Matchbox Perfume Perfume Presentation 1956

La Fiesta by Schiaparelli c1950

"La Fiesta" by Elsa Schiaparelli was launched around 1950, a time of post-war recovery and burgeoning optimism. The early 1950s marked a return to joy and celebration after the austerity and hardships of World War II. People were eager to embrace life, indulge in luxuries, and revel in social gatherings. Fashion and fragrances became symbols of newfound prosperity and exuberance. Schiaparelli, known for her avant-garde and surrealist designs, created "La Fiesta" to capture the spirit of this era—a time when parties and celebrations were at the forefront of social life.

Choosing the name "La Fiesta" for her perfume, Schiaparelli drew upon the universal appeal of festivities and joyous occasions. "La Fiesta," meaning "The Party" in Spanish, evokes images of lively gatherings, vibrant colors, music, dance, and the infectious energy of a great celebration. This name would have resonated with individuals eager to leave behind the bleakness of the war years and embrace the pleasures of life. It encapsulated the essence of fun, glamour, and the carefree spirit of the time.

"La Fiesta" would have been an appropriate name for a perfume because it conjures the excitement and allure of social events. Perfumes are often used to enhance one's presence and leave a lasting impression, much like how one wants to stand out and be remembered at a party. The name suggests a fragrance that is lively, enchanting, and capable of transforming any moment into a festive occasion. It implies a scent that would make its wearer feel glamorous and confident, ready to shine in the spotlight of any celebration.

Soucis de Schiaparelli c1934

In 1934, the launch of "Soucis de Schiaparelli" coincided with a vibrant and transformative period in both fashion and fragrance. Elsa Schiaparelli, the renowned fashion designer known for her avant-garde creations and bold artistic vision, extended her influence into the realm of perfumery. The 1930s marked a time of artistic exploration and daring innovation in perfume composition, mirroring the era's embrace of modernism and social change.

Elsa Schiaparelli's connection to perfumes was deeply intertwined with her fashion philosophy, which challenged traditional norms and embraced surrealism and whimsy. Just as her clothing designs pushed boundaries with their unconventional shapes and vibrant colors, Schiaparelli approached perfumery with a desire to create scents that embodied her artistic vision.

The name "Soucis," chosen by Schiaparelli for her perfume, holds significant meaning. "Soucis" is the French word for "care" or "worry." In the context of a perfume, this name suggests a nuanced approach to femininity and self-expression. It implies a fragrance that accompanies a woman through her daily life, providing a comforting and reassuring presence. The choice of "Soucis" reflects Schiaparelli's keen understanding of the emotional and psychological dimensions of scent, aiming to offer more than just a pleasant aroma but a companion that soothes and uplifts.

Succes Fou by Schiaparelli c1953

Launched in 1953, Succès Fou by Schiaparelli emerged during a time of post-war optimism, glamour, and renewal. The name Succès Fou is French, pronounced roughly as sue-SESS foo, and it translates to “crazy success” or “wild success.” It’s a phrase that brims with boldness, triumph, and abandon—capturing the spirit of extravagance and self-assurance that defined Schiaparelli’s postwar aesthetic. For Schiaparelli, a designer known for her witty, surrealist sensibility and her fearless experimentation, this title was a declaration as much as a name: Succès Fou was meant to embody a fragrance worthy of mad applause.

The name evokes a vivid world of glamour and bold femininity. One might imagine flashing cameras, sweeping gowns, confident laughter in a smoky Parisian salon. It is a name that hints at a woman who is both daring and magnetic—effortlessly drawing attention, creating her own narrative of success without compromise. It carries a hint of mischief, too, the idea that this success isn’t simply measured in social prestige, but in one's ability to captivate and provoke.

1953 was a time of elegance and reinvention. The world was recovering from the shadows of war, and women were once again asserting themselves through style, art, and culture. In fashion, Christian Dior's "New Look" still reigned, with its cinched waists and full skirts celebrating femininity in a highly constructed, almost theatrical way. Perfume, in parallel, had become a vital expression of personality and sophistication. Fragrances were bold, complex, and often opulent—crafted to leave a lingering impression. Succès Fou fit perfectly into this moment, yet stood apart with its audacious name and vibrant composition.

