Gourielli

Established in 1941 by Helena Rubinstein who was married to Artchil Gourielli-Tchkonia, a Russian prince from Georgia . Princess Gourielli (Helena Rubinstein) opened the Gourielli Shop, an old fashioned brownstone front on E. 55th Street, Manhattan, that she turned into a fabulous cosmetic emporium selling old apothecary recipes combined with new scientific formulas.  The shop combined several different decorative themes which combined Old Apothecary, Early American, Victorian American, Modern and Mexican.

Rubinstein's office, entered via a white reception room which featured a bright orange carpet and a screen by Halicka, was opulent and done in a bold color scheme of bright yellow walls, mauve painted furniture, startling Mexican crimson (cochinelle) upholstery and green carpeting. Hung on the walls are Mexican paintings by Reyes in which cochinelle was used extensively. Early Victorian lace curtains, rare and luxurious, extending from ceiling to floor helped to break up the brilliant color, while the rest of teh shop, covering two floors, was appointed in equally striking manner. There was a Grey Room or men's shop which was entered through a private door. Here the boy with adolescent skin troubles would be catered to in surroundings that included a Victorian souch richly upholstered in dark empire blue faille, a Victorian round table and a screen by Vertes. On one wall was a magnificent carved gilt mirror in Mexican churrigueresque style. There was also an amusing old mug rack which held Princess Gourielli's collection of old shaving jars, some occupations representing the taxi driver, baseball player, truck driver, baker, butcher and shoe salesman.

Items to be purchased started at $2, with lipstick priced at around $2.50, high prices in 1941 when the war was still waging on. It was reported that Helena Rubinstein had a reputation as a shrewd businesswoman, intending to sell to a clientele that could afford such luxuries, in spite of the war. Her favorite advice to her salesgirls was "You have got to look right down into their pocketbooks and get that last nickel."

The fragrances of Gourielli:

• 1941 Star Dust
• 1941 Tang Cologne
• 1941 White Gardenia
• 1941 White Lilac
• 1941 Heart Violet
• 1941 Carnation
• 1941 Jasmine
• 1941 June Rose
• 1941 Narcissus
• 1942 Bow Tie
• 1942 Dream Princess
• 1943 Something Blue (a blend of jasmine, sweet oriental plants and flowers)
• 1943 Moonlight Mist
• 1947 Five O'Clock (aldehydic woodsy floral blend
• 1947 Heart to Heart
• 1947 Here’s How Part of a men's soap set
• 1947 Tipsy
• 1948 Lily of the Valley
• 1950 Sport of Kings (horse racing)
• 1953 Fourth Dimension
• 1956 Spring Lilac
• 1957 Four Loves Have I

Five O'Clock:

Five O'Clock by Gourielli was launched in 1947, at the tail end of a period of immense cultural and social change, and its name, “Five O'Clock,” speaks directly to a pivotal moment in mid-20th century life—the cocktail hour. The phrase "Five O'Clock" immediately evokes images of glamour, sophistication, and a sense of celebration. It is a moment suspended in time, when the demands of the day are set aside, and people come together to unwind with a cocktail or two before evening events. The term is forever linked to the five o'clock cocktail hour, a time of leisure, relaxation, and the enjoyment of high society. This was a time when the women of the period were dressed in their finest cocktail attire—sleek dresses, often adorned with glittering rhinestones or diamonds, draped in luxurious furs, their hair elegantly styled, and with a glass of chilled gin or whiskey in hand, they embodied the post-war sophistication and carefree elegance of the time. It was an hour dedicated to refinement and enjoyment, often accompanied by soft jazz music and conversations that flowed as smoothly as the drinks. To name a fragrance after this time of day was to link it with the luxury, energy, and allure that cocktail hour evoked.

