can be difficult. They are thin on basics, too, as it’s not what they do (they do cute, often retro-inspired statement pieces). So!

idea 1: sandwiched plaid

I like to keep things clean, usually, meaning solid, meaning no prints, but now and then I’ll go for one. An easy way to deal with a print, even a dramatic one, is to break it up, sandwich it between two solids. Ideally, for me, between muted and harmonious solids.

Something like this basic plaid buttoned shirt

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between this sweetheart mock turtleneck sleeveless number (I like a button down with a turtleneck, and this one, sort of sheer/formal, would be appealingly strange, unexpected next to informal plaid), the color pulled from a minor note of the plaid pattern,

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and this slouchy grey (read: neutral) cardigan, with really any kind of belt thrown over the whole affair, and none of the buttons done up on the shirt. A lot of colors could work here, and they have tons of sweaters.

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OK, so this is a tame approach (or some might say chic! Some might say sophisticated!), but pretty foolproof. There is also

idea 2: inverse pattern juxtaposition

By which I mean some simple camisole base like this

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layered with a (more or less) two tone pattern with one color dominant, like this geometric cardigan,

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layered with another two tone pattern, this one with the color that is non-dominant in the other pattern now dominant, like this other geometric cardigan (not ideal b/c white vs cream, but you see what I mean, and I often like white and cream together anyway).

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If you live somewhere sufficiently cold, you know two cardigans are not unheard of. Maybe no belt on this one. Or maybe a really pale tan leather braided belt.

Just a solid color in the middle would be good there, too. Like this.

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Layering gets easier and easier with experimentation as you discover what you like and begin to establish strategies to achieve it. Often your wardrobe works for you as you are often drawn to the same colors (not hard to find harmonious combinations) and, even if you prefer patterns, often prefer the same kinds of patterns. Then, too, it’s good to be open to unexpected combinations.

Imagine three layers, all plaids with some common stripe…I would like to see that. Or imagine three very different patterns, all with the same dominant color. Or three identical patterns in three different colors. Or two, with a solid between them, or three beautifully complementary solids…

This is to say nothing of accessories.

images via modcloth.com