Sir Galahad by Isabey c1924

Sir Galahad, launched by Isabey in 1924, was an imaginative and richly symbolic fragrance that drew from the mythic and romantic imagery of Arthurian legend. The name Sir Galahad (pronounced: Sur GAL-uh-had) refers to the legendary knight of the Round Table, revered for his purity, nobility, and spiritual quest for the Holy Grail. Though naming a women’s perfume after a chivalric male figure may seem unusual at first glance, it was a clever and evocative choice. During the 1920s, themes of romance, exoticism, and medievalism were experiencing a revival in both the visual and literary arts, and perfumery followed suit. This name aligned perfectly with the era’s fascination with symbolic masculinity, gallantry, and fantasy.

Sir Galahad, in Arthurian lore, is the son of Sir Lancelot and one of the few knights pure enough to be granted a vision of the Holy Grail. He symbolizes a kind of elevated, untouchable love and incorruptible virtue. For women of the 1920s—newly liberated, fashion-forward, and exploring independence after World War I—the idea of embodying or being pursued by a Sir Galahad was deeply appealing. The name evoked a romantic ideal: a fragrant talisman of nobility, mystery, and spiritual yearning. Isabey likely chose it as a sophisticated counter to Ciro’s popular 1923 perfume Chevalier de la Nuit (“Knight of the Night”), also an oriental scent cloaked in courtly fantasy.

The early 1920s, part of the Roaring Twenties and the broader Art Deco period, was a time of immense change. Women were asserting their social presence, cutting their hair into bobs, wearing modernist fashion, and embracing bold fragrances that matched their new visibility and confidence. Oriental perfumes—characterized by warm, resinous, exotic ingredients—were especially in vogue. These scents offered richness, longevity, and a certain seductive mystique, and they were a marked departure from the delicate floral waters of the previous century. Sir Galahad, classified as an oriental fragrance for women, fit perfectly within this trend, yet the chivalric name gave it a poetic twist. It suggested not just seduction, but loyalty, honor, and mysticism—an idealized love story bottled in scent.

To the modern ear, Sir Galahad may seem like a perfume for men, but in 1924, its name would have evoked a kind of fantasy partner or internal muse—someone gallant and unattainable. It may also have invited the wearer to feel empowered, as if draped in the romantic armor of a noble knight herself. The perfume likely featured opulent notes such as balsams, amber, civet, vanilla, and exotic florals—ingredients that suggested richness and mystery. In context, Sir Galahad was not entirely unique—it followed the prevailing trend of orientalism and fantasy—but its literary and noble framing gave it a distinct identity among the more hedonistic or sultry fragrances of the time.

Isabey’s Sir Galahad was more than just a perfume; it was a scented legend, crafted to resonate with the dreams and shifting identities of the modern 1920s woman. It was part fantasy, part empowerment, and entirely of its era.

Fragrance Composition:

So what does it smell like? Sir Galahad by Isabey is classified as an oriental fragrance for women.

• Top notes: aldehydes, Tunisian orange blossom absolute, Italian mandarin, Sicilian neroli
• Middle notes: Comoros ylang ylang, Portuguese tuberose, Chinese gardenia, jasmine sambac, Grasse rose, Peruvian heliotrope, Florentine orris butter, Zanzibar clove,Ceylon cinnamon bark, Yemeni olibanum
• Base notes: Somali opoponax, Sudanese myrrh, Omani frankincense, Tibetan musk, musk ketone, Mysore sandalwood, Mexican vanilla, vanillin, Venezuelan tonka bean, coumarin, Siam benzoin, Maltese labdanum, Colombian tolu balsam, Virginian tobacco, Java vetiver, Abyssinian civet, Canadian castoreum, Indian ambrette seed and ambergris 

Scent Profile:

Sir Galahad by Isabey unfolds like a beautifully modern fairy tale—an oriental fragrance crafted to embody nobility and adventure, yet grounded in sensuous warmth. Each ingredient, from distant lands, tells its part in a rich, aromatic tapestry.

The opening shimmers with aldehydes, those sparkling synthetics that lift the scent into a luminous realm—like freshly polished armor glinting in dawn light. They provide a clean, effervescent canvas for the citrus and floral highlights that follow. Tunisian orange blossom absolute then emerges—sensual, honeyed, and rich—more radiant and opulent than neroli, evoking sun-warmed Mediterranean blossoms. Italian mandarin, with its sweet tangerine brightness, adds youthful energy. Sicilian neroli, more transparent and green compared to its Tunisian counterpart, brings a morning-dew freshness that dances lightly on the skin.

As the citrus top softens, the heart blossoms—a lush garden blooming in exotic contrast. Comorian ylang-ylang, rich and banana-like, lends a creamy opulence. Portuguese tuberose, heady and narcotic, wraps around Chinese gardenia, its waxy petals exuding a white-floral narcotic grace. This floral duo is lifted by jasmine sambac, intensely sweet and almost green in its vibrancy. Grasse rose, harvested at first light near Perfume Village, adds the velvety depth of classical French femininity. Peruvian heliotrope brings an almond-vanilla softness, a lullaby beneath the florals. Florentine orris butter weaves its soft suede powderiness throughout, smoothing the florals and giving them a refined, aristocratic character.

