Miss Dior (1947)

Miss Dior by Christian Dior: launched in 1947. Created by perfumers Jean Carles and Paul Vacher, it met with immediate success.

The Idea:

Dior put his love of things British to good commercial use and came up with a name, "Miss Dior." after his younger sister, Catherine. The fragrance itself was conceived by Christian and his childhood friend, Serge Heftler-Louiche, whom was a manager for Coty perfumes for twenty five years and owned a perfume distribution company SFD. Dior later made him the director of Parfums Dior.

It was said that Dior held samples under the noses of every woman he knew and they hated it, probably because it was such a unique and strong fragrance for the time. But, Dior was undeterred, he was convinced of the perfume's quality and gave the production the go ahead.

France Actuelle, reported that Dior had only sold exactly 150 bottles of Miss Dior in 1947, but in 1967,  Parfums Dior sold 9,000,000 of its fragrance articles. The book Fashions in the Forties states that "In the first year a small factory of six hands produced 283 bottles (twenty-five years later eleven million bottles were being turned out by the 700 employees of Dior Perfumes Ltd)."

The houndstooth design for the box came a few days later, at Victor Grandpierre's suggestion, inspired by one of the fabrics in the collection.

Original Fragrance Composition:

So what does it smell like? It was originally classified as an aldehydic green floral chypre fragrance for women made up of 350 different ingredients. It starts with a green aldehydic top, followed by a narcotic floral heart, resting on a warm, woody, mossy base.

• Top notes: peach, aldehydes, galbanum, cyclamen, honeysuckle, bergamot, hyacinth, clary sage, gardenia, elderberry, reseda, honeysuckle
• Middle notes: celery seed, lily of the valley, hawthorn, lily, neroli, narcissus, carnation, rose de Chêne, jasmine, orris
• Base notes: resins, rosewood, musk, cistus labdanum, patchouli, cistus, ambergris, oakmoss, leather, sandalwood, vetiver

 

Perfumery: Practice and Principles, 1994:

 "Although the central chypre accord of bergamot, jasmine, oakmoss, patchouli, vetiveryl acetate, labdanum and animalic notes comprises some 60% of the formula, the perfume, at the time of its launch, was one of startling originality. The emphasis on green notes was taken up in Miss Dior, combining galbanum with the accord between the aldehydes C11 undecyclenic and C10, with styrallyl acetate, and a styrax notes. In addition there is a dry spicy note based on pepper and coriander, as well as lavender and neroli. 

A conventional jasmin base again provides the main floral aspect of the perfume. In more modern versions, for example, as in the Eau de Toilette, Lyral is used to replace part or all of the hydroxycitronellal. The styrax note may be reinforced by the use of phenylpropyl alcohol, one of its major constituents. The base note has a high level of patchouli 10%. 

Contrasting with the somewhat harsh top note of the perfume are warm amber and animalic notes, and the powdery softness of orris and vanillin. Natural jasmin and tuberose may be used to give richness to the perfume. A trace of celery seed oil also forms an interesting accord with the tuberose. 

At the time when Miss Dior was created most natural tuberose was obtained by the traditional enfleurage process. Today, partly because of high labor cost but also because of the religious restriction on the use of animal fats in producing countries such as India, most tuberose absolutes are obtained by solvent extraction. The two types of product are very different in olfactory character, with the more modern product being greener and lacking much of the “jammy” richness of the original, which was so important in many of the earlier perfumes."

The famous Lux soap of the 1960s had a scent which was influenced by the fragrance of Miss Dior and was a combination of green notes, lavandin, styrall acetate, and the aliphatic aldehydes; a floral character made up of ylang, fruity jasmin notes, and rose; PTBCHA, methyl ionone, and Vertofix; with a mossy amber background.

Combat, 1954:

"Eau Miss Dior by Christian Dior: this young woman in a long flowered muslin dress, bare shoulders, white and fruity flesh, whose pearly fingers wander on the keyboard, in pursuit of a melody by Ravel, this fine, elegant little person intrigues me with her perfume. It does not resemble any other, although I recognize in it hyacinth, jasmine, hawthorn, lily, honeysuckle, narcissus, cyclamen, a hint of peach, a base of amber and a touch of musk...but a ribbon of a unique aroma ties the sheaf, for a precious, insistent and light exhalation, as the piano says."

Combat, 1955:

"Miss Dior (fragrant cologne by Christian Dior) - unfolding of the film of intimate tenderness: dinner for two - hawthorn and jasmine - on a terrace where the night brings the scent of love from flowering elderberries; reading for two - honeysuckle and reseda - from a page of Crébillon, in a room intact since the 18th century - amber and rosewood -; deciphering with four hands - musk or the finesse of an aldehyde - from a score by Vivaldi; the whole haunting and velvety."

Fragrance Concentrations:

• Parfum
• Eau de Parfum
• Esprit de Parfum
• Eau de Toilette
• Eau de Cologne

Miss Dior Esprit de Parfum was launched in 1984. Esprit de Parfum — rich and long-lasting, yet light and refreshing was also available in Diorissimo.

Bottles:

Miss Dior was housed in various bottles over the years including exquisite Baccarat crystal flacons.

To open the classic Dior crystal flacon, use the following tip provided by Parfums Christian Dior themselves in 1963:

Should warm water on the bottle neck fail, tap the stopper gently with a knife handle; or try rubbing face cream or vaseline around neck of stopper.

Amphore de Parfum Flacon (Amphora/Urn Bottle):

In 1947, Fernand Guéry-Colas designed the first bottle for Parfums Christian Dior. Produced by Baccarat, the amphora shaped bottle was created to introduce the new perfume, Miss Dior. The bottle was clear crystal overlaid in colored enamel and then cut to reveal the clear underneath and further decorated with gilded accents. 

The bottle was available in three shades of enamel: red, white and blue: the colors of the French flag. These bottles were housed in sumptuous satin covered presentation boxes lined in silk. The box was color coded to the glass of the bottles. During its first year, only two hundred eighty-three bottles of the Miss Dior extrait were produced.

The expense of the crystal Baccarat bottles and the growing demand for the new perfume forced Parfums Dior to reimagine the luxury presentation in favor of bottles that could be inexpensively turned out in larger numbers.

Town & Country, Volume 107, 1953:

"PERFUME NEWS Below, left: Dior makes refills for his deluxe urns in both Miss Dior and Diorama. Refill for the $30 bottle. $20."

