So Sweet by Schiaparelli c1941

"So Sweet" was originally the name of a perfume presentation for Shocking by Schiaparelli as well as its own fragrance. Both were introduced in 1941.

Eau de Cologne Speciale de Schiaparelli c1950s

Eau de Cologne Speciale de Schiaparelli: launched in 1958.

Schiap by Schiaparelli c1934

Schiap by Schiaparelli: launched in 1934. This was the updated fragrance originally named 'S', first presented in 1928. Renamed Sport in 1952.  It was created to be worn by both men and women for sports.

Chloro-Cologne by Schiaparelli c1952

In 1952, Schiaparelli unveiled a bold innovation in the world of fragrance with Chloro-Cologne. Infused with chlorophyll, this cologne offered a unique twist on traditional scents like Shocking and Si from the Schiaparelli line. Chlorophyll, once heralded for its purported ability to neutralize odors, was a trendy addition in various personal care products of the era, despite later scientific findings that it merely dulled the perception of smells by desensitizing olfactory nerve endings.

 

Harper's Bazaar captured the allure of Schiaparelli's Chloro-Cologne, describing it as a refreshing antidote to the day's heat. Packaged in generous twelve-ounce bottles, it boasted the unmistakable essence of "Shocking," its cool green hue derived from chlorophyll lending an aura of cleanliness and freshness to the skin. Offered at $5, it became a sought-after item at prestigious retailers like Saks Fifth Avenue.

Kiplinger's Personal Finance humorously acknowledged the blend as "Chloro-Cologne de Schiaparelli," mixing chlorophyll with a generous splash of the renowned Shocking fragrance. This combination, perhaps included for its aromatic safety, highlighted Schiaparelli's penchant for bold experimentation in scent composition, marking Chloro-Cologne as both a functional and fashionable addition to personal grooming routines of the time.

Harper's Bazaar, 1952:

"Giant editions of famous classics help improve a September day. Here, twelve ounces of Schiaparelli's Chloro-Cologne scented with "Shocking" and turned cool green by chlorophyll, to keep your skin clean and fresh. $5. Saks Fifth Avenue."

Kiplinger's Personal Finance, 1952:

"Chloro-Cologne de Schiaparelli — chlorophyll plus a slug of the famous Shocking fragrance, presumably thrown in for safety's sake."

Eau de Santé by Schiaparelli c1939

Eau de Santé by Schiaparelli: launched in 1939. A cooling eau de cologne meant to be used during the hot weather months.

Shocking Scamp c1940

 The Shocking Scamp was a limited edition presentation created exclusively for the Christmas season of 1940. Designed by influential Italian jeweller Fulco di Verdura

Si by Schiaparelli c1957

In 1957, when Schiaparelli launched her perfume "Si," it was a time marked by post-war optimism and a resurgence of creativity in fashion and art. The name "Si" carries a multifaceted significance that intertwines with both music and the essence of Schiaparelli herself. Derived from the "Valse des Si," a waltz composed by Henri Sauguet dedicated to Schiaparelli, "Si" resonates with musical notes, particularly the note B, and also serves as a play on the French word for "yes" and the English pronoun "it." The name cleverly incorporates the first and last letters of Schiaparelli's surname, embodying a personal touch that reflects her bold and innovative spirit.

Additionally, the association with Juliette Gréco's song "Si" adds another layer of cultural resonance. Gréco, known for her avant-garde style and artistic expression, infused the song "Si" with emotional depth and modernity, mirroring Schiaparelli's approach to fashion and fragrance. Thus, "Si" as a perfume name not only captures musical inspiration but also embodies a sense of sophistication, allure, and artistic flair that defined the era.

The choice of "Si" as a perfume name would have resonated deeply with individuals who appreciated Schiaparelli's avant-garde designs and sought to embody her unique blend of creativity and elegance. Those attracted to the perfume would likely respond with intrigue and admiration, drawn to its evocative name and the promise of a fragrance that encapsulated Schiaparelli's daring and innovative vision.

Le Roy Soleil by Schiaparelli c1946

Launched in 1946, Le Roy Soleil by Elsa Schiaparelli was far more than just a perfume—it was a symbolic gesture, a fragrant tribute to triumph and cultural rebirth. Created to commemorate the end of World War II and the liberation of Paris, the fragrance emerged in a world hungry for beauty, hope, and a return to elegance. The name Le Roy Soleil—an archaic French spelling of Le Roi Soleil, meaning The Sun King—was a deliberate nod to France’s golden age under Louis XIV. Pronounced roughly “luh rwah soh-LAY,” the name conjures immediate associations with opulence, grandeur, and power. It evokes imagery of radiant sunlight flooding the gilded halls of Versailles, of baroque artistry, theatricality, and a flourishing of the arts. For French women, who had endured years of war-time austerity, the name itself must have been thrilling—a promise of restored splendor and national pride.

The choice to invoke The Sun King—Louis XIV—was deeply intentional. Louis XIV is one of France’s most iconic monarchs, ruling from 1643 to 1715 and transforming the French court into a dazzling center of culture and sophistication. His image was synonymous with absolute power and lavish taste; he built Versailles into a symbol of royal magnificence and presided over a golden age of French art, fashion, and perfume. By invoking his persona, Schiaparelli tied her creation to an idealized vision of French identity, reclaiming a past era of aesthetic dominance at a moment when France was healing from occupation and destruction.