The post-war period, specifically the late 1940s, was known for its desire for both normalcy and escape. The world had endured the hardships of the Second World War, and now, society was eager to embrace a return to glamour, style, and a sense of optimism. Fashion trends during this time were all about refinement and femininity—narrow-waisted dresses, full skirts, and luxurious accessories like pearl necklaces, delicate earrings, and silk gloves. Women of the time embraced their role in this post-war world with poise and elegance. Jewelry and attire were about understated luxury—sophisticated and perfectly polished. The cocktail hour itself was a celebration of this new, post-war lifestyle, a ritual that allowed people to shed the heaviness of the day and indulge in a more playful, chic atmosphere. In essence, cocktail hour, and by extension Five O'Clock, became symbolic of a return to the luxuries and pleasures of the pre-war years, but also a reflection of a more modern and liberated post-war society.

For women of the period, Five O'Clock would have been deeply relatable. The fragrance was an expression of the modern woman, someone who had weathered the tumult of the war years and now embraced an atmosphere of elegance and social grace. The name alone would have evoked images of sophistication—whether it was a gathering of friends in an elegant drawing room, or a quiet moment before slipping into evening attire. The fragrance was not just a scent but an embodiment of the mood of the time—refreshing, cool, and socially elevated. Women would associate Five O'Clock with a moment of freedom, indulgence, and enjoyment—almost as though the perfume was a companion to the ritual itself. The aldehydic and floral elements of the fragrance echoed the mood of cocktail hour—clean, crisp, and refreshing with a soft floral heart that was both elegant and inviting. The scent’s coolness would evoke the refreshing nature of a cocktail, its citrusy top notes bringing to mind the sharpness of a gin and tonic or a lemon twist, while the floral elements reflected the lighthearted and gracious atmosphere of a cocktail party. The underlying warmth of sandalwood and musk would mirror the comfortable sophistication of an evening well-spent.

In the context of other fragrances on the market during the late 1940s, Five O'Clock was not entirely unique, yet it certainly stood out. The 1940s saw the rise of aldehydic fragrances—Chanel No. 5 being the most iconic—offering a modern, clean, and sophisticated approach to scent. Five O'Clock embraced this trend with its sparkling aldehydic top notes, which were fresh, cool, and energizing, but it also leaned into the emerging floral oriental trend that would define much of the 1950s. This combination of cool aldehydes, delicate florals, and warm, creamy woods and musks placed Five O'Clock firmly in line with the evolving trends of the era, but it also managed to capture a sense of the ritual and refined pleasure that was so emblematic of the time. It was a scent for the modern, sophisticated woman, just as the cocktail hour itself had become a symbol of a new social era.

Thus, Five O'Clock by Gourielli perfectly encapsulated the essence of post-war optimism and elegance. It linked the fragrance to a moment of leisure, luxury, and grace—a moment that women of the time could connect to emotionally, mentally, and socially. It was more than just a perfume; it was an invitation to step into a world where time seemed to slow, where the demands of the day were behind you, and the evening ahead was filled with promises of joy and indulgence. The cool, refreshing nature of the fragrance mirrored the relaxed, sophisticated mood of the cocktail hour, making Five O'Clock a quintessential scent of its time.

Fragrance Composition:

Five O'Clock is classified as a cool aldehydic floral fragrance for women.

• Top notes: bergamot, aldehydes, lemon, lavender, rosemary, clove
• Middle notes: jasmine, ylang ylang, rose, violet, cinnamon, carnation
• Base notes: sandalwood, musk, tonka bean, patchouli, ambergris, oakmoss

Scent Profile:

Five O'Clock by Gourielli is an exquisite fragrance that opens with a cool, crisp burst of aldehydes, the signature of many 1950s perfumes. The aldehydic top notes greet you with a clean, almost soapy freshness, a sensation like the first breath of air on a dewy morning. It’s a sharp, invigorating note that tingles the senses with its effervescence. As the aldehydes settle, a splash of bergamot adds a zesty, slightly bitter citrus twist. The bergamot is bright and refined, its lively acidity almost like the zest of a sun-ripened orange, opening up the fragrance with a burst of freshness that feels sophisticated and elegant. 