Salut by Schiaparelli c1934

Launched in 1934, Salut by Schiaparelli is a fragrance that captures both the buoyant mood of its time and the designer’s singular sense of style and wit. The name Salut—pronounced sah-LOO—is a French word that carries multiple meanings. It’s used as a casual “hello,” a toast to health or good fortune, or even a cheerful farewell. It is a word of breezy elegance, informal yet spirited. For a designer like Elsa Schiaparelli—renowned for her playful defiance of convention—the choice of Salut as a perfume name was perfectly in step with her identity. It evokes an image of a woman entering a room with poise, vivacity, and an effortless charm, offering a wordless greeting with her fragrance trailing behind her like a ribbon of presence.

The world of 1934 was still recovering from the economic ravages of the Great Depression. Fashion, while still refined and ladylike, was becoming more streamlined and functional—hints of modernity were emerging through cleaner lines and active silhouettes. This was a time when women were asserting new forms of independence, finding their place in the workplace, in politics, and in art. Elsa Schiaparelli stood at the forefront of these changes, a designer whose surrealist collaborations and daring use of color and form challenged fashion’s boundaries. Her perfumes were no exception.

Salut belongs to the floral chypre family—a structure known for its interplay between bright, floral notes and a mossy, earthy base. What sets Salut apart is its opening character: sharp, green, fresh, almost bracing in its medicinal edge. This comes from aromatic herbs, galbanum and rosemary, which lend a tonic, invigorating quality. At its heart, the fragrance unfolds into a lush lily of the valley accord—dewy, white, romantic, yet never cloying. Muguet is often associated with spring, purity, and renewal, making it a perfect focal point for a scent named after a cheerful greeting. The chypre base—traditionally constructed from oakmoss, patchouli, and labdanum—grounds the composition in a quiet sensuality, like a forest floor after rain.

Shocking by Schiaparelli c1936

The perfume "Shocking" by Elsa Schiaparelli was launched in a period marked by dramatic societal changes and a flourishing of artistic innovation. The year was 1936 in France and 1937 in the USA, an era still feeling the aftershocks of the Great Depression, yet brimming with a spirit of recovery and defiance against convention. The fashion world, particularly in Paris, was a beacon of this defiant creativity. Elsa Schiaparelli, a leading couturier, was renowned for her avant-garde designs that often bordered on the surreal. She was a contemporary and rival of Coco Chanel, known for pushing the boundaries of fashion and art.

Schiaparelli's connection to perfumes was influenced significantly by her mentor, Paul Poiret, one of the first designers to incorporate perfumes into his couture offerings. Poiret recognized that a signature scent could encapsulate and enhance the allure of his fashion creations, and Schiaparelli embraced this philosophy wholeheartedly. By adding perfumes to her line, Schiaparelli not only followed in Poiret's footsteps but also carved out a distinctive identity for her brand, blending fashion with fragrance to create a complete sensory experience.

The name "Shocking" was a deliberate and bold choice. It was inspired by a particular shade of hot pink that Schiaparelli herself dubbed "Shocking Pink," a color that became a hallmark of her brand. This vivid, attention-grabbing hue was not just a color but a statement—a challenge to the muted tones and conservative sensibilities of the time. Naming the perfume "Shocking" was a way to encapsulate this daring spirit in a scent. It was a name that promised excitement, audacity, and a break from the ordinary, much like Schiaparelli's fashion designs.

"Shocking" was an appropriate name for the perfume because it encapsulated the essence of Schiaparelli's brand: unexpected, provocative, and unforgettable. The word "Shocking" itself evokes images of boldness and intensity. It suggests a jolt to the senses, something that disrupts the norm and demands attention. For a perfume, it implies a scent that is powerful and memorable, one that leaves a lasting impression.

The perfume "Shocking" would have resonated with women who identified with Schiaparelli's daring and unconventional style. These were women who were not afraid to stand out and make a statement. They would have responded to "Shocking" with a sense of empowerment and delight, reveling in a scent that matched their bold personalities. This perfume would appeal to the modern woman of the 1930s who embraced new freedoms and expressed her individuality through fashion and fragrance.

The word "Shocking" evokes images of vibrant energy and fearless innovation. It conjures feelings of excitement, surprise, and a bit of rebellion. For those who wore "Shocking," it would be a badge of their daring spirit, a declaration of their willingness to defy expectations and revel in their unique style. This perfume was not just a fragrance but an embodiment of the audacious and avant-garde ethos that Schiaparelli championed, making it an iconic creation that continues to resonate with those who appreciate bold artistry and fearless self-expression.

Created by the talented perfumer Jean Carles, "Shocking" was said to have been initially developed for Schiaparelli's personal use. This intimate origin story added to its allure, suggesting a scent so captivating that it was initially reserved for the designer herself. According to a 1938 newspaper ad, this personal touch added a layer of exclusivity and allure, enticing customers with the promise of a scent that carried the personal imprimatur of one of fashion's most innovative minds.

