Sleeping by Schiaparelli, launched in 1938, was more than a fragrance—it was a whispered lullaby for a world on the brink. Created by the irreverent and visionary couturière Elsa Schiaparelli, the perfume arrived during a charged moment in time: the late interwar period, when the bold, rule-breaking creativity of the 1930s brushed up against the looming shadow of the Second World War. This was an era of contradiction—of modernist triumphs and surrealist dreams, but also of escalating geopolitical anxiety and social upheaval. Women of the period were shedding the last remnants of Edwardian constraint and embracing independence, expression, and complexity—both in fashion and in fragrance.
Schiaparelli, who was deeply influenced by the Surrealist movement and often collaborated with artists such as Salvador Dalí and Jean Cocteau, understood the profound power of suggestion, whimsy, and symbolism. To name a perfume "Sleeping" was a deliberate poetic gesture. The word itself, derived from Old English slǣpan, means to rest or to be in a state of suspended animation. But in Schiaparelli’s hands, it becomes evocative—more than just unconsciousness. It conjures images of enchantment, reverie, innocence, and erotic mystery. One might think of Sleeping Beauty, suspended in time, awaiting a kiss; or the surrealist notion of sleep as the door to the subconscious and the fantastical.
The emotional resonance of the word "Sleeping" in 1938 would have felt simultaneously comforting and provocative. In a world edging toward darkness, to wear a scent named Sleeping was to retreat into a private, fragrant dream—a sensual, personal world untethered from the anxiety of headlines. For modern women increasingly negotiating the dualities of domestic life and public engagement, "Sleeping" might have represented a secret space, one of intimacy and psychological depth.
From a perfumery perspective, Sleeping stood apart. It was classified as a narcotic, green oriental, its rich, enveloping composition built on a lush floral heart and an animalic, mossy base. While the late 1930s saw many aldehydic floral bouquets and warm, powdery blends, Sleeping dared to be heavier, darker, more hypnotic. The inclusion of spicy carnation over woodsy-mossy accords, layered with sugared vanilla, gave the scent a velvet quality—soft yet penetrating. It wasn’t simply beautiful; it was dramatic, decadent, and slightly dangerous, mirroring the surrealist interest in altered states and subconscious exploration.
To interpret Sleeping in scent is to imagine the slow descent into dream: the top notes, a sparkling, almost volatile mix of aldehydes and citrus, suggest the threshold between waking and sleep. The heart—rich with tuberose, ylang ylang, jasmine, and cinnamon—draws you inward, as if into velvet drapes or perfumed dusk. The base—laden with oakmoss, civet, sandalwood, and a whisper of animalic musk—lingers like the echo of a forgotten dream.
In the landscape of perfumery at the time, Sleeping was an outlier—less the coquette and more the sorceress. It neither followed the dominant aldehydic floral trend popularized by Chanel No. 5 nor mimicked the light chypres and fruity florals emerging in the decade. Instead, it stood alone—a spellbinding, olfactory nocturne that, like many of Schiaparelli's creations, dared women to be complex, mysterious, and entirely unforgettable.
Fragrance Composition:
So what does it smell like? Sleeping by Schiaparelli is classified as a heavy, narcotic soft, green oriental perfume for women with spicy carnation over woodsy-mossy notes on sugary, sweet vanilla.
- Top notes: aldehyde C-10, aldehyde C-11, Sicilian mandarin, Paraguayan petitgrain, Amalfi lemon, Calabrian bergamot, Persian galbanum, Moroccan artemisia
- Middle notes: Tunisian orange blossom, Grasse rose de mai, Egyptian jasmine, Indian tuberose absolute, magnolia, Madagascar ylang ylang, French carnation, Zanzibar clove bud oil, Ceylon cinnamon leaf, Florentine orris butter
- Base notes: Yugoslavian oakmoss, Haitian vetiver, Brazilian hévéa wood, Chinese patchouli, Mexican vanilla, Mysore sandalwood, ambergris, Spanish labdanum, Tibetan musk, Canadian castoreum, Abyssinian civet, Sumatran styrax
Scent Profile:
The perfume begins not with a whisper, but with a radiant sigh—thanks to the crystalline clarity of aldehydes C-10 and C-11. These early synthetics—discovered in the early 20th century—impart an ethereal shimmer. C-10 (decyl aldehyde) is lemony-waxy and faintly floral, while C-11 (undecylenic aldehyde) stretches that idea, adding a clean, airy soapiness that lifts the whole composition. They do not stand alone; rather, they illuminate the natural citrus notes, extending their lifespan and projecting their sparkle outward like light through cut crystal.