Then, the tangy bite of lemon joins the citrusy blend, brightening the composition even further. The lemon is sharp and clean, its tartness softened just enough by the slightly woody, herbal note of rosemary, which brings to mind the cool green scent of freshly crushed leaves, evoking the calming air of a sun-dappled garden. Lavender soon follows, its cool, herbal aroma adding a powdery softness. The lavender has a green, floral freshness with hints of camphor, providing an aromatic layer that feels both calming and invigorating. As a subtle edge, a whisper of clove emerges, spicy and warm, giving the fragrance a soft, fiery accent that contrasts with the coolness of the citrus and herbs.

As the fragrance develops, the heart notes begin to unfurl in an opulent, floral bouquet. Jasmine takes center stage, its rich, honeyed scent filling the air with its voluptuous floral beauty. The jasmine in Five O'Clock is intoxicating, smooth and sensual, with a touch of creaminess, giving the fragrance an unmistakably feminine allure. Ylang-ylang follows closely behind, adding an exotic twist. Its sweet, slightly fruity floral note is warm and heady, contributing a soft, tropical richness that blends seamlessly with the jasmine. Together, they create a lush, dreamy atmosphere that feels otherworldly. 

A soft, powdery whisper of rose emerges, adding a layer of romance and sophistication. The rose in this composition is delicate and nuanced, not overpowering, but rather lending its elegance to the mix. There’s also a subtle trace of violet, which adds a powdery, green sweetness that deepens the floral heart with its quiet, soothing presence. Cinnamon appears in the background, adding a light spiciness that flirts with the sweet floral heart, giving the fragrance a piquant, warm undertone. The cinnamon is soft and subtly sweet, just enough to add dimension without overpowering the softer floral notes. A touch of carnation also comes through, with its spicy-sweet, clove-like aroma, rounding out the middle with a delicate floral warmth.

The base of Five O'Clock is where the fragrance truly comes into its own, with its warm, sensual, and earthy notes. Sandalwood provides the smooth, creamy foundation, offering a rich, woody depth that feels both soft and grounding. The sandalwood has a velvety texture, its slightly milky scent adding warmth and comfort, like the embrace of an old, well-worn armchair. Then, the musk begins to emerge, soft and intimate, adding a sensual, animalic undertone that makes the fragrance feel close and personal, enveloping the wearer in a subtle, captivating allure. 

A touch of tonka bean brings a warm, sweet, and slightly spicy element to the base, adding a rich, comforting sweetness that complements the deeper woody and musky notes. The tonka bean has a smooth, almost almond-like aroma, with hints of vanilla and a touch of spice, which enhances the warmth of the fragrance. Patchouli enters gently, its earthy, woody scent providing a depth and complexity that anchors the entire composition. The patchouli is not overpowering but rather adds a grounding, earthy balance to the sweeter floral and fruity notes. Ambergris contributes a subtle, salty-sweet richness, evoking the scent of the sea breeze mixed with warm skin, adding a faint, animalic undertone that is both captivating and mysterious. 

Lastly, oakmoss wraps the fragrance with its rich, woody, green aroma, adding a slightly leathery, earthy element that evokes the scent of damp forest floors. The oakmoss is deep and natural, bringing an organic, grounded feel to the fragrance, like stepping into a lush forest after rain.

Together, these notes create a fragrance that is cool and fresh at first, opening with an almost dreamlike quality, before unfolding into a rich, warm, and sensual scent. Five O'Clock by Gourielli is an elegant and complex perfume that captures the sophisticated spirit of the 1950s, with its clean, effervescent opening, opulent floral heart, and grounding, sensual base.

Fate of the Fragrance:

Launched in 1947, Five O'Clock by Gourielli quickly became synonymous with sophistication and glamour. Designed specifically for cocktail parties, this fragrance was intended to capture the essence of an elegant, cosmopolitan lifestyle. Its delicate blend of aldehydes, bright citrus notes, and a touch of spice was crafted to complement the chic, poised atmosphere of evening gatherings. The perfume's fresh, crisp opening—featuring notes of bergamot, lemon, and lavender—echoed the refined sparkle of a well-mixed cocktail, while its floral heart, which included jasmine, rose, and carnation, conveyed a sense of timeless femininity. The spicy undertones of clove and cinnamon added depth, making it a fragrance that was both refreshing and complex, much like the modern, confident women who wore it.

