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.

Botticelliana by Schiaparelli c1933

The name Botticelliana was first used as a name for a perfume by Schiaparelli in 1933, this was discontinued shortly after it's introduction and was relaunched in 1977.

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.

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.

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.