Spices then pepper the heart. Zanzibar clove, rich and slightly medicinal, intertwines with Ceylon cinnamon bark, warm and aromatic, while Yemeni olibanum (frankincense) adds a resinous incense flame that speaks of sacred vows and chapel echoes. These resins evoke the solemn mystery of medieval cathedrals—fitting for a perfume named after a knight of the Grail.

The base is a deep, richly woven tapestry of woods, resins, and animalic whispers. Somali opoponax and Sudanese myrrh melt into each other in dark, honeyed layers. Omani frankincense, bright and citron-resinous, lifts the scent skyward. This incense smoke fades into leather-soft moss and spice: Tibetan musk, musk ketone, and Abyssinian civet envelop the florals in a warm, skin-like glow. Woods enter—Mysore sandalwood brings creamy, sacred calm; Java vetiver introduces smoky earth; Virginian tobacco adds a golden sweetness; Canadian castoreum and Indian ambrette weave in leathery and fruity warmth.

Among these, the golden resins—Maltese labdanum, Siam benzoin, and Colombian tolu balsam—form an amber core: rich, sticky, slightly sweet, and enduring. Mexican vanilla, vanillin, venezuelan tonka bean, and coumarin lend a creamy, candy-like softness without tipping into frivolity—they are the perfume’s enduring heart, a gentle echo of opulence.

Finally, ambergris—that ocean-born treasure—adds a salty, musky lift, like the breath of sea spray on a medieval shore. It gives the entire composition a luminous finish, as if Sir Galahad’s quest had carried him from chapel to coastline, from perfume to legend.

Sir Galahad is not merely ornate—it is purposeful. It evokes the purity, courage, and devotion of its namesake through oriental richness, yet it remains deeply feminine and modern. It balances the grandeur of mythology with tactile warmth and silk-soft flowers, making it a fragrance that marries mythic romance with Art Deco sensuality—a true embodiment of gallantry in scent.

Bottle:

The original, antique version of Sir Gallahad was presented in a simple clear glass perfume bottle with frosted floral stopper by Rene Lalique. The bottle is molded with "R. Lalique." This bottle was also used for other Isabey perfumes: Chypre Celtique, À Travers la Voilette as well as for the Marcel Guerlain perfume, Ambre.

Fate of the Fragrance:

Sir Galahad by Isabey was eventually discontinued, though the exact date of its withdrawal from the market remains uncertain. What is known, however, is that the fragrance was still available as late as 1929, several years after its original release in 1924. This suggests it maintained enough popularity or prestige during its initial run to continue circulation well into the latter half of the 1920s.

Its discontinuation likely coincided with shifts in consumer taste and the broader evolution of perfumery in the 1930s. As the opulence of the post-war period gave way to more modernist, streamlined ideals, many early 1920s fragrances—particularly those with strong oriental profiles—began to fall out of fashion. The heavy, resinous character of Sir Galahad, so richly evocative of mythic quests and exotic indulgence, may have gradually been eclipsed by the crisp aldehydic florals and chypres that dominated in the wake of Chanel No. 5’s explosive success.

Nonetheless, its continued sale in 1929 places Sir Galahad squarely within the golden age of French perfumery—an era when scent still spoke in the language of fantasy and faraway lands, when even a bottle could carry the weight of legend. Today, the fragrance survives through rare references, advertisements, and the occasional surviving bottle—a ghostly reminder of Isabey’s ambition to bottle romance, nobility, and the spirit of epic adventure.

Resurrected Version from 2017:

In 2017, the revived Parfums Isabey—known today for their refined craftsmanship and exceptional quality—brought Sir Gallahad back into the world of perfumery, this time as an Eau de Parfum for men. While the name harks back to the original 1924 release (Sir Galahad), this modern reinterpretation reflects not just a shift in spelling, but a full reimagining of the fragrance’s identity. The new Sir Gallahad is a luxurious, confident scent that retains the spirit of the chivalric legend while embracing a contemporary vision of masculinity. Created by Jean Jacques and Catherine Selig of Takasago, the perfume pays homage to the mythic figure of Sir Galahad—the purest and noblest of the Knights of the Round Table—while addressing the sensibilities of the modern-day adventurer.

The narrative behind the fragrance is rooted in romance and valor. The original name was likely inspired by Baron Henri James de Rothschild’s deep appreciation for Celtic culture and Arthurian lore. In that context, Sir Gallahad was never merely a perfume—it was a statement of refinement and idealism. This new version, however, shifts the focus from medieval legend to modern elegance. It honors the archetype of the “Perfect Knight,” but one who now rides the city streets rather than the forests of Camelot. He is courageous, composed, and generous, with an unshakable sense of self.