Esquire, 1959:

"Miss Dior perfume in Baccarat flacon, $100*, Christian Dior."

A modified version of the amphora bottle was used for the regular presentations of the extrait, again produced by Baccarat. The sides of the elegant bottle are molded with a ringed handle design. The front of the bottle has the name Christian Dior in white serigraphy. The base of the bottle is cut in a ray pattern and the ground glass stopper has a teardrop shape.

This bottle was housed in a beautiful presentation box of heavy cardstock covered in thick paper. It has a golden cartouche with the Christian Dior name on the front and a simple gilded band along the top. The top of the box has a gorgeous satin bow arranged artfully across the top. The base of the bottle was tied securely with cording to the base of the presentation box to keep the bottle in place during shipping.

The Amphore parfum bottle was available in the following:

• 14cc
• 28cc

The colored crystal amphora bottles were still being used as special limited editions presented during the holiday seasons in the 1950s. 

These bottles were used to hold the signature Dior fragrances: Miss Dior, Diorissimo, Diorling, Diorella, Diorama.

Houndstooth Bottles:

In 1950, Christian Dior introduced the famous houndstooth design for his parfum packaging. Frosted embossing gives a charming light-and-shadow effect which makes the lovely liquid gleam like gold behind the crystal walls.

By 1952, the Eau de Toilette is presented in a deluxe flacon as elegant as if it were for the parfum itself. These rectangular bottles were available in three sizes: 2 oz, 4 oz and 8 oz.

Vintage Screw Cap Travel Bottles with Houndstooth Accents:

Introduced in the 1950s, these are the tall bottles, with the oblong shape, fitted with plastic screw caps intended for usage during travel. The bottles have houndstooth paper labels along the bottom part of the bottle and some have small fabric bows tied around the necks of the bottles. The screw caps are white plastic and printed with a houndstooth pattern in black to match the label. The boxes also displayed the elegant houndstooth pattern.

This bottle was used for Eau de Toilette, and Eau de Cologne.

Other Parfum Bottles: 

Oblong Crystal Parfum Flacon:

In 1953, a new bottle was presented. According to a 1953 newspaper ad, it was meant to refill your fancy amphora bottle and was packaged with a small funnel. This pretty clear glass oblong shaped bottle sports a nice thickly glazed paper label crowned with the famous Christian Dior bow. The bottle has a ground glass cup shaped demi lune stopper. The bottle is molded on the base with "Bottle Made in France" and "CD" for Christian Dior and the bottle size. These bottles were available in 1 ounce and 2 ounce sizes.

These parfum bottles were available in the following:

• 14cc
• 28cc
• 56cc  

The beautiful presentation box is a heavy, ribbed cardstock covered in the famous Dior Dove Grey color, and it's label matches the one on the bottle. The elegant dove gray shade, a favorite of Christian Dior, was originally used in the immaculate Maison Dior flagship boutique in Paris, coupled with white plaster moldings. This presentation is notable because it does not feature the black and white houndstooth pattern.

Crystal Travel Flacons for Parfum:

The square shaped, clear glass bottle sports a nice thickly glazed paper label and is fitted with a brass screw cap. This bottle was made expressly for travel and is supposed to be leakproof. The bottle is molded on the base with "Bottle Made in France" and "CD" for Christian Dior. 

The beautiful presentation box is a heavy cardstock covered in white and trimmed with the famous Dior Dove Grey color, and it's label matches the one on the bottle. The elegant dove gray shade, a favorite of Christian Dior, was originally used in the immaculate Maison Dior flagship boutique in Paris, coupled with white plaster moldings.

Obelisque Flacon:

In the late 1940s,  Fernand Guerycolas designed a sumptuous cut crystal obelisk flacon for Dior based on an obelisk at the place de la Concorde. Manufactured by Baccarat, the bottle holds 2 ounces of pure parfum, it was packaged with a mirrored stand. The obelisk was used for various Dior perfumes including Diorama.

The New Yorker, 1948:

"You get two ounces of either in a splendid obelisk of a bottle, enshrined before a triple mirror, for $78. (There are toilet waters in these fragrances, too, in lovely, lacy, four-ounce bottles, for $9.)"

Cue, 1948:

"Miss Dior and Diorama. Miss Dior, as you might guess from her name, is very propre et bien elevee, all flowers and sunshine. Diorama is a great, big, grown-up girl, rich and heady, suitable for after dark. Dior scents range in price from $4 (for the eau de toilette) to $65 for a perfume-filled obelisk in a three-paneled, mirror-lined vanity box."

In 1956, a cosmetics line was introduced and included a matching smaller glass obelisk was made to house a tube of lipstick.

Mademoiselle,1962:

"Christian Dior encases lipstick in a chiseled crystal obelisk. $10."

J'Appartiens a Miss Dior Flacon c1952-1962:

The exquisite figural bottle of a bichon frise sitting up on its hind legs, on a yellow enameled cushion, designed by Christian Dior. This deluxe presentation flacon is entitled "J'Appartiens a Miss Dior" (I belong to Miss Dior).The bottle is made up of frosted and clear crystal with hand enameled details. The cushion is hand painted with yellow enamel, and the facial features and dog’s claws are and painted with black enamel. It was produced commemorating the 10th anniversary of the House of Dior and was shaped after the designer's own little dog, named Bobby. The most important of Dior's clients were presented with the "J'Appartiens a Miss Dior" flacon from 1952-1962. The hang tag at its neck bears the legend “J’Appartiens a Miss Dior”.  A paper label under the cushion is numbered in Roman numerals and signed "Tian Dior" (Dior's nickname) in a facsimile of his own handwriting. The bottle stands 7 ¼” tall. (approximately 17.8 cm x  7.2 cm)

Sprays:

Cue, 1966:

""Christian Dior has just introduced a complete aerosol perfume collection. In addition to the purse-size atomizer (at $5), you can now color-select your favorite in three sizes — Miss Dior in white package, Diorama in grey, Diorissimo in pink, and Diorling in yellow. They tell me that there is absolutely no change in the formula."

Parfum Sprays:

 

Esprit de Parfum:

The Bulletin, 1983:

"He is launching the latest marketing ploy, the Miss Dior Esprit de Parfum, which the perfume purists put somewhere between an eau de toilette and a concentrate."

Product Marketing for Beauty Industry Retailers & Manufacturers - Volume 16, Issues 1-10 - Page 5, 1987:

"According to the company, Esprit de Parfum is for "a woman who desires more than a light fragrance, but something less than a full blossoming ... Esprit de Parfum is designed to be portable, in a refillable frosted bottle, topped with a gold cap."

