Fidji by Guy Laroche c1966

When French fashion designer Guy Laroche launched Fidji in 1966, the name was no arbitrary choice. At the time, L’Oréal owned the Guy Laroche brand under its U.S. division, Cosmair. Lancôme, a smaller company then, had recently acquired L’Oréal’s Prestige division. It was Lancôme’s president, Jean Menet, who selected the name in an inspired moment of spontaneity. He spun a globe, searching for something short, memorable, and evocative — his finger landed on the Fiji Islands, an exotic, sun-soaked paradise in the South Pacific. The name was adapted to the French spelling, Fidji, giving it a more sophisticated, European air while preserving the allure of its tropical roots. Pronounced Fee-jee in French, the word conjures visions of distant shores, lush greenery, and the freedom of an untouched paradise.

The choice of Fiji as inspiration was no accident. Known for its stunning coral reefs, crystal-clear waters, and vibrant culture, the islands symbolized an escape to natural beauty and tranquility — an unspoiled Eden. For a fragrance, this imagery was perfect. Perfume has always been about transformation, and Fidji promised to transport the wearer to a faraway, idyllic place. The name evoked warmth, sensuality, and the carefree spirit of island life — a world apart from the structured, modern pace of the Western world.

The mid-1960s was a period of cultural revolution, often dubbed the "Swinging Sixties." It was an era defined by liberation — social, sexual, and creative. Fashion broke away from the restrained, ladylike silhouettes of the 1950s and embraced bold, geometric designs, mini skirts, and androgynous styles. Designers like André Courrèges, Paco Rabanne, and Pierre Cardin pushed futuristic, sleek lines, while Mary Quant revolutionized youth fashion with playful, daring cuts. Women were increasingly joining the workforce, pursuing independence, and redefining their roles in society. This spirit of change echoed in perfumery as well, with lighter, fresher, more modern scents emerging to reflect the new mood.

In this context, Fidji was perfectly timed. It embodied both the freedom and sensuality that women were beginning to embrace. It wasn’t a heavy, old-world perfume meant to be worn in grand ballrooms — it was fresh, vibrant, and wearable for everyday life, while still maintaining a seductive edge. The fragrance itself, classified as a floral-green, was a relatively new olfactory structure at the time. It opened with crisp, verdant notes of galbanum and bergamot, blossomed into a heart of lush florals like jasmine and ylang-ylang, and settled into a warm, slightly musky base with hints of sandalwood and vetiver. It mirrored the feeling of a sea breeze drifting through tropical blooms — fresh, clean, yet undeniably sensual.

For the women of the 1960s, Fidji represented more than a fragrance — it was a fantasy. It tapped into the growing desire for travel and adventure, a dream not yet attainable for many. Air travel was becoming more accessible, but a trip to the South Pacific was still a distant aspiration for most. Wearing Fidji offered an emotional escape, a way to embody the spirit of an island goddess, carefree and radiant. The name alone evoked a lifestyle that felt untamed, sun-kissed, and endlessly alluring — a fantasy of being far from the constraints of daily life.

In an era when women were reclaiming their autonomy and exploring new identities, Fidji struck a chord. It was light and modern enough for the office or daytime wear but still exuded a soft, feminine sensuality. It wasn’t about conforming to the image of a demure housewife — it was about embodying a sense of personal freedom and worldly sophistication. The woman who wore Fidji wasn’t trying to smell like roses from her grandmother’s garden. She smelled like she had just returned from an exotic island, sun-warmed and glowing — or perhaps like she was about to embark on the next adventure.

 

Fidji’s advertising campaign was as daring and unforgettable as the fragrance itself. The tagline, "Exquisite blend of the scents of paradise...", perfectly captured the scent’s duality — an elegant, sophisticated floral-green composition wrapped in the fantasy of an untouched tropical haven. The imagery, however, took this idea even further.

One of the most striking advertisements featured a naked, kneeling woman, her body partially turned away from the viewer, delicately cradling an oversized bottle of Fidji. The ad was sensual yet serene, evoking a sense of vulnerability and raw, natural beauty. The woman's pose — bare, but not overtly sexualized — reflected the fragrance’s essence: a woman in her most authentic, unembellished state, embodying freedom, femininity, and sophistication. The image stirred conversation, as it challenged the more polished, glamorous representations of women in perfume ads of the time.

For markets or audiences less receptive to such provocative imagery, an alternative campaign featured a clothed woman instead, still exuding elegance and confidence but in a more conventional presentation. Both versions maintained the core message: Fidji was for the woman who embodied a kind of effortless allure — someone who was both worldly and untamed, sophisticated yet untethered from the constraints of tradition.