The fragrance opens with a wave of luminous freshness—a fleeting impression that evokes sun-warmed skin just emerging from the sea, tinged with salt and touched by the citrusy breath of Mediterranean mandarin groves. This briny-sweet accord is crisp yet subtle, laying the foundation for what follows: a remarkable innovation in men's perfumery. For the first time, gardenia—a flower traditionally associated with women's fragrances—is placed at the heart of a masculine scent. This is not a tame gardenia, but a multifaceted interpretation: creamy, indolic, and green, with a gentle radiance that unfolds slowly, catching the air like light through silk.

As the gardenia deepens and warms, it blends seamlessly into a sensual base dominated by the golden warmth of blond tobacco. This note adds both depth and softness, its honeyed smokiness conjuring the texture of well-worn leather and the glow of late afternoon sun. The tobacco is not aggressive but caressing—evocative of quiet strength and sensuality. The overall effect is carnal, enveloping, and quietly daring.

Sir Gallahad distinguishes itself by doing something few masculine fragrances attempt: it blurs gender codes without losing its identity. The use of gardenia as a central motif challenges conventions, while the tobacco and marine accords ground the fragrance in classic masculinity. The result is a composition that feels both timeless and modern—a fragrance for a man who carries history on his shoulders but writes his own legend.

This is not merely a revival; it is a bold reinvention. Parfums Isabey has taken the bones of an old chivalric ideal and given them flesh in the 21st century. Sir Gallahad is a tribute to gallantry, yes—but also to individuality, artistry, and quiet audacity.

Fragrance Composition:

So what does it smell like?  Sir Gallahad by Isabey is classified as a woody fragrance for men with notes of woods, tobacco and flowers.

• Top notes: crocus, saffron flowers, Italian mandarin and gardenia petals
• Middle notes: gardenia, jasmine sambac and olibanum
• Base notes: blond tobacco, vetiver and amber accord

Scent Profile:

To experience Sir Gallahad by Isabey is to be drawn into a composition of strength and elegance, where florals are not merely decorative but transformative, and the warmth of wood and tobacco is polished to a golden sheen. This woody fragrance for men is composed with both grace and intention, bridging old-world chivalry with contemporary sophistication.

The first impression is soft and unusual—crocus threads itself through the opening like a whisper of suede and spring earth. This delicate flower, rarely used in perfumery, introduces a slightly leathery, powdery nuance that feels both fresh and ancient. It’s joined by the saffron flower—not the spice itself, but the blossom—offering a gossamer-light hint of hay, warm pollen, and sunlit straw. The saffron’s dry warmth creates tension with the radiant brightness of Italian mandarin, whose tart-sweet zest cuts through the floral veil like sunlight on water. The mandarin from Italy, prized for its vibrancy and balance between acidity and sweetness, lends a clean, juicy sharpness that lifts the entire top accord.

Interwoven among these is a haze of gardenia petals—airy, green, and only just creamy. This early gardenia note teases what’s to come, adding a breath of softness and setting the stage for the floral heart. The scent never feels overtly feminine; rather, it feels cultivated—each petal brushed with restraint.

As the perfume settles, the heart unfolds into a confident bloom. The gardenia fully arrives—lush, creamy, almost waxy with its narcotic floral warmth. It’s joined by jasmine sambac, an indolic, tropical jasmine from India that breathes sensuality into the composition. Richer and more animalic than its Grasse counterpart, sambac brings depth and a faint trace of human skin, both radiant and carnal. Olibanum—the sacred frankincense resin sourced from Boswellia trees, here likely from Somalia or Oman—threads through the florals like smoke rising from a censer. Its citrus-pine top and balsamic undertone give the composition a spiritual, almost meditative quality, grounding the opulent flowers in something more ancient and elemental.

Then, the fragrance descends gently into its final form. The blond tobacco is golden and soft—nothing like the harsh sharpness of dried tobacco leaves, but more like a honeyed, sun-cured accord. Its smoothness lends warmth and roundness. Vetiver, likely from Java or Haiti, provides a dry, grassy, slightly smoky counterpoint. It’s not earthy in a dirty sense, but rather clean, fibrous, and rooted. The amber accord at the base is not true ambergris but a blended structure—likely combining labdanum, vanillin, and synthetic musks to mimic that animalic-sweet warmth. This accord is golden and comforting, a glow rather than a blaze.

While Sir Gallahad is rooted in natural materials, its elegance is sharpened by the judicious use of synthetics. The likely inclusion of musks (such as Habanolide or Cashmeran) and amber compounds gives the drydown a softness and longevity that natural materials alone could not sustain. These synthetics blur transitions, smooth edges, and extend the experience across hours, allowing the skin to tell its own story in response.

Altogether, Sir Gallahad is not a clash between floral and masculine themes, but a blending—like velvet over steel, or a knight’s plume stirring in the wind. It is a fragrance of cultivated strength, where florals express confidence, and woods and tobacco wear refinement like well-tailored armor.

Bottle:

Sir Gallahad Eau de Parfum is contained in a flacon that by combines modern design with a 1920s Isabey bottle originally produced by Czech master glass craftsman, Ludwig Moser. You can purchase the 50ml flacon directly from Parfums Isabey's website.