Lear's, 1990:

"For women who are firmly wedded to one fragrance, perfume houses continue to introduce less-concentrated versions of best- selling scents— many in eau de parfum and esprit de parfum, both of which are lighter than perfume but longer lasting than eau de toilette."

Book of Perfume, 1995:

"Hence the success of the less concentrated eaux de parfum. baptized fleur de parfum, soie de parfum, or esprit de parfum, depending on the make. Their arrival on the market in tin; 1970s coincided with the development of feminism. "

Ancillary Products:

• Moisturizing Body Milk/Perfumed Body Moisturizer
• Body Cream/Crème Parfumée pour le Corps
• Bath Oil
• Body Lotion/Eau de Satin
• Deodorant Spray
• Dusting Powder
• Talcum Powder 
• Foaming Milk Bath
• Shower Gel
• Soap

Fate of the Fragrance:

Miss Dior has suffered from various reformulations, most notably in 1982. Miss Dior is a fragrance defined by refinement and poise, built around a sophisticated chypre structure enriched with aldehydes and warm ambered woods. From the first impression, the aldehydes lend a luminous, airy brightness that elevates the composition, giving it a polished, almost couture-like clarity. This opening sets the tone for a perfume that feels composed, confident, and impeccably balanced.

At its heart, Miss Dior reveals a harmonious floral core where gardenia and rose intertwine. The gardenia contributes a creamy, elegant fullness, while the rose adds a noble, classic femininity. These floral notes are never overpowering; instead, they are carefully measured, reinforcing the perfume’s sense of restraint and timeless grace. Galbanum introduces a subtle green sharpness that brings structure and contrast, sharpening the floral heart and anchoring it within the chypre tradition.

The base is deep, warm, and unmistakably luxurious. Patchouli and oakmoss form the backbone of the composition, giving Miss Dior its dry, woody sophistication and long-lasting presence. Ambergris softens these darker elements with a smooth, sensual warmth, rounding out the fragrance and lending it a refined depth that lingers gracefully on the skin.

Overall, Miss Dior is racé and infinitely precious—a perfume that embodies elegance rather than explaining it. Woody, chypre, and ambery, it is a quiet statement of taste and distinction, designed for a woman whose style is instinctive and assured. It is not a fragrance that seeks attention, but one that commands admiration through its subtlety and enduring class.

In 1984/1985, Miss Dior was available in the following:

• Parfum Presentations: "Size" 3 sizes; Atomizer 3 sizes; Purse Spray
• Related Products: Esprit de Parfum; Spray 2 sizes; Eau de Toilette 3 sizes; Eau de Toilette Spray; Eau de Cologne 2 sizes; Eau de Cologne Spray
• Ancillary Products (Bath & Body): Body Cream; Bath and Shower Gel; Perfumed Body Lotion; Deodorant Spray; Soaps; Perfumed Talc; Diorissimo Liquid Foaming Bath

In 1990/1991, Miss Dior was available in the following:

• Parfum; Esprit de Parfum; Eau de Toilette; Eau de Cologne
• Ancillary products: Bath & Shower Gel; Moisturizing Body Creme; Perfumed Deodorant; Talcum Powder; Soap

It was also reformulated in 1992 (when it was reissued), and 2012.

Miss Dior Today:





The success of Miss Dior has resulted in several flanker scents and limited edition bottles:

• 2005 Miss Dior Chérie (currently discontinued)
• 2005 Miss Dior Cherie Extrait de Parfum
• 2007 Miss Dior Chérie (reformulation)
• 2007 Miss Dior Chérie Eau de Toilette
• 2008 Miss Dior Chérie Blooming Bouquet (limited edition summer fragrance)
• 2008 Miss Dior Chérie Eau de Printemps
• 2009 Miss Dior Cherie L`Eau (currently discontinued)
• 2010 Miss Dior Cherie Eau De Toilette (reformulation)
• 2011 Miss Dior Couture Edition
• 2011 Miss Dior Eau de Toilette Originale
• 2011 Miss Dior Cherie Eau de Parfum
• 2011 Miss Dior Cherie Blooming Bouquet (limited edition summer fragrance)
• 2011 Miss Dior Blooming Bouquet Couture Edition
• 2011 Miss Dior Esprit de Parfum
• 2012 Miss Dior (new)
• 2012 Miss Dior Le Parfum
• 2012 Miss Dior Eau Fraîche
• 2013 Miss Dior Eau De Toilette
• 2013 Miss Dior Le Parfum Edition d’Exception
• 2014 Miss Dior Blooming Bouquet
• 2014 Miss Dior Extrait de Parfum
• 2014 Miss Dior Original Extrait de Parfum
• 2015 Miss Dior Edition d’Exception
• 2015 Miss Dior Parfum pour Cheveux
• 2016 Miss Dior Absolutely Blooming
• 2016 Miss Dior Brume Soyeuse pour le Corps

The screenshot below is taken from my original Christian Dior Perfume Bottles Blog, now defunct.

Hypnotic Poison Eau Sensuelle (2010)

Hypnotic Poison Eau Sensuelle by Christian Dior: created by Francois Demachy in 2010.

• Top notes: Damascus rose, ylang ylang and orange blossom absolute
• Middle notes: tuberose, vanilla orchid, and green leaves
• Base notes: vanilla, sandalwood, and musk

Unfortunately, this fragrance has been discontinued.

Midnight Poison (2007)

When Dior introduced Midnight Poison in 2007, it marked a dramatic return to the dark, mysterious allure that had defined the Poison line since 1985. The name itself—Midnight Poison—is immediately evocative. Pronounced in English just as it reads (MID-night POY-zuhn), it fuses two potent ideas: “midnight,” the hour of mystery and transformation, and “poison,” Dior’s signature symbol of forbidden beauty. Together, they conjure images of moonlit seduction, a woman enveloped in sapphire silk, her perfume trailing like smoke through the night air. It is a name that suggests power and enigma, beauty with a dangerous edge—a theme that has always pulsed through Dior’s most iconic fragrances.

The choice of the word Midnight carries symbolic weight. In literature, myth, and art, midnight represents thresholds: the moment between days, between dreams and reality, where hidden desires emerge. The combination of this imagery with Poison—a word already steeped in sensual tension—captures the allure of a modern femme fatale. It evokes not the blinding glamour of daylight but the kind of beauty that reveals itself under the moon: hypnotic, knowing, and impossible to resist. The scent’s deep blue bottle, echoing the shimmer of a midnight sky, reinforces this vision—a darker, more mysterious evolution of Dior’s original apple-shaped flacon.