These advertisements reflected the changing attitudes of the 1960s. The decade marked a cultural shift, with women embracing new forms of self-expression — in fashion, lifestyle, and fragrance. Fidji wasn’t just selling a scent; it sold an image of freedom, sensuality, and individuality. The fragrance, after all, wasn’t meant to capture the literal smell of the Fiji Islands, but rather the feeling of an exotic, unreachable paradise — and the woman who wore Fidji became part of that dream.

Fragrance Composition:

So what does it smell like? Fidji by Guy Laroche was originally classified as a floral green fragrance for women. It begins with a crisp green top note of galbanum and hyacinth, followed by an opulent white floral heart punctuated with rose and carnation, mingling with precious woods and myrrh, resting on a warm exotic base of Arabian balms, spices and animalic notes of musk and ambergris.

• Top notes: aldehydes, Spanish galbanum, Dutch hyacinth, Sicilian lemon, Calabrian bergamot and Moroccan orange blossom
• Middle notes: Alpine lily of the valley, Lyral, Florentine iris, Bulgarian rose, Italian jasmine, Grasse jasmine, Tuscan violet, English lilac, Madagascar ylang ylang, French carnation, Egyptian tuberose, Zanzibar clove
• Base notes: Indian myrrh, Tibetan musk, Malaysian patchouli, Mysore sandalwood, balsam of Peru, ambergris, Haitian vetiver and Tyrolean oakmoss

The name Fidji may evoke visions of tropical beaches and lush island landscapes, but the scent itself was an entirely different interpretation of exoticism — one rooted more in sophistication than sun-drenched leisure. Created by legendary perfumer Josephine Catapano of International Flavors & Fragrances (IFF), Fidji was classified as a floral-green fragrance — a groundbreaking structure for its time. It opened with a burst of crisp galbanum and hyacinth, delivering a green, almost dewy freshness that felt invigorating and clean. This verdant brightness then unfolded into a rich, opulent heart of white florals — jasmine, rose, and carnation — their sweetness tempered by the subtle spiciness of the carnation’s clove-like facet. Beneath it all, the scent rested on an exotic, warm base laced with Arabian balms, woods, and animalic notes of musk and ambergris, lending a sensual, lingering warmth that felt both worldly and refined.

What set Fidji apart was its innovative fusion of green notes with lush florals — a contrast that was unprecedented at the time. Drawing inspiration from the classic chypre base of Miss Dior and the refined floral-woody warmth of L’Air du Temps, Fidji wasn’t tropical in the traditional sense of coconut or vanilla, nor was it meant to smell like a breezy ocean shore. Instead, it conjured the idea of an untouched, verdant paradise — cool, fresh, and blossoming with life. Josephine Catapano herself described it as a "modern version of L'Air du Temps," with a cleaner, more contemporary feel. It introduced a new kind of sensuality — one that felt natural, effortless, and airy, rather than heavy or powdery like many of the earlier floral scents.

Interestingly, Catapano was unaware of the fragrance’s final name until the last moment, working only with the brief that Robert Salmon, then head of Guy Laroche's fragrance division, wanted "something very feminine and easy to wear, light, fresh, and very floral." The heart of Fidji held a unique, secret accord developed by IFF — a blend that evoked the sensation of blossoms drifting on a breeze, almost weightless. Central to this was the aroma chemical Lyral (hydroxymethylpentylcyclohexenecarboxaldehyde), which mimicked the soft, dewy impression of lily of the valley without using the actual flower — a revolutionary move at the time. This modern, airy floral character became a defining feature of the fragrance, setting it apart from the heavier, richer florals that still dominated the market.

Fidji wasn’t just a scent — it was a trailblazer, establishing an entirely new fragrance category: the Spicy Green Floral. Its influence rippled through the industry, inspiring iconic scents like Norell (1968), Revlon's Charlie (1973), and Cardin de Pierre Cardin (1976), each of which carried elements of that fresh, green-floral structure, though with their own personalities.

At the time of its release, Fidji stood out among the more traditional aldehydic florals still popular from the 1950s — think Chanel No. 5 or Arpège — as well as the emerging, youth-oriented citrus colognes like Ô de Lancôme. Its green-floral identity captured the changing mood of the 1960s: women were seeking freedom, not just in their lifestyles but in how they wanted to feel — clean, fresh, natural, but still sensual. Fidji answered that desire with effortless elegance, bridging the gap between sophistication and the newfound ease of modern femininity.

