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.

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.

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.

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.

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.

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.