The late 2000s was a time of nostalgia for opulence after a decade of minimalism. The early 2000s had favored clean, sheer fragrances—light florals and fresh aquatics—but by the mid-2000s, a shift was underway. Fashion was embracing a renewed sense of drama and fantasy, influenced by the gothic romanticism seen on runways by designers such as John Galliano (then Dior’s creative director). Galliano’s couture work—steeped in historical references, sumptuous fabrics, and theatrical flair—perfectly mirrored the tone of Midnight Poison. This was a time when luxury fashion and storytelling became intertwined, and perfume once again served as a vehicle for fantasy.

 

Created by master perfumers Jacques Cavallier and Olivier Cresp of Firmenich, in collaboration with François Demachy of LVMH, Midnight Poison was classified as a woody chypre fragrance. Its structure reinterpreted the classic chypre accord of bergamot, patchouli, and ambered woods but modernized it with a resinous, balsamic intensity and a cool metallic sheen. The composition was built around the dark radiance of rose, but not a soft or powdery one—instead, a cold, mysterious rose cloaked in amber, patchouli, and vanilla. The result was a fragrance that smelled like black velvet and polished glass, a balance between sensual warmth and icy restraint.

For women of the time, Midnight Poison embodied empowerment and allure. The name and scent appealed to a generation that sought sophistication tinged with danger—femininity expressed through confidence rather than sweetness. It was a fragrance that invited the wearer to embrace her enigmatic side, to become the heroine of her own story. The campaign, starring actress Eva Green and directed by Wong Kar-wai, perfectly captured this mood: cinematic, surreal, and irresistibly dark.

In the context of the fragrance market, Midnight Poison was both timely and distinctive. It arrived during a revival of heavier, more sensual perfumes, yet it stood apart through its chypre backbone—a nod to perfumery’s golden age. While many contemporary releases leaned toward gourmand or fruity-floral compositions, Midnight Poison dared to be gothic, elegant, and unapologetically sophisticated. It was Dior’s reminder that seduction need not shout; it could whisper, linger, and intoxicate—like midnight itself.

In scent form, Midnight Poison transforms its name into an experience: the shimmer of moonlight on dark petals, the rustle of silk against skin, and the slow burn of something beautiful and dangerous. It was, quite fittingly, the last great Poison of Dior’s classic era—a perfume that captured the spellbinding stillness of midnight, and the quiet power of a woman who knows it is her hour.

Fragrance Composition:

So what does it smell like? Midnight Poison is classified as a woody chypre fragrance for women.

• Top notes: mandarin and bergamot
• Middle notes: black rose
• Base notes: patchouli, amber and French vanilla

Scent Profile:

To experience Midnight Poison by Christian Dior is to step into a world of deep blue velvet and shadowed light—a scent that unfolds like a cinematic sequence, each note revealing another layer of mystery. Created by Jacques Cavallier and Olivier Cresp in collaboration with François Demachy, this woody chypre fragrance transforms the traditional floral structure into something magnetic and nocturnal. Every ingredient is carefully chosen, each one glowing against the darkness, contributing to a composition that feels both timeless and modern—a fragrance that seduces through contrasts of coolness and warmth, purity and decadence.

The opening strikes with the crisp brightness of mandarin and bergamot, both sourced from the sunlit groves of southern Italy. The mandarin, most likely from Calabria, bursts open with juicy sweetness, its essential oil rich in limonene, a molecule that lends that immediate citrus sparkle and uplifting energy. Beneath this brightness, traces of gamma-terpinene and citral add depth—a zesty, almost honeyed nuance that keeps the fruit from feeling too innocent. The bergamot, prized from Reggio di Calabria, brings refinement. Its composition of linalyl acetate, linalool, and bergapten offers a more elegant, aromatic citrus character—slightly floral, slightly bitter, perfectly balancing the mandarin’s warmth. Together, these notes shimmer like the first sliver of moonlight—bright but fleeting, illuminating the path into the fragrance’s deeper heart.

At the center of Midnight Poison blooms the mysterious black rose, the true heart of the composition. Of course, no natural black rose exists; this is a perfumer’s illusion, created by deepening the scent of rose with darker, resinous and spicy tones. The rose itself likely draws from Turkish or Bulgarian varieties, rich in citronellol, geraniol, and phenylethyl alcohol—molecules responsible for that familiar, full-bodied floral scent that balances freshness with powdery sweetness. To achieve the “black” effect, this natural rose is layered with darker accords: perhaps a hint of clove-like eugenol or synthetic amber molecules that give it the depth of a rose in shadow. The result is intoxicating—lush and velvety, like a bloom caught at its most fragrant moment, suspended between beauty and decay. The rose’s inherent romance becomes mysterious, transformed by the synthetic touches that expand and prolong its natural complexity.

As the fragrance deepens, the base emerges—rich, warm, and enveloping, a triumphant blend of patchouli, amber, and French vanilla. The patchouli, most likely sourced from Indonesia, is earthy and complex. Its essential oil contains patchoulol, bulnesene, and norpatchoulenol, molecules that give it that unmistakable woody, camphorous, and slightly smoky quality. In Midnight Poison, it has been refined and smoothed—perhaps purified through modern molecular distillation—to remove the roughness, leaving only its dark, silken texture. This is not the patchouli of the 1970s, but a couture interpretation: sensual, polished, and haunting.

The amber adds a glowing warmth beneath. This note, more an accord than a raw material, is built from labdanum resin—often sourced from Mediterranean rockrose—combined with vanillin and benzoin. The resulting scent is rich, balsamic, and slightly leathery, echoing the golden radiance of candlelight on skin. Here, synthetic amber molecules such as Ambroxan or Cetalox likely enhance the depth and projection, lending the perfume a luminous, long-lasting trail that feels simultaneously ancient and futuristic.

Finally, French vanilla softens the intensity, wrapping the composition in a creamy, seductive warmth. The vanilla used here likely originates from Madagascar or Réunion (formerly Île Bourbon), where the climate and soil produce pods with particularly high concentrations of vanillin and p-hydroxybenzaldehyde, responsible for their complex sweetness and gentle spiciness. Dior’s perfumers enrich this natural vanilla with synthetic vanillin and ethyl vanillin to extend its radiance and give it a powdery, almost smoky quality—transforming it into something luxurious and enduring.