In the context of the late 1940s and early 1950s, Five O'Clock perfectly embodied the post-war glamour and optimism that was sweeping through fashion and society. The world was recovering from the hardships of World War II, and women were embracing a new sense of independence and freedom. Cocktail parties, which had become a fashionable social ritual during this period, were the perfect venue for a fragrance like Five O'Clock. It was a scent that spoke to women who valued refinement, elegance, and the art of conversation—those who took pleasure in enjoying the finer things in life and relished the excitement of the evening’s first drink.

Unfortunately, the fragrance’s bright future was cut short when Prince Artchil Gourielli, the visionary behind the Gourielli perfumes, passed away in 1955. His wife, Helena Rubinstein, a powerful figure in the cosmetics industry, took control of the business, but she made the decision to discontinue many of Gourielli’s signature fragrances, including Five O'Clock. Despite its success and its association with a sophisticated era, the perfume was no longer produced, and all remaining bottles in stores were considered “old stock.” These bottles, though increasingly rare, were still available for purchase as late as 1960, offering fragrance lovers a final opportunity to capture the spirit of a bygone, glamorous age.

By the time Five O'Clock was discontinued, it had already become a symbol of the post-war cultural shift—an olfactory companion to the cocktail hour, when fashion, music, and conversation came together in perfect harmony. Its lingering presence on store shelves until 1960 only served to increase its allure, as collectors and enthusiasts sought out the fragrance that encapsulated the elegance and sophistication of a world transitioning into modernity. Despite its relatively short run, Five O'Clock left a lasting impression as a perfume that perfectly complemented the social and cultural dynamics of its time.

Moonlight Mist:

Moonlight Mist by Gourielli, launched in 1943, evokes an aura of ethereal romance, delicately capturing the magic of moonlit nights. The name itself conjures up vivid imagery of a soft, hazy glow, where moonlight is refracted through mist or dew, illuminating a serene, tranquil landscape. The phrase "Moonlight Mist" suggests a mystical, almost dreamlike experience—a fleeting moment suspended in time. It calls to mind an evening walk in a garden, the cool, crisp air enveloping you, while the soft, diffused light of the moon bathes flowers in a tender, silvery sheen. Emotionally, Moonlight Mist invokes feelings of calmness, beauty, and a gentle melancholy—an invitation to a more introspective, serene world.

The year 1943 marked a tumultuous time in world history, with World War II continuing to affect daily life across the globe. The war’s far-reaching impacts, particularly in fashion and consumer products, meant that many designs and trends of the time were more conservative and practical, yet there remained a yearning for escapism, luxury, and beauty in everyday items. Women of this era, many of whom were engaged in war work or contributing to the home front, were looking for moments of respite and sensual pleasure. Perfumes like Moonlight Mist offered a fragrant escape, a way to indulge in soft beauty during an era marked by hardship and uncertainty. The fresh, light floral composition of the perfume would have been an appealing contrast to the often utilitarian and functional nature of the time’s fashion and daily routines. Women who wore Moonlight Mist would likely have been drawn to its gentle, dreamy qualities, which stood in contrast to the heavy, dark mood of wartime.

Moonlight Mist fits into the broader trends of the 1940s, which were characterized by fragrances that balanced freshness and floral notes with a touch of sophistication. In the early part of the decade, fragrances like Chanel No. 5 (launched in the 1920s but still popular in the 1940s) established the dominance of aldehydes and florals, which were seen as symbols of luxury and refinement. However, as the war continued, simpler, more natural scents with clean, fresh notes became more prominent, as women sought beauty in less extravagant forms. Moonlight Mist, with its emphasis on lilac, lily of the valley, and rose, would have epitomized this trend—offering a refreshing and uplifting floral bouquet that spoke of purity and tranquility. While Moonlight Mist likely shared some similarities with other florals on the market, particularly those with lily of the valley and rose at the heart, it would have stood out for its emphasis on soft, fresh florals and its ethereal character, providing an alternative to the heavier, more intense florals or spicy compositions that were also popular at the time.