In terms of historical context, the perfume was launched during what is now referred to as the immediate post-war period—La Libération in France. Fashion was beginning to revive, with designers like Christian Dior preparing to launch what would soon become known as The New Look in 1947: rounded shoulders, cinched waists, and voluminous skirts—a rejection of wartime utility and rationing in favor of unapologetic femininity and luxury. In perfumery, there was a similar shift; the era welcomed richer, more opulent compositions that felt indulgent and escapist. Le Roy Soleil, classified as a sweet oriental, embodied this return to sensuality and warmth, offering a bouquet of exotic richness that felt both triumphant and comforting.

Sleeping by Schiaparelli c1938

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.

Snuff by Schiaparelli c1939

In 1939, the time period when Schiaparelli launched the perfume "Snuff," the world was on the brink of World War II. This era was characterized by a blend of elegance and practicality in men's fashion, reflecting a society poised between the opulence of the pre-war years and the impending austerity of wartime. Tweed suits were particularly fashionable, embodying a rugged yet refined aesthetic suitable for both formal occasions and outdoor pursuits.

Elsa Schiaparelli, known for her innovative approach to fashion, also ventured into the realm of men's fragrances with "Snuff." The name "Snuff" was inspired by the color brown, which Schiaparelli whimsically dubbed "Snuff," likening it to the fine, powdered tobacco used for sniffing. This choice of name cleverly tied the fragrance to a sense of tradition and sophistication, evoking an image of old-world charm and refinement.

"Scent" would appeal to men who appreciated classic, understated elegance. The fragrance itself was classified as dry, woodsy-mossy, perfectly complementing the rugged yet polished style associated with tweed suits and outdoor activities. It would likely resonate with gentlemen who valued subtlety and timeless sophistication in their grooming choices.

The word "Snuff" evokes images of finely ground tobacco, old leather-bound books, and perhaps even the rustic charm of a gentleman's study. It carries connotations of tradition, refinement, and a hint of nostalgia for a bygone era of masculine elegance.

Zut by Schiaparelli c1948

In 1948, the time period when Schiaparelli launched her perfume "Zut," Europe was emerging from the aftermath of World War II, entering a period of recovery and renewal marked by a blend of nostalgia for pre-war elegance and a burgeoning interest in modernity. This was reflected in fashion trends moving towards more streamlined silhouettes and a mix of optimism and reflection in art and culture.

Elsa Schiaparelli, known for her avant-garde approach to fashion, was also a trailblazer in the world of perfumes. Her connection to perfumes stemmed from her belief that fragrance was an essential part of one's personal style, akin to wearing a piece of clothing. Schiaparelli collaborated with renowned perfumers like Jean Carles and worked with the fragrance house Roure to create scents that embodied her bold and innovative spirit.

The name "Zut," meaning "damn" in French, was characteristic of Schiaparelli's irreverent and daring style. For her, choosing "Zut" as a name for a perfume was likely a playful defiance of convention, injecting a touch of her trademark wit and sass into the fragrance. This name would have resonated with individuals who appreciated Schiaparelli's unconventional approach to fashion and beauty, appealing to those seeking something distinctive and daring in their perfume choices.

Schiaparelli Cologne Concentree c1954

Cologne Concentree by Schiaparelli was a refined and more intense version of the traditional cologne, offering a longer-lasting fragrance experience. This product line included a variety of Schiaparelli's iconic scents such as "Shocking" and "Succes Fou." Cologne Concentree was distinguished by its higher concentration of aromatic compounds compared to regular eau de cologne, making it a preferred choice for those seeking a more enduring and robust fragrance.

In the mid-20th century, the demand for more potent and longer-lasting colognes led to the popularity of products like Cologne Concentree. These vintage colognes often possessed a stronger scent profile than contemporary versions, a characteristic that perfume enthusiasts cherish today. The richness and intensity of Cologne Concentree allowed it to stand out and leave a memorable impression, aligning perfectly with Schiaparelli's bold and innovative approach to perfumery.

An example of the marketing and appeal of Cologne Concentree is found in the 1954 issue of Woman's Home Companion, Volume 81, which highlights Schiaparelli's "Succes Fou Cologne Concentree" in a new mist-spray atomizer bottle. Priced at $3, this product offered a convenient and modern way to apply the fragrance, ensuring an even and delicate distribution of the scent. The introduction of the mist-spray atomizer bottle not only enhanced the user experience but also reflected the evolving consumer preferences for ease of use and portability.

The Cologne Concentree line embodied the elegance and sophistication associated with Schiaparelli's brand, providing a more intense and lasting olfactory experience that resonated with the fashion-forward women of the time. The higher concentration of essential oils in the Cologne Concentree allowed the fragrance to develop and linger on the skin, offering a sensory journey that was both captivating and enduring. This made it an ideal choice for special occasions and daily wear alike, ensuring that the wearer felt confident and distinguished throughout the day.

Woman's Home Companion, Volume 81, 1954:

"Schiaparelli's Succes Fou Cologne Concentree in a new mist- spray atomizer bottle. $3."

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.