From there, a sharp breath of Amalfi lemon pierces through—a pure, mouth-watering citrus that feels almost sun-warmed and zesty. It’s followed by Sicilian mandarin, which is notably less sharp than other mandarins—soft, almost honeyed with a bright orange freshness that’s tempered by a trace of peel oil bitterness. Calabrian bergamot, from the southern Italian coast, lends elegance with its green, slightly floral citrus edge, a hallmark of fine perfumery since the 18th century.
Then, the fragrance takes a verdant turn with Paraguayan petitgrain, distilled not from fruit, but from the bitter orange leaves and twigs. It gives a crisp, leafy bitterness—green and aromatic, slightly woody—and sets the tone for the green thread that runs through the perfume. Persian galbanum, one of the most ancient resins used in scent, is pungent and piercingly green—its wild, sappy bitterness layered with crushed stems and shadows of earth. It feels like cracking open a branch and inhaling its soul. Then comes Moroccan artemisia (also called wormwood)—a silvery-green herb that brings a dry, herbal sharpness, almost dusty, like walking through Mediterranean hillsides under a high sun. It binds the aldehydes and the green resinous heart, linking brightness to depth.
The floral heart begins in a white blaze of heady beauty. Tunisian orange blossom, honeyed and slightly waxy, smells of night air—intoxicating and just on the edge of becoming indolic. It ushers in the opulent Egyptian jasmine, known for its richness and slight animalic warmth, more carnal than its lighter Mediterranean cousins. This jasmine isn’t coy—it’s sun-drunk and sensual, deepened further by Indian tuberose absolute, a queenly note that offers narcotic creaminess edged with a green coconut-like nuance. Its intensity is mesmerizing—lush and slightly wild.
Grasse rose de mai, grown in the historical perfume capital of France, is delicate, tea-like, and light, picked only in May when it’s at its peak. Unlike the darker damascena rose, rose de mai brings softness and femininity—dewy, luminous, and gentle. Yet alongside it sits Madagascar ylang ylang, rich and banana-floral, almost leathery in weight—used to stretch and deepen the other florals with a tropical, sensual glow. Then comes magnolia, a creamy, lemony note that softens the density of jasmine and tuberose. It’s not as cloying—it acts as a pale floral counterpoint, balancing narcotic tendencies with a cool, waxy breath.
French carnation, the spiced flower, surges at the center of this heart—peppery, clove-like, bold. It is supported by Zanzibar clove bud oil, which amplifies the eugenol facet that gives carnation its bite. It’s more medicinal, more assertive—but blends into the floral spice like velvet edged with sparks. Ceylon cinnamon leaf, gentler than bark oil, contributes warmth and subtle sweetness, a trace of incense and dry heat that deepens the carnation's fire. Completing this bouquet is Florentine orris butter, one of perfumery’s rarest treasures, extracted from aged iris rhizomes. It smells of suede and violet and soft powder—noble and quiet—giving polish and refinement to the otherwise explosive heart.
As the perfume settles, the full sensuality of the oriental character blooms. The foundation is cool, damp, and earthy with Yugoslavian oakmoss, a vital component of 1930s perfumery. It provides a forest-floor feel—rich, inky, and shadowed—laying the mossy groundwork for the green oriental accord. Haitian vetiver, with its dry, smoky roots and subtle grapefruit-like sharpness, reinforces the earthiness, while Chinese patchouli adds depth and dark chocolate tones with its musty, slightly medicinal profile.
Then the woods emerge—Mysore sandalwood, almost extinct today in its pure form, is creamy, sweet, and sacred-smelling. Its deep, meditative woodiness is made to glow by Brazilian hévéa wood, or rubberwood—lighter, more flexible, giving a clean woody airiness that smooths the denser base. These are sweetened by Mexican vanilla, which is round, boozy, and syrupy—far more robust than Tahitian or Bourbon vanilla. It adds a velvety warmth that clings to the skin.
Ambergris, a miraculous sea-born substance, lends a skin-like warmth and marine whisper, making the entire base feel sensual, soft, and diffusive. Its pairing with Spanish labdanum, sticky and balsamic with leathery undertones, intensifies the amber aspect—making it resinous and glowing, like sun-warmed skin. The animalics are richly drawn: Tibetan musk, powdery and intimate, infuses the scent with a lingering warmth, while Canadian castoreum adds an inky, smoky, slightly leathery edge. Abyssinian civet, fatty and waxy, infuses the base with a pheromonal quality—feral, but carefully tamed by the perfume’s sweetness. At the very base lies Sumatran styrax, a resin with smoky, balsamic warmth. It smells like polished wood and incense smoke—binding the last of the sweetness and the spice into a finish that is almost eternal.