Women in the 1940s were often seeking ways to express their femininity and elegance, despite the war's constraints. Moonlight Mist would have resonated with women who longed for the delicate beauty of nature, for softer, more romantic moments amidst the chaos. The name alone—Moonlight Mist—suggests an intangible, elusive quality, something fleeting yet profoundly beautiful. The fragrance would likely have been seen as a gentle companion to evening wear or a symbol of understated femininity. Its fresh floral composition, with its emphasis on lilac, lily of the valley, and rose, would have appealed to women who appreciated delicate, soft scents, evoking the purity of the natural world.

In the context of other fragrances on the market in the early 1940s, Moonlight Mist likely fit comfortably within the floral trend, but with a distinct air of quiet elegance. The combination of floral notes with a light, almost powdery finish made it more than just another floral fragrance—it elevated the bouquet into something that was light, airy, and almost mystical. It would have stood apart from the heavier, more complex perfumes of the time by offering a lighter, more serene alternative, and in doing so, captured the essence of the time's yearning for peace, beauty, and quiet elegance amidst the storm.

Fragrance Composition:

Moonlight Mist is classified as a fresh floral for women.  

• Top notes: bergamot, lemon, green notes, aldehydes, hyacinth, violet leaf
• Middle notes: lilac, lily of the valley, rose, jasmine, heliotrope, orris, wisteria
• Base notes: musk, ambergris, cedar, sandalwood, oakmoss, vetiver, tonka bean

Scent Profile:

Moonlight Mist unfurls with an enchanting freshness, as the top notes begin to dance in the air like a morning breeze. The bergamot is bright and citrusy, cutting through the atmosphere with its vibrant, slightly tangy essence, evoking the first light of dawn. The sharp lemon follows closely, crisp and invigorating, like the zest of a fruit peeled under the soft glow of early sunlight. Then, the green notes weave in—fresh and dewy, they carry the scent of freshly cut grass or the fragrant leaves of a garden still damp from the morning mist. Together, they create an aura of cleanliness, as if you’re standing in a blooming garden just after a gentle rain. 

A delicate aldehyde layer lingers, lending a slightly soapy, airy texture, like freshly laundered linens swaying in a soft breeze. This scent has a lightness, an ethereal quality, that is further enhanced by the subtle violet leaf, which introduces an almost watery, vegetal green nuance. The hyacinth, lush and floral, adds a dewy, almost intoxicating sweetness, like walking through a garden at twilight, where the air is thick with the fragrance of night-blooming flowers.

As the fragrance settles into its heart, the middle notes unfold like the petals of a delicate flower opening to the sun. The lilac is radiant—sweet yet slightly powdery, bringing to mind the lavender-hued blooms of early spring. It’s soft and soothing, but also subtly intoxicating, its gentle floral complexity wrapping around the senses like a soft scarf. 

Next, the lily of the valley emerges—bright and crisp, with a sweetness that’s pure and innocent, like the first flowers of the season. There is a dewy, almost watery quality to its scent, reminiscent of a fresh morning walk in a garden. The rose, always elegant and romantic, is slightly powdery with a classic, comforting warmth. It evokes an aura of timeless beauty, its velvety petals releasing their soft, lingering fragrance into the air. 

Then, the jasmine adds its heady sweetness, its slightly indolic character evoking the warm, dusky sweetness of a summer evening. The heliotrope contributes a soft, almond-like sweetness, slightly creamy and comforting, enhancing the sense of floral warmth. As the heart deepens, the orris root introduces a powdery, almost woody undertone that adds depth and complexity, like a fragrant dusting of petals fallen onto the earth. The wisteria, subtly entwined in the blend, adds a delicate, cascading sweetness with a hint of green, as if the air is filled with the scent of a vine blooming in a secluded corner of a garden.