Together, these elements form an atmosphere rather than a mere fragrance—a chiaroscuro of scent. The citrus top notes flicker briefly, like sparks in the dark, before surrendering to the hypnotic heart of the black rose. The patchouli and amber then rise, enveloping the wearer in a sensual shadow, while the vanilla hums softly beneath, like the lingering warmth of skin after midnight.

Midnight Poison captures its name in scent: elegant danger, twilight sensuality, and the intoxicating calm of night’s embrace. It is both armor and adornment—refined yet feral, luminous yet shadowed—a perfume that turns the familiar symbol of the rose into something unexpected and thrilling. In the stillness of midnight, it blooms endlessly, dark and irresistible.

Fate of the Fragrance:

Around 2011, Midnight Poison underwent a quiet yet perceptible reformulation—an evolution marked visually by a subtle change: the once silver-toned collar encircling the bottle’s neck became gold-toned. To collectors and devoted wearers, this detail was more than a simple aesthetic adjustment—it symbolized a transformation within the fragrance itself. The original silver-collared version, launched in 2007, possessed a darker, more opulent character: its patchouli richer and earthier, its rose more velvety and resinous, its vanilla warmer, smoldering like the embers of midnight. The reformulated version, by contrast, emerged slightly lighter, more polished, and more transparent—reflecting the tightening regulations on certain raw materials in perfumery and Dior’s desire to modernize the scent while retaining its seductive identity.

While the gold-collared version maintained the recognizable DNA of Midnight Poison, aficionados noted the subtle shifts in tone. The patchouli seemed smoother, stripped of some of its deep, smoky undertones; the rose appeared less shadowed and more luminous; and the amber-vanilla accord leaned toward a cleaner, more crystalline sweetness. These refinements gave the perfume a slightly more contemporary air, yet softened its nocturnal mystique—the drama of the original distilled into something silkier, more wearable by daylight. Still, both versions retained that unmistakable chypre backbone: the meeting of dark woods, sultry florals, and glowing amber that made Midnight Poison both enchanting and unforgettable.

Sadly, by December 2013, Midnight Poison was officially discontinued, marking the end of an era in Dior’s Poison lineage. Its departure was felt deeply among perfume enthusiasts, who mourned not only the loss of a beautifully constructed fragrance but also the fading of a particular kind of perfumery—one that embraced depth, mystery, and cinematic sensuality. With its inky blue glass and hypnotic aura, Midnight Poison became an object of nostalgia, a reminder of Dior’s bolder creative years when perfumes were designed to linger like a memory, not merely to please in passing.

Today, surviving bottles—especially those with the silver collar—are cherished by collectors as relics of the fragrance’s original brilliance: a dark jewel from Dior’s most bewitching chapter, glowing softly in the memory of midnight.

BUYER BEWARE!

Beware of Fakes! Midnight Poison has been terribly faked. Here are some photos of a fake bottle and box that I had received in a large lot of Poison perfumes. There is no batch code on the bottle. I have found that the fake Midnight Poison boxes are imprinted with the same batch code "7J01".

The screenshot below is taken from my original Christian Dior Perfume Bottles Blog, now defunct.

Jules (1980)

Jules by Christian Dior, launched in 1980, was more than a new men’s fragrance — it was a statement of modern masculinity. Its name alone set it apart: “Jules,” pronounced zhool, is a French masculine given name, but more significantly, it functions in French slang as a term of endearment for “my man.” When a Frenchwoman says mon Jules, she’s speaking of her lover, her partner, her man of style and charm. The choice of this word — not overtly macho, but quietly confident and intimately familiar — gave the fragrance immediate personality. It evoked the image of a man who is desirable, independent, and effortlessly elegant. Jules wasn’t just a name. It was an identity.

Dior presented Jules as the scent for a new kind of man — one who defies convention, who isn’t content with the status quo. This was a man in pursuit of experience, of sensuality, of something different. A man who, in the words of the original ad campaign, “does what he wants to do.” Jules was created as a bolder, more assertively masculine counterpoint to the house’s earlier men’s fragrance, Eau Sauvage (1966). If Eau Sauvage was the polished French classic, Jules was its sportier, more rugged cousin — not wild, but worldly. Confident. Adventurous. Sensual.

The Jean Martel composed fragrance itself is classified as a woody fougère, but it breaks away from tradition by embracing leather, spice, and musky heat in more assertive proportions. The opening is green and herbaceous, a sharp and invigorating burst that evokes the scent of crushed leaves underfoot on a countryside walk. There’s a bracing freshness here — like the snap of clary sage, tarragon, or parsley — paired with peppery brightness and a touch of bitterness. It’s brisk and energizing, like a morning breeze off the coast.

This green sharpness soon transitions into the heart, where florals and woods emerge. The woody core is built around sandalwood and cedar, lending depth and texture. The floral element remains restrained — no lush bouquets here — but likely includes jasmine or geranium, offering a clean, peppery lift that supports the spicier tones. Threads of black pepper and clove add complexity, reinforcing the fragrance’s structure and giving it a masculine heat — assertive but never brash.

The base is where Jules truly distinguishes itself. It dries down into a warm, subtly animalic accord of oakmoss, amber, musk, and the key note that made it infamous: Russian leather. This leather accord is bold — smoky, slightly bitter, even a touch tarry — but refined, smoothed by creamy amber and softened by moss. It’s not rugged in the way of rawhide or suede, but rather like a well-worn leather jacket — lived-in, lived-with, and intensely personal.

The leather note, paired with musk, gives Jules a provocative, skin-like warmth that was both daring and sensual for its time. In fact, some critics and wearers in the early '80s found it almost too bold, a quality that only added to its mystique. It had a dual personality — described evocatively in marketing as both invigorating like ocean spray and calm like a serene harbor. This duality mirrored the changing identity of men in the late 1970s and early '80s: no longer just stoic providers, but evolving into individuals allowed to be sensual, expressive, even introspective.

The launch of Jules in 1980 came during a transitional moment in men’s fashion and fragrance. The late 1970s had seen the rise of more personal expression for men — longer hair, softer silhouettes, and greater attention to grooming. By 1980, the cultural pendulum began swinging toward a sharper, sportier ideal of masculinity: think sleek lines, athleticism, and control. This was the era that would soon give rise to the “power suit,” the fitness boom, and the rise of designer sportswear. In fragrance, this translated into brisk fougères, green chypres, leather-spice compositions, and musky woods.