 

 Scent Profile:

The first breath of Fidji unfolds like a sun-drenched breeze sweeping over a lush, green garden. Spanish galbanum bursts forth — its sharp, resinous bite both bitter and verdant, as though freshly snapped from a living stem. This Mediterranean variety, known for its purity and intensity, lends an immediate jolt of green freshness, setting the stage for what’s to come. Dutch hyacinth unfurls next, its cool, waxy sweetness adding a dewy, floral crispness, reminiscent of early spring mornings. The citrus notes dance in quickly thereafter — the brightness of Sicilian lemon, sharp and zesty, intertwines with Calabrian bergamot’s more elegant, fruity bitterness. These Italian citruses, grown in sun-drenched groves, are known for their exceptional vibrancy and clarity. Moroccan orange blossom tempers the citrus’s zing with a whisper of honeyed, floral warmth, hinting at the richer heart to come.

As the top notes soften, Fidji’s heart blossoms with an opulent bouquet. Alpine lily of the valley peeks through first, its delicate, green-floral sweetness lifted even higher by Lyral — an IFF-created aroma chemical designed to mimic the airy, crystalline scent of muguet (lily of the valley). Lyral heightens the floral freshness, allowing the heart to feel ethereal, as if the blossoms were suspended in a light breeze. Florentine iris adds a cool, powdery elegance, grounding the airy notes with a soft, velvety hum. Bulgarian rose, famed for its rich, honeyed depth, mingles with the brighter, sunnier Italian jasmine and the creamy, voluptuous Grasse jasmine — a nod to the perfume heartlands of France. 

French carnation cuts through the sweetness with its spicy, clove-like edge, harmonizing beautifully with the true Zanzibar clove that follows. This East African clove variety is particularly prized for its warm, peppery bite. Egyptian tuberose, waxy and intoxicating, pulses beneath the florals, adding a lush, almost narcotic creaminess. English lilac lends a gentle, nostalgic sweetness, while Tuscan violet weaves in a soft, powdery purple haze. Madagascar ylang ylang, with its rich, fruity-banana facets, adds an exotic, solar glow, warming the heart without overpowering the more delicate blossoms.

The drydown of Fidji reveals its deeper, more seductive soul. Indian myrrh exudes a rich, balsamic smokiness — darker and more resinous than its Middle Eastern counterparts. Tibetan musk follows, earthy and animalic, evoking the warmth of bare skin. Malaysian patchouli lends a mossy, slightly camphorous earthiness, bridging the floral heart to the woodsy depths. Mysore sandalwood, revered for its creamy, buttery smoothness, envelops the base with a warm, sacred softness — a luxury even in the 1960s, before overharvesting made this Indian variety increasingly rare. Balsam of Peru oozes with vanilla-like warmth and resinous sweetness, complemented by the elusive, marine-salty sensuality of ambergris, which lingers like sun-warmed skin after an ocean swim. Haitian vetiver emerges last, smoky and green, paired with Tyrolean oakmoss — a rich, inky, forest-floor note from Austria’s mountain slopes, contributing to the fragrance’s final whisper of shadowy, chypre-like mystery.

The result is a scent that feels alive — vibrant and untamed, yet balanced with an undeniable European elegance. Each note, whether natural or enhanced by synthetics like Lyral, plays its part in creating an illusion of an exotic paradise, not as a literal interpretation, but as a dream of one: sun, earth, skin, and blossoms carried on a distant breeze.

Bottles:

The presentation of Fidji was as carefully orchestrated as its scent, embodying a balance of modern elegance and exotic allure. The visual identity was shaped by the collaboration between Guy Laroche’s advertising director Michel Bedin and Lancôme’s head of perfume marketing, Robert Salmon. Salmon drew inspiration from Lancôme’s own history — specifically, the bottle of Tropiques, a long-lost 1935 fragrance that evoked a similar spirit of faraway paradise. This historical nod imbued Fidji with an air of continuity and prestige, even as it sought to break new ground with its modern composition.

The final bottle design was brought to life by Serge Mansau, a sculptor and designer renowned for his ability to translate fragrance into visual form. The result was a striking, bisected clear rectangular flacon — a minimalist yet bold structure, allowing the golden liquid within to glow like captured sunlight. The black stopper, a sharp contrast to the clear bottle, gave a sense of weight and sophistication, its surface often sealed with a delicate twist of black silk thread. This detail added a tactile sense of craftsmanship, evoking the ritualistic beauty of unsealing a treasured elixir. Some variations, particularly in later years, featured clear glass stoppers instead, while others introduced clear acrylic versions. These acrylic stoppers, while practical, have an unfortunate tendency to discolor over time, taking on a brownish hue that can confuse collectors.