Sleeping by Schiaparelli is not a perfume that gently wafts; it envelops. It is velvet-draped intoxication, gilded with light and shadow. Every breath is a different facet—floral, green, smoky, sweet, resinous, and carnal. It speaks of dreams wrapped in brocade, of opium haze, of forest temples and warm skin. A true 1930s reverie—languorous, decadent, and unforgettable.
Bottles:
In 1940, Schiaparelli unveiled her latest olfactory creation, "Sleeping," presented in a stunning four-ounce flacon crafted from Baccarat crystal. The bottle's design was a marvel, encapsulating the fragrance within a candlestick-shaped container. Inspired by Rene Magritte's surrealist artwork, "The Key of Dreams," Fernand Guerycolas, the designer behind this masterpiece, ensured every detail exuded elegance and whimsy.
The crystal bottle itself was a testament to luxury, its clarity accentuating the precious contents within. Atop the bottle sat a stopper resembling a flame, colored to evoke the warm hues of fire. This intricate design was not just a vessel but a work of art, reflecting the avant-garde spirit synonymous with Schiaparelli's fashion house.
Accompanying this exquisite flacon was a presentation box designed in the likeness of a cone-shaped snuffer, complete with a handle, all bathed in "Sleeping Blue" with accents of gold. This unique shade, introduced in Schiaparelli's recent couture collection, shimmered with luminosity, echoing the allure of the fragrance it housed.
Guerycolas, renowned for his exceptional bottle designs, had also lent his talent to other esteemed perfume houses like Lanselle and Christian Dior. His collaboration with Schiaparelli on "Sleeping" not only encapsulated the essence of the perfume but also elevated it to an object of desire and admiration, embodying the intersection of art and fragrance in a truly captivating manner.
Drug and Cosmetic Industry, 1940:
"SCHIAPARELLI Schiaparelli's newest perfume is "Sleeping." The four-ounce flacon is in Baccarat crystal, and the stopper is the flame and is flame color. The box is in the form of a cone-shaped snuffer with a handle in "Sleeping Blue" and gold. This new blue which the designer featured in her recent collection, is bright and luminous."
Fashions of the Hour, 1940:
"Schiaparelli's Sleeping perfume — in a glass bottle shaped like a flame-tipped candle is an enchanting scent for candelabra hours. About 1/4 ounces in a Sleeping Blue lighted-candle box. $30."
Department Store Economist, Volume 13, 1950:
"In addition, Sleeping perfume will appear in a new 1/2 oz size to retail at $8. The same candlestick bottle will be used with the blue snuffer cover."
The bottle for Sleeping by Schiaparelli is one of the most iconic and evocative flacon designs of the pre-war perfume era. Inspired by the form of a candlestick, this sculptural bottle conveyed not only elegance, but also a surrealistic symbolism—suggesting a flickering flame, a ritual of evening repose, or a dreamlike illumination. It was produced in seven known sizes, each variant maintaining the slender, tapering silhouette, yet scaled with meticulous proportion to preserve the drama of its tall, tapering form.
The smallest version, a ½ dram miniature, stands at 2.5 inches tall and features a delicate glass flame-shaped stopper, which crowns the bottle like the flicker of a candle at rest. This exquisite detail subtly referenced the perfume’s name, “Sleeping,” as if the flame had been gently extinguished, signaling the beginning of a dream.
Another miniature, the 1 dram bottle (approximately 3 inches tall), was sold with a plastic screw cap and retailed for $2.50 in 1941. Unlike its more luxurious counterparts, this version was not produced by Baccarat, making it a more accessible option for consumers seeking a touch of Schiaparelli’s fantasy at a modest price point.
The ½ ounce version, measuring 4 inches in height, had a more refined presentation and retailed for $9.00 by 1949. Slightly larger still, the 0.87 oz (26ml) bottle stood at 5.5 inches, retailing for $15 in 1941, placing it among the more indulgent but still attainable offerings of the time.
The 1 oz bottle, at 6.25 inches, retained the elongated elegance of the design and was a favorite among collectors for its balance of size and visual impact.
Larger still, the 2 oz bottle was a truly luxurious object, retailing for $32.50 in 1941, a considerable sum at the time. Its increased scale amplified the theatrical presence of the bottle, transforming it into a true vanity centerpiece.