In that context, Jules stood out. While it echoed the fougère structure that had been popular since the 1960s, it injected it with a sense of sensual boldness, a spicier, darker, more animalic character that made it memorable — and even controversial. It was more provocative than Azzaro Pour Homme (1978), more rugged than Grey Flannel (1975), and more daring than the clean citrus of Eau Sauvage. Jules was not trying to please everyone. It was designed for the man who already knew who he was.

Today, Jules is remembered as one of Dior’s boldest masculine launches. Its discontinuation in most markets has only added to its mystique. To wear Jules was — and still is — to wear something both refined and untamed. It was, as Dior promised, “the fragrance for the new man” — one who could be both elegant and raw, classic and modern, restrained and rebellious. And like its name, its scent was never literal, but rather evocative: a whisper of skin, spice, smoke, and the sea.

 

Launch:

Launched in 1980, Jules by Christian Dior was conceived as a modern, sporty complement to the house’s earlier success, Eau Sauvage. With its introduction, Dior sought to redefine masculine seduction for a new decade — offering a fragrance that was not only elegant and refined but also bold, fresh, and forward-thinking.

The debut took place in Cannes, France, and within the first year on the French market, Jules rose to an impressive third place in sales, trailing only behind Eau Sauvage and Paco Rabanne. This marked it as a notable commercial success and a fragrance that clearly resonated with the changing tastes of contemporary men.

The scent itself was classified as a woody fougère, a category popular at the time, but it brought its own distinct personality. It opened with a fresh, green, spicy-herbaceous burst — invigorating and lively. The heart carried subtle floral and woody notes, while the base grounded the composition with leathery, musky, and mossy tones. Oakmoss and Russian leather lent a provocative edge, while sandalwood and cedar brought warmth and depth. It was brisk and clean, yet warm and sensual — a duality designed to appeal to the man who defied convention.

Jules was intended for men who sought more than the status quo — those who were driven, imaginative, and unafraid of embracing a modern identity. The name itself, “Jules,” has no direct translation in French, but in slang, “Mon Jules” is a familiar and flirtatious expression used by women to refer to their sweetheart, lover, or stylish male companion. This subtle double entendre added a layer of charm and mischief to the fragrance, a wink to the Frenchman who knows how to captivate without effort.

Panama was the first Latin American country — even before the United States — to launch Jules, in April 1980. Christian Dior’s exclusive Latin American distributor, Agencias Motta, oversaw the introduction. The full product line included cologne, aftershave, soap, and deodorant, all presented in sleek, smoked-glass bottles that echoed the fragrance’s modern masculinity. The rounded form was designed for comfort and ease in the hand, reinforcing the tactile appeal of this luxurious yet functional product.

In November 1980, Dior’s International Demonstrator, Nadine Joyaux, arrived in Panama to present the line personally, underlining the brand's commitment to its international launch strategy. Later, in May 1981, Jules was introduced to both the United Kingdom and Canada.

Interestingly, Dior chose not to launch the fragrance in the United States or Mexico — a strategic decision confirmed in 1983 by the brand itself, which stated: "Jules is only available in Europe." The reasons behind this limited distribution may have had to do with market positioning, consumer trends, or concerns about the fragrance's bold profile, which might not have aligned with the more conservative tastes of the American market at the time.

The Australian launch was staged with theatrical flair. Guests dined at Doyle’s Restaurant on the pier at Watson’s Bay while three windsurfers with “Jules” emblazoned sails glided by. Frenchman Eric Le Tourneur d’Ison, Dior’s international advertising and publicity director, flew in to oversee the event. He offered an evocative interpretation of the name, explaining how when a French woman whispers “Mon Jules,” it’s often a fantasy name — a term of endearment she might use for her lover, no matter his real name. The phrase evokes affection, intimacy, and a playful romance — perfectly capturing the essence of Dior’s fragrance.

In the context of perfumery at the turn of the 1980s — a period defined by bold expressions of masculinity, athleticism, and individuality — Jules stood out for both its confident composition and its evocative branding. It arrived during a time when fashion and fragrance were embracing sporty sensuality, moving away from the reserved elegance of previous decades. The fragrance reflected a man in motion: urban yet natural, adventurous yet composed.

Ultimately, Jules wasn’t just a fragrance; it was a statement — a scented expression of a new kind of man, who was modern, self-assured, and wholly his own.

Fragrance Composition:

So what does it smell like? Jules by Christian Dior is classified as a light leathery woody fougere fragrance for men. It begins with a fresh spicy, herbaceous top, followed by a woody floral heart, resting on a warm, leathery, mossy base. Strong, woodsy, sharp - oakmoss

• Top notes: angelica seeds, caraway, English artemisia, Alpine lavender, Indian cumin, green note, Calabrian bergamot, Provençal mastic, wormwood, laurel
• Middle notes: Ceylon cardamom, Jamaican black pepper, Zanzibar clove, Persian galbanum, French carnation, Hungarian clary sage, Egyptian jasmine, cyclamen, Lebanese cedar, Spanish basil, Bulgarian rose and Mysore sandalwood
• Base notes: Simali olibanum, Canadian castoreum, Malabar black pepper, Provencal lentisk, Singapore patchouli, Russian leather, Siberian fir, Venezuelan tonka bean, coumarin, Tyrolean oakmoss, ambergris, suede and Tonkin musk

 

Singapore Business, Volumes 5-6, 1981:

"Christian Dior's newly launched fragrances Jules depicts the lifestyle of the '80s: liberated, bold and exciting. The Jules fragrance is self assertive, positive, with instant appeal. On first contact it evokes a clean, refreshing, green, country fragrance derived from such essences as lentisk from Provence, sclaree sage, lavender, galbanum, angelica seeds. As the first notes fade, the deeper fragrances take over: rich, woody scents from such exotic essences as Mysore sandalwood, Lebanese cedar, Singapore patchouli. Amber and musk blend to give it its incomparable lasting property and join with Russian leather to affirm its personality and strengthen its reach. Warm and gently provocative spices such as clove, black pepper and cardamom heighten its appeal to the senses."

Scent Profile:

Jules by Christian Dior (1980) opens with a vivid and commanding freshness — bold, green, and deeply aromatic. The very first breath delivers the pungent snap of angelica seeds, a note at once earthy and peppery, slightly musky and tinged with celery. It merges beautifully with the slightly nutty warmth of caraway, and the bitter-green sharpness of English artemisia, also known as wormwood, which gives the fragrance an herbal, slightly absinthe-like clarity.

