Power Shoulders & Patchouli? You Bet. Here’s Why Those Iconic 80s Perfumes Still Define The Holiday Season

December 19, 2025
2 mins read
Early 80s Estee Lauder ad for Aramis

If You Want More Scents & Sensibility, Rethink Your Favorite Yesteryear Luxe Fragrances To Welcome Back The Aromatic Holiday Spirit

The nose always knows. Here, the “Yellow Nose of Texas,” our very own Gordon Kendall, recalls what is really missing from virtual partying these days, as he sniffs out the biggest glitch in today’s ever-evolving online world.

THE ORIGINAL CLUB KIDS

Age-appropriateness, not high style, now informs our evening’s virtual fashion sensibilities. Back in the days of our youth, if we didn’t hear each other, it wasn’t some D.J.’s fault…we just had somehow muted ourselves, similar to today’s ubiquitous Zoom session. As is happening more and more, we like to reminisce.

Like about the times we excitedly, but not ecstatically, made it into certain notorious dance clubs across Texas. We had the beat, to paraphrase the Go-Gos. Strange how the olfactory-mind-to-memory connection works. All of a sudden, I blurted out: Drakkar Noir…in the black bottle. That’s what I wore. From there, we went on and on about that one elusive thing virtual partying still can’t provide: the smell of it all.  

Our party times began relatively young in the late 1970s and continued well into the 2000s. Then, the “big browns” in men’s colognes like Revlon’s Braggi from 1966 and Lauder’s 1968 Aramis, remained favorites for many of our fathers and us. Where do you think Tom Ford is getting all the ideas for his current colognes, such as his own? They harken back in time. Colognes may have lightened in color over time, but not in power, as seen in Dior’s Jules from 1980 and Yves Saint Laurent’s 1981 Korous, both of which are punchy and feature citrusy bergamot in their formulation.

Spicy Lagerfeld of 1978, which came in a lab-like bottle, was everywhere. Chanel’s Antaeus, 1981, was for the guy who wanted it powerful but with a subtle twist, namely, sage. It was as smoky as the venues 606 in Austin, Metropole in Houston, Eight-O’s in Dallas, and Bwana Dik’s in San Antonio. With apologies to oh-so-many others, two men’s colognes sum up the era: Lauren’s tobaccoy, citrusy Polo, in the green flask from 1978, and Calvin Klein’s Obsession that made the world smell like spicy vanilla when it launched in 1986. They are still around in different iterations and going strong, but our generation had them first.     

SCENT OF A WOMAN

It was the ladies, though, who really could make their presence felt through the fragrances of those times. Sure, big padded shoulders could carry off White Shoulders, for the lady who loved the classics, and there was, and will always be, Joy at any party (bought for many daughters by their fathers since it was then billed as the most expensive perfume in the world). The late 70s and 80s brought a whole new way of thinking about women’s fragrances. Sporty, sexy, and powerful was in, in, in. There was a fragrance for every personality. Lauder’s Alliage (1972) and Revlon’s Charlie (1973) were ever-present, along with Lauren (1978), to reflect the changing moods and cultural dynamics of what it meant to be a woman.

Then, there were the standouts, the ones I didn’t smell coming, like Dior’s wickedly fruity Poison (1985). Later, Mugler’s Angel from 1992 is another. I swear it smells like State Fair of Texas’ cotton candy, even if it is from across a SXSW venue. As with men’s, so many scents were offered then, but Yves Saint Laurent’s Opium (1977) and Giorgio Beverly Hills (1981)…did I even have to name it? They were the scents of that era.

We continually acquire newer communication technologies, but memories transport us back to our fragrant past. Your memories are likely as sweet as mine, so let’s keep making more of them with new olfactory sensations the scent masters have in mind for us yet to enjoy this holiday season.

Gordon Kendall

Our very fashionable Texan-turned-New Yorker-turned-eternal-Southerner contributor Gordon Kendall is always on the go and on the scene. He is a freelance fashion author and educator. He is also an executive member of the Fashion Group International/New York, a board member of The National Arts Club, and a member of The Couture Council and The Museum at F.I.T.

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