Shocking Radiance by Schiaparelli c1943

"Shocking Radiance" from 1943 was a special collection of oils scented with the iconic perfume Shocking. Each oil variant was infused with the distinctive fragrance of Shocking and featured a base of lanolin. These oils were likely designed to offer a luxurious and scented experience, combining the nourishing properties of lanolin with the captivating aroma of Shocking perfume.

The use of lanolin, known for its moisturizing and protective qualities, would have complemented the perfume's fragrance, enhancing its longevity and providing a silky feel on the skin. This innovative product line reflected Schiaparelli's commitment to offering a range of luxurious and beautifully scented items, catering to the tastes and desires of sophisticated clientele during the 1940s.

Dance Arrogance by Schiaparelli c1992

Launched in 1992, Dance Arrogance was introduced by Schiaparelli/Pikenz as a confident follow-up to 1988’s Arrogantissima. While the earlier fragrance exuded a grand, self-assured femininity with a luxurious floral-oriental profile, Dance Arrogance suggested movement—rhythm, fluidity, and spontaneity—with a name that blends boldness with vivacity. The pairing of these two words is deliberate and provocative—“dance” evokes freedom, joy, and sensual expression; “arrogance” implies unapologetic self-possession. Combined, the phrase conjures an image of a woman in motion, confidently commanding attention without asking permission. It suggests charisma, mystery, and effortless allure—like a dancer who knows she owns the stage.

The early 1990s was a transitional time in both fashion and fragrance. The opulence and excess of the 1980s were giving way to a more streamlined, minimal sensibility. This was the era of supermodels, power suits softened by grunge influences, and a shift in beauty ideals toward natural makeup and deconstructed styles. In perfumery, the era saw a rise in lighter compositions, aquatic florals, and green notes as a response to the heavy, bombastic perfumes of the previous decade. Dance Arrogance, classified as a green floral fragrance, aligned beautifully with these shifts. Its greenery and freshness likely nodded to the desire for something crisp, clean, and modern—yet still feminine and distinct.

For women of the time, Dance Arrogance would have felt empowering. It suggested that femininity could be playful and elegant without sacrificing strength. The name alone would have spoken to women embracing their independence in both personal and professional spaces, echoing the growing visibility of women in leadership roles and cultural spaces. In scent, “Dance Arrogance” might be interpreted as a fragrance that opens with bright, green notes—perhaps sharp and lively, like crushed leaves or cut stems—softened by airy florals that swirl with a sense of movement and grace. If Arrogantissima stood still and posed, Dance Arrogance moved, danced, and left a vivid, fragrant trail behind her.

Arrogantissima by Schiaparelli/Pikenz c1988

Arrogantissima, launched in 1988 in collaboration with Pikenz the First/Schiaparelli S.B.P. S.p.A., bears a name that is as provocative as it is unforgettable. The name is derived from Italian and is pronounced "ah-roh-gahn-TEE-see-mah." It translates roughly to “the most arrogant” or “supremely arrogant,” but the term carries a distinctly Italian flair—one that blends pride, elegance, confidence, and theatricality rather than mere haughtiness. The addition of the superlative “-issima” intensifies the statement, elevating it to something almost operatic in tone. This was not a name chosen lightly. It was designed to command attention, to intrigue, to flirt with controversy.

The word Arrogantissima evokes the image of a woman who is unapologetically herself—stylish, dramatic, utterly self-possessed. She walks into a room and silences it without saying a word. There’s something performative about it, as though the wearer embraces her persona with a wink. It conjures visions of dark velvet, lacquered nails, and dangerous laughter. The name is inherently European, urbane, and emotionally charged—suggesting beauty with an edge, charisma with consequence.

The fragrance’s debut in 1988 places it at the zenith of a culturally dynamic and highly stylized decade. The late 1980s were marked by extremes: power suits, shoulder pads, bold silhouettes, and assertive femininity. It was the era of Wall Street ambition, the supermodel, the rise of designer licensing, and the continuation of “Yuppie” culture. Women were making visible strides in business, fashion, and media, and perfume reflected these evolving identities. Fragrance in the 1980s wasn’t shy—it was worn to be noticed. Big, glamorous, statement perfumes dominated the market: think Poison by Dior (1985), Giorgio Beverly Hills (1981), Paloma Picasso (1984). Sillage was an accessory. The bottle wasn’t a secret—it was part of the outfit.