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."

Spring n’ Summer Cologne by Schiaparelli c1956

Spring n’ Summer Cologne by Schiaparelli was introduced in 1956, capturing the essence of the warmer seasons with its light, fresh, and invigorating composition. This cologne was designed to be a more airy and vibrant variation of Schiaparelli's established perfumes, tailored for the spring and summer months when lighter fragrances are particularly desirable. The launch of Spring n’ Summer Cologne represented a shift towards more seasonally appropriate scents, catering to the evolving tastes and needs of consumers.

The Spring n’ Summer Cologne was available in the popular "Shocking" scent, one of Schiaparelli's most iconic and beloved fragrances. "Shocking," originally launched in 1937, was known for its bold, exuberant, and complex profile, blending floral and oriental notes. By offering this legendary scent in a lighter cologne format, Schiaparelli provided an option that maintained the essence of the original perfume but with a more delicate and breezy feel, suitable for everyday wear during the warmer seasons.

This cologne was characterized by its brighter and more effervescent notes, which evoked images of blooming flowers, fresh green landscapes, and the invigorating energy of spring and summer days. The formulation was crafted to be light and refreshing, providing a burst of fragrance that uplifted the senses without being overpowering. This made it an ideal choice for those seeking a scent that was both elegant and easy to wear, perfect for casual outings, picnics, and other outdoor activities typical of the season.

The introduction of Spring n’ Summer Cologne reflected Schiaparelli's innovative approach to perfumery, understanding the importance of seasonal fragrance preferences. The lighter, brighter cologne offered consumers the opportunity to enjoy the luxury and sophistication of Schiaparelli's perfumes in a format that complemented the seasonal atmosphere. It was a testament to the brand's ability to adapt and cater to the dynamic tastes of its audience while preserving the signature style and quality that defined Schiaparelli's legacy.

In essence, Spring n’ Summer Cologne by Schiaparelli was a harmonious blend of tradition and innovation, providing a fresh twist on classic scents to suit the lighter, more playful mood of spring and summer. Its launch in 1956 was a reflection of the brand's continuous pursuit of elegance and modernity, ensuring that every woman could find a Schiaparelli fragrance to match her style and the season.

photo by ebay seller cclinne

Where Should I Apply Perfume?

As a general rule, fragrance should be applied to pulse points. This is where the blood vessels are closest to the skin giving off more heat and acting like mini fragrance pumps.

Pulse points are the wrist, crook of the arm and back of the knee, and the base of the throat. Also, for long lasting fragrance spray at the ankles, it allows the fragrance to blossom up. For a sexy twist, apply perfume to your cleavage or spray perfume on your nude body before dressing. The nape of the neck, is a very romantic area, whenever your hair moves it might swish the perfume around, nice little subtle trail of perfumed loveliness.

Apply perfume right after you take a shower or bath. Your pores are more open then and will more easily soak up the scent. Some people say that rubbing the wrists together will crush the scent, I tried this with different perfumes over the course of two weeks, just to see if its true, it seemed to me that the friction of rubbing the wrists together actually heated up the fragrances and made them seem more potent.

I have read though that the perfume can react not so nicely to the first layer of skin...and give off a smell that isn't pleasant. Others say that to spray the perfume in the air and then walk into it, I have done this before, and it seems that it lets you control the amount of fragrance that is applied to your skin, rather than spraying directly onto the skin, this works best with heavier perfumes.

I spray perfumes on my clothes when I want to make the scent last longer, I won't spray perfume on fragile fabrics like silks or lace. You can spray your coat with perfume. Also an old tip is to apply pure parfum extrait to your furs. Doing this is up to your own discretion.

Do not apply perfume after you put your jewelry on, take it off first, then apply the perfume. The chemicals in perfume can leave stains or have chemical reactions to the metals, Pearls are especially susceptible to damage from perfume since it destroys their lustre.

Coco Chanel always said to apply perfume where you want to be kissed. I read an old perfume guide from the 1930s and it mentioned that you can apply perfume to your fingertips and eyebrows. Also apply perfume to a cotton ball and tuck it into your brassiere. Apply perfume to your hankies or gloves.

Jeanne Lanvin of Lanvin Perfumes suggested that you should apply perfume wherever your clothes cover your body, that way it will seem if it is coming from within and blend with the natural oils of your skin to make a truly individual fragrance. She also says the best time to apply perfume is 15 or 20 minutes before you are about to go out, that way the perfume has time to "set".

A 1924 ad for Ann Haviland perfumes suggests:

#1. to apply perfume to your eyebrows as the short hairs of the eyebrows retain the perfume longer than the skin since evaporation takes place more slowly.Besides, this is an ideal two-some,the girl usually comes up to a man's chin, not far below his nose.

#2. One little known method of applying perfume is to saturate a piece of cotton with your chosen scent, place it under the shoulder strap of your slip. Body heat releases an aura about you.

#3. A glamorous method of using perfume is to spray it on the hem of your evening gown, then as you walk or dance, the fragrance is wafted into the air around you. This is the best way to do it.

#4. Another pointer is to apply perfume to the inside of your gloves, while your gloves are on, the warmth of your hands attract the perfume which will cling to the fingers.

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.