The glass itself was produced by Pochet et du Courval, a storied glassmaker with roots dating back to the 1600s — a name synonymous with luxury fragrance bottles. Their work ensured the crystal clarity and precise geometry that made Fidji’s bottle feel both clean and luxurious.

For collectors, navigating the second-hand market requires care and a discerning eye. Factices — display bottles used for store windows — can often be mistaken for full bottles of perfume. These typically contain colored water, sometimes in tinted glass, to mimic the appearance of fragrance. While some are conveniently marked with "factice" or "dummy" either on a label or etched discreetly into the glass, others are not. It’s always wise to ask sellers directly whether the bottle contains real perfume or colored liquid before purchasing.

Spray variations of Fidji are marked with Vaporisateur or Atomiseur on their boxes, indicating either natural sprays or aerosol formats — a practical evolution of the classic bottle design that brought Fidji into the everyday reach of modern women.

One of the rarest treasures associated with Fidji emerged in the 1980s — a limited-edition bottle crafted from fine Limoges porcelain. Known for its delicate, high-quality finish, Limoges porcelain added an artistic and tactile dimension to the presentation. This special bottle was molded with the name Fidji and adorned with a tropical foliage pattern, echoing the fragrance’s exotic inspiration. Standing approximately 4 inches tall and equipped with an atomizer, it was a functional piece of art — a fusion of French porcelain craftsmanship and perfume artistry, embodying the spirit of Fidji: a scent of paradise, captured and preserved.

Fidji was available in the following products (original company catalog reference numbers noted in parenthesis):

Parfum:

• 2 oz Parfum Deluxe Splash 
• 2 oz Parfum Splash (standard bottle) stands 3.5" tall.
• 1 oz Parfum Splash bottle (standard bottle) stands 2.75" tall.
• 1/2 oz Parfum Splash bottle stands 2.25" tall. (Ref# 7011)
• 1/4 oz Parfum Splash bottle (standard bottle) stands 1.75" tall. (Ref# 710)
• 1/8 oz Parfum Splash
• 1/8 oz Purse Perfume
• 1/4 oz Parfum Spray
• 0.21 oz Parfum Purse Spray

Eau de Toilette:

• 0.11 oz Eau de Toilette miniature
• 0.17 oz Eau de Toilette miniature
• 1 oz Eau de Toilette Splash
• 1.8 oz Eau de Toilette
• 2 oz Eau de Toilette Splash (Ref# 2311)
• 3.8 oz Eau de Toilette Splash
• 4 oz Eau de Toilette Splash bottle stands about 5" tall .(Ref#  4813)
• 8 oz Eau de Toilette Splash
• 32 oz Eau de Toilette Splash (Factice stands 9" tall)
• 0.58 oz Eau de Toilette Spray
• 0.67 oz Eau de Toilette Spray 
• 0.84 oz Eau de Toilette Spray
• 1 oz Eau de Toilette Spray (Limited Edition, Cosmair late 1990s)
• 1.35 oz Eau de Toilette Spray
• 1.4 oz Eau de Toilette Spray (Ref#7093)
• 1.7 oz Eau de Toilette Spray
• 1.8 oz Eau de Toilette Spray
• 2 oz Eau de Toilette Spray
• 2.5 oz Eau de Toilette Spray
• 3.4 oz Eau de Toilette Spray 
• 3.8 oz Eau de Toilette Spray
• Eau de Toilette Concentrate 

Cologne:

• 2 oz Cologne Splash
• 0.9 oz Cologne Spray
• 2 oz Cologne Spray
• 4 oz Cologne

Eau de Parfum:

• 0.33 oz Eau de Parfum Natural Purse Spray
• 0.75 oz Eau de Parfum

Solid Perfume:

• Cream Parfum (Roses de Fidji) c1969
• Solid Perfume
• 0.8 oz Fidji de Joie Creme Sachet (in frosted glass jar, c1977)

Bath & Body:

• Soap
• Bubble Bath
• Soothing Bath Oil
• Bubble Milk Bath
• Soothing Friction Lotion
• Dusting Powder
• Talc
• Body Shampoo
• Bath & Body Gel
• Body Lotion
• Body Cream
• Perfumed Cream
• Perfumed Body Moisturizer

Miscellaneous:

• Make- up Brushes
• Scented Incense
• Perfumed Candle

Fidji du Soir: launched in 1977. This was billed as a "concentrated eau de toilette that is stronger than the usual kind without being heavy as an extract." I would think it was equal to modern Eau de Parfum in concentration.

