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It is perhaps as well that not many people are keenly aware that the word "snob" began as a notation on English colleges' records, notably Cambridge, of entrants who were devoid of an aristocratic strain circa 1796. "S.nob" supposedly signified "sine nobilitas", "of no aristocratic bearing". The exact etymology is lost on us, though it was originally used for shoemakers and local merchants. The lauded democratic inclusion of more people gifted in the head department rather than in the name & pocket department in those bastions of class distinction is of course the basis of modern civilization as we know it. Yet, that very distinction was not amiss to those who were participating side-by-side with those possessing "nobilitas" for many decades to come; hence the deterioration of the word to the one signifying the aping of aristocratic ways and its further decline into its modern usage of one who shuns anything they consider low-class.
It is this very element, re-appearing in a perfume name from 1952 and coming from an aristocrat originator no less, which makes me think that there's either a heavy-handed irony of the Parisian clientele choosing it or it was primarily aimed at the American market to begin with. If names of Le Galion's other long-lost perfumes, such as Indian Summer (1937), Shake Hands (1937), Cub (1953), and Whip (1953) are any indication, their perfumes were certainly not only reserved for continental Europe, but whether they succeeded abroad hinged on complex parameters as we will see further on.
Snob was composed by perfumer Paul Vacher, famous for his hand in the original Miss Dior in 1947 (with Jean Carles), and Arpège for Lanvin in 1927 (with André Fraysse), as well as for Diorling, but Vacher also worked for Guerlain). Snob is a "flower bouquet" perfume, a mix of several floral notes which intermingle to give an abstract impression in which one can't pinpoint this or that blossom. The rose-jasmine accord in the heart is classical for the genre and in good taste, with the opening displaying intense, sparkling, lemony-rosy aldehydes. The more Snob stays on skin the more it gains the musky, sweet & powdery timbre of classic ladylike Chanels, like No.5 and No.22. The fusion of vetiver and sweet musk plus orris gives a skin-like quality that remains oddly fresh, especially in my batch of "brume". The fragrance was dropped almost immediately, making it a rare fragrance collectible. The reason? Fierce antagonism with none other than...Jean Patou!
Parfums Jean Patou had registered a trademark for a Patou "Snob" fragrance in the United States as early as 1953 (just months after the Parisian launch by Le Galion the previous year!), a venture resulting in less than 100 bottles sold in total, but effectively excluding the Le Galion fragrance from the American market. Importing any infringing trademark was naturally prohibited and this exclusion lasted for almost 2 decades, thus blocking Le Galion's perfume chances in the vast USA.
Snob by La Galion was launched many years after Patou's Joy, a bona fide inspiration, unlike Patou's own practices, in an era that clearly exalted the ladylike florals with the fervor of newly re-found feminine values of classiness, obedience, elegance and knowing their place; the New Look mirrored this change after women's relative emancipation during WWII.
In that regard Snob is something which I admire, but cannot really claim as my own in the here & now, much like watching reels from the 1950s, when the Technicolor saturation conspired to an almost unreal quality of the people on screen; such was their visual perfection that they stood out as Platonic ideas rather than actors playing a role.
Notes for Le Galion Snob:
Top Notes: aldehydes, bergamot, lemon, neroli, estragon, hyacinth
Heart Note: rose, jasmine, ylang ylang, carnation, lily of the valley, orris
Base Note: vetiver, musk, civet, sandalwood, cedar, tonka beans.
(added notes with the help of 1000fragrances)