As Moonlight Mist settles into its base, the fragrance takes on a comforting, earthy richness. The musk provides a soft, sensual warmth, like the gentle touch of a beloved. It lingers in the background, offering a faintly animalic undertone that enhances the softness of the other notes. Ambergris, rich and slightly salty, adds a sea-breeze freshness to the composition, like the distant scent of the ocean carried on a gentle wind. 

The cedar brings a dry, woody warmth, evoking the scent of polished wood, smooth and refined, grounding the delicate florals with a touch of earthiness. The sandalwood, creamy and soft, deepens the composition with a rich, almost milky warmth, like the smoothness of a fine wood, polished by years of use. Oakmoss adds an earthy, green, and slightly leathery facet, invoking the smell of moss-covered stones in a shaded forest, rich with moisture and life. 

The vetiver provides a deep, smoky earthiness, reminding you of the smell of freshly turned soil after a rainstorm. Finally, the tonka bean finishes off the base with its sweet, resinous warmth, adding a slight caramel and almond sweetness that lingers on the skin, like the memory of an evening spent in the quiet embrace of nature.

In its entirety, Moonlight Mist is a composition that balances the light, fresh, and airy with a comforting warmth that lingers in the background. Its floral heart is delicate and nostalgic, while its base provides a sense of grounding depth and sensuality. The fragrance evokes images of a soft, mist-filled evening, where the world feels quiet, and the air is heavy with the scent of nature’s finest blooms.

Fate of the Fragrance:

Launched in 1943, Moonlight Mist by Gourielli was crafted to embody the essence of romantic evenings and intimate moments. With its delicate blend of fresh florals—chiefly lilac, lily of the valley, and roses—the fragrance was designed for women who sought a soft, enchanting scent to accompany them during quiet, meaningful moments. The perfume was marketed as the perfect choice for women wishing to envelop themselves in the gentle allure of moonlit nights, creating an atmosphere of calm beauty and romantic reverie. Its light yet captivating nature made it an ideal companion for intimate interludes, invoking the peaceful elegance of a private, candle-lit evening.

The fragrance’s marketing capitalized on the romantic aura of the time, catering to women who desired to evoke a sense of mystery and tenderness in their personal lives. The 1940s, a decade defined by both the hardships of war and the solace found in private moments of love, was the ideal backdrop for a fragrance like Moonlight Mist. With many couples seeking moments of reprieve from the tumult of the world around them, this delicate, floral composition found a special place in the hearts of those who valued intimacy and romance.

However, the perfume's fate took a dramatic turn after the untimely death of Prince Artchil Gourielli in 1955. His wife, the influential cosmetic magnate Helena Rubinstein, took over the business and made the decision to discontinue many of Gourielli's fragrances, including Moonlight Mist. Despite the fragrance's success and its ability to evoke deep personal connections for many women, the discontinuation marked the end of its presence in the market. Bottles that remained on store shelves after this decision were classified as “old stock,” gradually becoming rarer as they sold out.

In an era when perfumes were often a reflection of one’s personality and intimate experiences, Moonlight Mist remained an elusive and cherished fragrance. Even after its production ceased, old stock was still available as late as 1962, giving a select few the opportunity to experience its fleeting magic. By that point, Moonlight Mist had become not only a beloved fragrance but a piece of nostalgic history, a fragrant whisper from a time when Gourielli's perfumes symbolized romance, elegance, and the quiet beauty of personal moments. As the years passed, its scarcity added to the allure, and it became a symbol of the ephemeral nature of both perfume and the moments it was meant to immortalize.

Something Blue:

Something Blue by Gourielli, launched in 1943, carries with it a deep sense of romance and tradition, encapsulating the essence of a timeless moment—marriage. The name "Something Blue" immediately conjures imagery of bridal elegance, drawing upon the well-known wedding tradition that a bride should wear "something old, something new, something borrowed, and something blue" for good luck and happiness in her marriage. The "blue" symbolizes fidelity, love, and tranquility—qualities that any bride would cherish as she embarks on her new life. For Gourielli, the choice of such a name was not only symbolic but a direct invitation to brides-to-be, offering them a scent that aligned with their most cherished day. It evokes images of delicate blue flowers, perhaps the soft petal of forget-me-nots or the deep blue of a serene sky, creating a sense of purity, calm, and joy.