The largest known version, the 4 oz flacon, towered at 8.25 inches in height, making it a showpiece of Schiaparelli’s surrealist vision. Originally retailing for $55 in 1940, it was priced to reflect both the fine fragrance within and the artistic craftsmanship of its presentation. This edition, often produced by the prestigious Baccarat glassworks, remains among the most coveted of Schiaparelli bottles—its silhouette and stature embodying the luxurious escapism and imaginative artistry of the house.
Each version of Sleeping’s bottle, whether humble or grand, invites the wearer to partake in a private dream world—a perfect union of visual metaphor and olfactory fantasy, designed for the modern woman who embraced mystery, glamour, and a whisper of the surreal.
The candlestick flacon was available in various sizes, including miniature:
- 1/2 dram sized mini bottle with glass flame stopper stands 2.5" tall.
- 1 dram sized mini bottle with plastic screw cap stands 3" tall.
- 1/2 oz bottle stands 4" tall.
- 0.87 oz (26ml) bottle stands 5.5" tall.
- 1 oz bottle stands 6.25" tall.
- 2 oz bottle stands
- 4 oz bottle stands 8.25" tall
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- 2 oz bottle stands 6.5" tall
- 4 os bottle stands 8" tall.
Baccarat Cube Stoppered Bottles:
First presented in 1938 and used throughout the 1940s, this clear glass bottle was created to hold the pure parfum, and was not only used for Shocking, but served as a standard bottle for several other Schiaparelli perfumes such as So Sweet, Sleeping, Salut, Le Roy Soleil, Zut, etc. I believe that this sober bottle style was used in response to World War II restrictions on importations, especially glass bottles and supplies from Czechoslovakia and Italy.
This bottle is a domestic French product, Baccarat model #788, manufactured for Schiaparelli only. It is a tall, upright rectangular shape and features a faceted glass cube as the stopper. The smallest size features a stopper that has an attached dauber. The base of the bottle is usually molded with "Schiaparelli" and "French Bottle".
Other Products & Bottles:
The Sleeping product line by Schiaparelli was an immersive fragrance experience, a complete wardrobe of scent designed to envelop the body from head to toe in the dreamy, narcotic aura of the perfume. Each product offered a different facet of the fragrance’s character, inviting wearers to indulge in layers of luxury that extended far beyond the original parfum.
At the heart of the collection was the Parfum, the most concentrated and opulent form of Sleeping. Housed in the signature candlestick flacon with its flame-shaped stopper, the parfum embodied the essence of Schiaparelli’s vision—rich, velvety, and long-lasting. It clung to the skin like silk, releasing waves of spicy carnation, woodsy-mossy undertones, and a sweet vanilla finish. The parfum was an evening fragrance par excellence, perfectly suited for quiet, reflective moments or glamorous nighttime affairs.
Complementing the parfum was the Eau de Cologne, a lighter, more sparkling interpretation of the scent. While the composition remained faithful to the original, the cologne emphasized the brighter, greener facets—crisp bergamot, artemisia, and petitgrain—making it ideal for daytime wear or warmer climates. It offered a refreshing whisper of Sleeping rather than a full embrace, ideal for layering or for those who preferred a more delicate application.
The Bath Oil Essence brought the fragrance into the ritual of bathing, transforming the tub into a pool of perfumed warmth. Just a few drops of this concentrated elixir released clouds of aromatic steam, softening the skin while saturating it with scent. Used in tandem with the Dusting Powder, the bath oil helped prolong the perfume’s longevity while enhancing the sensorial experience. The powder itself was finely milled and lightly fragranced, ideal for patting onto the skin after bathing. It lent a velvety texture and a subtle veil of perfume that lingered throughout the day.
No less indulgent was the Perfumed Soap, which turned the simplest of daily acts into a moment of luxury. Carved in elegant ovals or sometimes molded with the flame motif, the soap was richly lathering and left a soft trace of the fragrance with every wash. For linens and personal belongings, the Sachet Powder offered another way to live with the scent. Tucked into drawers or closets, these sachets delicately scented fabrics and spaces, turning wardrobes into perfumed sanctuaries.
Perhaps the most unique offering in the line was the Bath Sponges impregnated with scent—a modern innovation for the time. These compressed sponges slowly released fragrance with each use, infusing the bathwater with the signature aroma of Sleeping while gently cleansing the skin. The effect was immersive, as if one were bathing not in water, but in perfume itself.
Together, these products created an olfactory universe that echoed Elsa Schiaparelli’s surrealist vision. With Sleeping, fragrance was no longer limited to the pulse points—it became a lifestyle, a dream woven through every aspect of personal care and sensory delight.
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