Then comes a vivid burst of Alpine lavender, a variety grown at high altitudes and prized for its clearer, more refined camphoraceous tone, which feels crisp and almost windswept — like walking through a mountain meadow. Indian cumin, with its warm, slightly sweaty spice, adds a human sensuality, grounding the brisk green with a pulse of heat. The green note — likely an accord built on synthetics like cis-3-hexenol — captures the crushed-stem freshness of green leaves and garden herbs, offering a breath of raw vitality. Calabrian bergamot, sunlit and lightly bitter, weaves through the top with a citrusy lift that lends radiance and polish, while laurel, with its slightly metallic and eucalyptus-like profile, infuses structure. The note of wormwood, in tandem with artemisia, reinforces a sense of dry bitterness, while subtly echoing the sophistication of vintage masculine colognes.

As the top subsides, the heart opens with spice and warmth. Ceylon cardamom, with its green lemony brightness, carries the composition forward with a cool, aromatic edge. The deep, smoky heat of Jamaican black pepper and the full-bodied clove oil from Zanzibar — both grown in equatorial, volcanic soils — bring warmth and a sense of spiced intrigue. These are softened and deepened by the oily, resinous richness of Persian galbanum, an intensely green note with leathery undertones, almost pine-like in its density. French carnation, laced with eugenol, gives a clove-like floral sharpness that is unmistakably masculine, while Hungarian clary sage offers herbaceous depth and a musky, ambered softness that anchors the spices in roundness.

Interwoven through the floral notes are Egyptian jasmine, creamy and warm, more animalic than airy, and Bulgarian rose, deep and slightly spicy — not sweet, but rich and grown-up. Cyclamen contributes a clean, dewy airiness — almost synthetic in its lightness — but here it serves to lift the denser middle notes and keep them from becoming too dark. The woody core is structured with Lebanese cedar, dry, sawdusty, and papery — a refined cedar that feels less sweet than its American cousin. Spanish basil, sharp and green, blends with the sage and cardamom in a thread of aromatic sophistication, while Mysore sandalwood, creamy, sacred, and rich in lactones, rounds the heart with a soft, skin-like warmth. The Mysore variety, now nearly extinct due to overharvesting, was once prized for its milky, nutty richness that no synthetic can fully replicate.

As Jules dries down, the base notes unfold with a masculine sensuality. Simali olibanum, a rare, lemony frankincense note from Somalia, lends its smoky balsamic beauty, rising like incense over skin. Canadian castoreum (ethically sourced in trace quantities or recreated synthetically) adds the unmistakable animalic warmth — leathery, smoky, and sensual — while Malabar black pepper, sharp and dry, continues the thread of spice from the heart. Provencal lentisk, also known as mastic resin, imparts a green, piney, and slightly salty nuance, giving the base a Mediterranean twist.

Singapore patchouli, darker and earthier than Indonesian types, blends beautifully with Russian leather, evoking the supple richness of tanned hides, dark and enigmatic. Siberian fir, cold and bracing, contributes an icy coniferous sharpness, while Venezuelan tonka bean, with its hay-like sweetness and natural coumarin content, wraps the base in creamy softness. Additional coumarin enriches this with a powdery, almond-like accent, often found in classic fougères.

The drydown is further textured with ambergris (likely an accord using ambroxan), lending a salty, radiant warmth that diffuses beautifully on skin, and suede, a softer interpretation of leather, which smooths the sharp edges of the earlier notes. Tonkin musk, whether natural or in this case a synthetic recreation, brings an animalic whisper — a warm, almost intimate skin scent that lingers. Tyrolean oakmoss, grown in the forests of the Austrian Alps, gives Jules its distinctive chypre-like character: deep, bitter, earthy, and grounding — the quintessential masculine anchor.

Jules is not simply a scent — it is a portrait of elegance with a wild, untamed edge. Through its interplay of crisp herbs, dry spices, floral sharpness, and resinous, leathery warmth, it speaks to a man who is confident, worldly, and unafraid of complexity. The use of natural materials from diverse corners of the globe is bolstered by masterful synthetic artistry — allowing the boldness of leather, the bite of spices, and the radiance of woods to shine longer, with more clarity, than nature alone could ever offer. It’s smooth, strong, sophisticated — a fragrance with spine and spirit.

Product Line:

The original Jules product line was designed to offer a complete grooming experience, each item tailored to evoke the bold, sophisticated scent profile of the original fragrance in a variety of textures and functions. From fragrance to skincare and personal hygiene, the line delivered a harmonious and cohesive olfactory identity, reinterpreted through multiple formats to suit the modern man’s routine.

The Eau de Toilette, available in both 50ml and 100ml splash bottles as well as a 100ml spray, came housed in a sleek, smoky glass bottle. Its subtly curved form was designed for comfort, fitting naturally in the hand and reinforcing the product's masculine yet refined identity. The splash format offered a traditional, more tactile application, appealing to those who enjoy a generous dose of fragrance applied directly to the skin. In contrast, the spray version provided ease and precision, perfect for a more modern, mess-free routine.

The After Shave products—offered in 50ml and 100ml—were created to soothe and lightly scent the skin after shaving. The splash version provided an invigorating, bracing finish that toned the skin, while the spray format offered convenience and uniform application. Both maintained the integrity of the Jules scent but in a more diluted, skin-soothing concentration.

Complementing the fragrance and aftershave were practical, everyday grooming items infused with the signature Jules scent. The 100g soap, sold in sets of three, offered a rich lather and subtly perfumed the skin while cleansing. The soap was crafted to be gentle, with a smooth texture and balanced pH for daily use.

The 100g talc provided a touch of powdery elegance, absorbing moisture while leaving a soft veil of fragrance on the skin. This was particularly useful for maintaining freshness in warmer climates or during active days, extending the life of the scent.

The 50g deodorant stick and 100ml deodorant spray were formulated for long-lasting protection and freshness. The stick version was compact and travel-friendly, with a non-irritating base ideal for sensitive skin, while the spray offered a lighter, more immediate burst of scent.

For shaving and showering, the line included a 200ml shaving foam, delivering a rich, cushiony lather that helped the razor glide smoothly while perfuming the skin subtly. The 150ml bath and shower gel provided a daily ritual of indulgence, leaving the skin feeling clean and lightly scented, preparing the body to layer other Jules products for lasting effect.