The time period in which Something Blue was launched, the early 1940s, was marked by the upheaval of World War II, and society was just beginning to adjust to the challenges and aftermath of the conflict. Though the war affected many aspects of life, including fashion, the 1940s also saw a rise in the desire for escapism and glamour, especially as the war came to an end. Women's fashion reflected both practicality—due to rationing—and a growing return to elegance and femininity. Brides during this time often sought simplicity and grace, with soft, elegant silhouettes replacing the extravagant gowns of earlier decades. The desire for romance and celebration after years of uncertainty was profound, and Something Blue would have served as the perfect complement to a wedding day, embodying the hope and joy that a new chapter in life promised.

Given Gourielli's penchant for creating perfumes designed for specific occasions—Five O'Clock for cocktail hour, Moonlight Mist for intimate evenings—it is clear that Something Blue was intentionally crafted to suit the bridal moment. The fragrance, classified as a floral bouquet, speaks directly to the freshness and purity that a bride might seek. Imagine the soft petals of jasmine, the delicate sweetness of garden flowers, and the gentle grace of oriental blooms weaving together in a harmonious symphony. The fragrance would envelop the bride in a cloud of soft florals, evoking the scent of a bridal bouquet, while the underlying oriental elements—often associated with sophistication and depth—would add a sense of mystery and allure, balancing the sweetness with subtle complexity.

In the context of other fragrances available at the time, Something Blue stood apart not only because of its specific purpose but also because of its delicate and romantic composition. Floral fragrances were certainly not new in the 1940s; however, this one carried with it a distinct, gentle character, which positioned it uniquely in the market. While some of the era’s perfumes, like Chanel No. 5 or Arpège by Lanvin, featured more complex or daring accords, Something Blue was more restrained and soft. It didn't rely on heavy spices or bold aldehydes, which were popular in many perfumes of the era, but instead showcased a pure, elegant blend of sweet flowers with the delicate touch of oriental notes.

In terms of scent interpretation, the name "Something Blue" likely influenced the olfactory experience itself. The fragrance would have been light, uplifting, and graceful, evoking the soft, dewy freshness of a morning wedding and the delicate, fragrant flowers that fill a bride's bouquet. The combination of jasmine, sweet garden flowers, and oriental blooms would have created a perfect balance of innocence and sensuality, ensuring that the fragrance was both timeless and sophisticated—ideal for a woman on her wedding day.

For women of the 1940s, Something Blue would have resonated deeply with the emotions and symbolism tied to marriage. It aligned with the post-war desire for love, renewal, and peace. It also tied in with the notion of starting anew, a theme many women could relate to during a time of global rebuilding and societal change. Wearing Something Blue on her wedding day, a woman would have been enveloped in a fragrance that captured the hopefulness and romance of the moment, while also symbolizing a connection to tradition and timeless femininity.

Ultimately, Something Blue by Gourielli was more than just a fragrance—it was a celebration of one of life’s most cherished milestones. Its gentle floral bouquet, combined with the exotic touch of oriental flowers, would have offered brides a fragrant promise of love, joy, and a future filled with new beginnings.

Fragrance Composition:

So what does it smell like? Something Blue is classified as a floral fragrance for women.

• Top notes: bergamot, lemon, lavender, aldehydes, neroli, violet, honeysuckle
• Middle notes: jasmine, ylang ylang, rose, tuberose, orange blossom, gardenia, clove
• Base notes:  sandalwood, ambergris, vanilla, patchouli, musk, opoponax, benzoin, tonka bean

Scent Profile:

Something Blue is an evocative fragrance, one that seems to capture the very essence of a bridal moment, wrapped in a soft, enchanting bouquet of florals and delicate warmth. The top notes arrive like a first breath of fresh air on a spring morning, light and radiant, yet instantly recognizable as something special. The citrusy bergamot and lemon burst open, their zesty brightness offering a sparkling invitation to the day’s festivities. They are playful yet elegant, evoking the light-hearted joy of a bride stepping into her new life. The lavender adds a soft, herbaceous note, evoking the calm before the storm of excitement, like a moment of serenity before the vows are exchanged. 

