[2][4] Marc Hogan of Pitchfork felt that the album "finds an enduring middle ground between rockabilly shimmy and Gallic introspection".

[2][5] Stewart Mason of AllMusic considered the album to be "the '60s pop equivalent of Shaker furniture: free of ornamentation and exquisitely simple.

[4] John Paul of Spectrum Culture felt that, although Hardy's music has "its origins in the American girl group sounds and their trademark harmonies," it is interesting that it "[features] little more than this stripped down approach, allowing for her voice to ring through clearly without being saddled with superfluous instrumentation and backing vocals.

[5] Mason felt that throughout the record, she sings "in an attractive but chilly drop-dead monotone that's far removed from the perkiness of almost every other female singer (minus Nico and Mary Weiss of the Shangri-Las) of the '60s.

"[3] Hazel Cills wrote in 2015: Her lyrics would never hew this close to yé-yé traditions again: See the "whoa-oh-oh" echoing on tracks like "Il Est Tout Pour Moi" and her cover of Bobby Lee Trammell's "Oh Oh Chéri".

She continued to record frequently in England and France, serving as a muse to designers like Yves Saint Laurent, inspiring rock artists such as Bob Dylan and Mick Jagger, and "[keeping] company with members of the Rolling Stones, the Beatles and the like.

[7] Pitchfork placed it at number 170 in its list of "The 200 Greatest Songs of the 1960s", with Joe Tangari writing: "Hardy's vocal is a nonchalantly solitary midnight waltz through swinging Paris.

[11] "Le temps de l’amour" was covered by April March and Vanessa Paradis, and was included in the soundtrack for Moonrise Kingdom, a 2012 film by Wes Anderson.