Together, this full grooming range created a luxurious, cohesive fragrance experience — from the morning shave to the evening splash of cologne — allowing the wearer to immerse himself fully in the elegant, bold identity of Jules.

In 1984/1985, Jules was available in the following formats:

• Products: Eau de Toilette (3 sizes) splash, spray, and travel size
• Shaving Products: Aftershave lotion (2 sizes); Aftershave spray; Aftershave balm; Shaving cream (with or without brush); Shaving foam
• Ancillary products: Deodorant spray; Soaps; Dry spray deodorant; Deodorant stick; Travel kits

In 1990/1991, Jules was available in the following formats:

• Products: Eau de Toilette 
• Shaving Products: Aftershave
• Ancillary Products: Deodorant 

Fate of the Fragrance:

Launched in 1980, Jules by Christian Dior was introduced as a bold, modern fragrance for men—designed to embody a new style of masculine elegance. While the exact date of its discontinuation remains unclear, Jules continued to be available through at least 1987, as evidenced by retail listings and advertisements from that time. Though it eventually faded from Dior’s core offerings, its distinctive woody fougère character, combined with its refined product line, left a lasting impression on those who sought something daring yet refined in men’s perfumery.

2016 Reformulation & Relaunch:

In 2016, Dior reintroduced Jules with a modernized formula crafted by in-house perfumer François Demachy. This reformulation reimagined the classic as an aromatic green fragrance, retaining the spirit of the original while streamlining it for contemporary tastes. Demachy approached the composition as an homage—respectfully echoing the vintage structure but with a lighter, more refined hand. The result was a reinterpretation that preserved Jules’ masculine elegance and herbal freshness, but with smoother transitions, cleaner lines, and a more polished wear. While the original had leaned heavily into leathery moss and animalic warmth, the 2016 version softened these facets, offering a fresher and more luminous take that still nodded to the distinctive legacy of the original.

Fragrance Composition:

So what does it smell like? The 2016 version of Jules is classified as an aromatic green fragrance for men.

• Top notes: Iranian galbanum, herbal notes
• Middle notes: cyclamen, hedione, Indian black pepper
• Base notes: fir, leather, American cedar

Scent Profile:

The 2016 reformulation of Jules reintroduces Dior’s classic aromatic green fragrance through a modern lens—one shaped not only by the evolution of olfactory trends but by the changing landscape of perfumery regulation. This new interpretation, created by François Demachy, pays homage to the original 1980 scent while observing strict IFRA safety restrictions that limit or prohibit many of the deeper, animalic, and mossy ingredients that gave the original its distinctive, provocative edge. The result is an elegantly pared-down structure: green and herbaceous, airy yet textured, and unmistakably clean.

From the first breath, you're greeted with a sharply green and resinous opening, unmistakably from Iranian galbanum, which brings a pungent, bitter verdancy with a wet, forest-floor quality. Galbanum from Iran is particularly prized for its depth and complexity—more balsamic and earthy than galbanum sourced elsewhere, with a crystalline brightness that slices clean through the top. Here, it's softened by a medley of herbal notes—likely a blend of artemisia, sage, or lavender—that diffuse the intensity, creating a brisk, invigorating start. This bright greenness pays tribute to the original Jules' assertive top, though stripped of the animalic cumin that gave the vintage version its polarizing punch. Cumin, once a key spicy flourish, has been omitted—either by choice or necessity—since its use is now much more conservative in modern compositions due to its intense, sweat-like profile.

As the top fades, the scent transitions into a cooler, more transparent heart. Cyclamen, a delicate floral often recreated synthetically due to its non-distillable nature, adds a lightly watery and petal-like nuance—a soft breath of spring air. This is where Hedione steps in as a major player. A synthetic compound derived from methyl dihydrojasmonate, Hedione mimics the diffusive, radiant qualities of jasmine without the allergens present in natural jasmine absolute (now restricted under IFRA due to the presence of benzyl salicylate and benzyl alcohol). Hedione provides the heart of Jules with lift and luminosity—an almost ethereal floralcy that gives the fragrance air and projection, expanding its reach like sunlight through leaves. It doesn’t smell of flowers directly—it smells of space around flowers, of breathable clarity.

Into this clean floral heart, Indian black pepper cuts through with a dry, piquant warmth. Pepper from India tends to be more fragrant and complex than its counterparts, offering not just heat, but a touch of citrus and woody sharpness. Here, it gives Jules an edge, a masculine backbone in contrast to the sheer florals, and cleverly replaces the more overtly sweaty spices of the original—most notably cumin—which are largely avoided in modern reworkings due to their divisiveness and tighter safety constraints.

As the fragrance settles, it reveals a dry, woody base that is significantly more refined than the original. The mossy, animalic signature of 1980s Jules—once built on oakmoss, castoreum, and tonka—has been entirely restructured. Natural oakmoss, a key player in vintage masculines, is now heavily restricted by IFRA because of the allergens atranol and chloroatranol, and castoreum, once derived from beaver glands, has long been retired on ethical and safety grounds. In their place, Demachy uses a clean coniferous blend: fir, likely in the form of fir balsam or a synthetic recreation, and American cedar, which brings a dry, almost pencil-shaving woodiness. Fir adds a subtly camphoraceous, resinous depth, evoking sap and evergreen needles, while American cedar, often Virginian or Texan, contributes a clean, dry structure that anchors the fragrance in crisp masculinity. The leather accord, once a dark, smoky component possibly colored by birch tar or castoreum, is now achieved synthetically—likely with isobutyl quinoline or modern leather aroma molecules that suggest the softness of worn suede without the dirt or musk.

What’s notably absent is the animal growl of the original: no civet, no real musk, no earthy oakmoss. Instead, the base is polite, well-groomed, and urbane. The clean leather, cool woods, and soft resinous greens are much more in line with current sensibilities—and IFRA-compliant. Any remaining musk in the drydown is almost certainly synthetic—possibly ambrettolide or muscenone—offering a skin-like warmth without the animalic traits of natural musk, which is now banned in perfumery.

In total, this 2016 Jules is more restrained, more transparent, and significantly less animalic than its predecessor. It retains a green, woody structure but trades the vintage’s wild, provocative streak for polish and accessibility. Where the original Jules was bold, sweaty, and slightly dangerous, the reformulation is refined, luminous, and tailored—still green, still assertive, but with the wild edges sanded down to meet both modern taste and modern safety standards.