• 0.67 oz Eau de Toilette Concentree Spray Mist
• 0.9 oz  Eau de Toilette Concentree Spray Mist
• 1.8 oz Eau de Toilette Concentree Spray Mist
• 0.2 oz Lingering Essence

Flanker Scents:

• Fidji du Soir (c1977)
• Fidji Toujours (c1977)
• Fidji En Fleurs (c1983)
• Fidji En Noire

In 1968, Guy Laroche introduced his "Douceline" bath range, influenced by the successful Jean Nate bath line, comprised up of five bath essentials delicately and subtly perfumed with Fidji. A milky bubble bath, beautifully packed in a big round drum with a little matching measure, it foamed up in the bath and turned the water all milky and made your skin soft. Also included was a deep green bath oil that was also designed to be used directly on the skin too, this came in two sizes.

After bath, you could apply some amber colored friction lotion that came in a bottle that matched the bath oil bottle. After that you could rub some lotion onto your skin and pat on some dusting powder. Later, emollient talc, perfumed cream, perfumed body shampoo and bath soap was added to the bath line. These items were originally packaged in white boxes adorned with a silver chain embossed trim. Later they were packaged in blue and white boxes.






By 1973 you could get Fidji in an eau de toilette or eau de cologne spray. In 1975, an aerosol cologne spray was introduced.

In 1977, the eau de parfum natural spray and Fidji du Soir Spray Mist Eau de Toilette Concentrate, a sultry night time version of Fidji came out.


By 1973 you could get Fidji in an eau de toilette or eau de cologne spray. In 1975, an aerosol cologne spray was introduced.

In 1977, the eau de parfum natural spray and Fidji du Soir Spray Mist Eau de Toilette Concentrate a sultry night time version of Fidji came out.


There also exists a rarity called Fidji en Noir, it was parfum housed in a little black glass refillable purse bottle. This little bottle stands just 2.75" tall. The bottle holds 0.125 oz of perfume. Back of box says "A limited series of Fidji perfume in an onyx black purse flacon for evening elegance". Made in New York/USA.


Note that the bottles with gold caps date to 1978 and after when the packaging got a classier look.

Package Engineering, 1978:

"Gold finish gives new cologne a 'touch' of class Fidji Cologne Spray Mist, one of a number of Fidji fragrance products being marketed by Parisian designer Guy Laroche, uses Ethyl Corp.'s noMar. The total esthetics of the package are enhanced even further by the square bottle from Wheaton Glass. Fidji Cologne Spray Mist is packaged in 0.9-, 1.8-, and 3.8-ounce bottles."

Fidji Cologne Spray Mist bottles were manufactured at the TC Wheaton Glass Company of Millville, NJ (close to where I live). Wheaton was founded in 1888 and produced bottles for pharmaceutical use, but also for perfumers. By the 1930s, Wheaton was manufacturing bottles for quality perfume brands, both American and European such as Hattie Carnegie, Adrian, Prince Matchabelli, Liz Claiborne, Anne Klein, Corday, Nettie Rosenstein and Shulton.

In 1973, a gift set included a small silver tone or gold tone shell pendant. In 1974, a Fidji filled perfume pomander was made as an interpretation of the pomanders worn by fashionable ladies of 16th century royalty, it was meant to be suspended on a chain pin or belt.

The Ambiances Fidji line of 1980 included a series of products including incense sticks and candles which would allow one to perfume her living quarters with the lush, unmistakable scent of Fidji.Guy Laroche was the first French designer to enter this market at the time. Ambiances Fidji sales represented 21 percent of Fidji sales volume.

In 1983, a short-lived flanker scent, Fidji En Fleurs was released, described as a "gentle blending of delicate flowers blooming in a lush green forest".

Fate of the Fragrance:

By 2001, L'Oreal had discontinued Fidji, but relaunched it in 2003 due to the many petitions of loyal Fidji fans, however, please note that this version is reformulated and not the original. You can still purchase the new Fidji today at many perfume discounters. It is available as eau de parfum and eau de toilette as shown below.

 The vintage versions, which were originally colored green, have aged to a light yellow to the orangey brown color of brandy. This is due to oxidation of the perfume ingredients, which will change color and degrade due to exposure to heat and strong light over the years. It is recommended that you keep your perfume inside of its original box and stored away in a place that is cool and dark so that your fragrance will not turn sour and unwearable.

The reformulated version:

• Top notes: galbanum, hyacinth, lemon and bergamot 
• Heart notes: rose, jasmine, violet, ylang-ylang and carnation 
• Base notes: musk, patchouli, sandalwood, amber, vetiver and tree moss

CLICK HERE TO FIND FIDJI BY GUY LAROCHE