Aldehydes, which lend a soapy, fresh sharpness, enhance this uplifting quality, making the fragrance feel clean and timeless, as if it’s a ritual passed down through generations. Neroli follows, with its delicate, slightly honeyed, and orange blossom-like scent, evoking feelings of purity and joy—an age-old symbol of innocence and new beginnings. The faintest touch of violet brings an air of romance, soft and powdery, like the sweetness of a flower tucked into the bride's bouquet. And honeysuckle, sweet and slightly green, captures the fleeting yet deeply sensual moments of anticipation and bliss as the wedding day unfolds.

As the fragrance unfolds into its heart, the floral symphony takes center stage, a lush and intoxicating bouquet designed to embody the bride’s beauty. The jasmine sings a sultry, warm note, wrapping the senses in its heady sweetness—a flower that speaks of sensuality and deep emotion, like the vows being softly whispered. Ylang ylang, with its exotic, tropical sweetness, adds an element of mystery and allure, like the bride’s inner confidence, radiant yet subtle. The richness of rose follows, embodying romance and timelessness, reminiscent of the classic wedding roses that adorn the ceremony. 

Tuberose enters the scene, heavy and intoxicating, evoking the sense of being surrounded by the beauty of the day—the lush petals, the carefully arranged flowers, and the unmistakable feeling of importance. Orange blossom adds a touch of lightness, its slightly bitter-sweet floral note evoking the purity of the bride as she steps into the future. Gardenia weaves its way through the heart of this fragrance, smooth and creamy, with a white floral depth that feels like the soft petals of the bouquet held tight in the bride’s hands. A hint of clove emerges in the background, adding a faint spiciness—a nod to the depth of love and the promises that are being made, like the strength of the marriage vows themselves.

As Something Blue settles into its base, the scent becomes rich and enveloping, like the warmth of a husband’s embrace on their wedding night. The sandalwood is soft and creamy, its woody, slightly smoky aroma grounding the fragrance with an enduring elegance. Ambergris adds a musky, almost marine quality, deep and mysterious, like the unspoken bond between the bride and her partner—unchanging and timeless. The vanilla here is smooth and rich, with a sweetness that doesn’t overpower, just enough to evoke the comforting feeling of the wedding cake, the delicate treat that signals the start of the celebration. 

Patchouli adds earthiness, a grounding depth that balances the lighter florals, much like the shared life the couple will build together, full of complexity and depth. Musk offers a soft, animalic sensuality, almost like a whispered promise of intimacy and connection. Opoponax and benzoin bring a balsamic, resinous sweetness, warming the fragrance like the tender moments after the vows, when the couple is enveloped in the glow of their new life. Finally, the tonka bean adds a delicate hint of almond-like sweetness, giving the perfume a smooth finish that lingers, like the fond memories of a wedding day that stay in the heart forever.

Something Blue doesn’t just smell like a fragrance—it smells like a wedding, from the first sparkling excitement to the peacefulness of the vows, the heady emotions of love, and the promises that carry into a lifetime together. Every note in this perfume feels like a celebration, an intimate moment, or a silent promise—a beautifully captured reflection of the bride’s journey. The scent is as ethereal and delicate as the day itself, inviting the wearer to feel that same purity, joy, and deep connection that only a wedding day can inspire.

Fate of the Fragrance:

Launched in 1943, Something Blue by Gourielli was designed to capture the innocence, elegance, and joy of one of life’s most cherished moments: the wedding day. The fragrance was marketed as the ideal scent for brides-to-be, a delicate and romantic bouquet that complemented the purity and grace associated with the occasion. With its blend of soft florals—jasmine, roses, and orange blossom—the perfume evoked the imagery of a bride adorned in her white gown, surrounded by the soft glow of a spring afternoon. The name Something Blue drew directly from the traditional wedding rhyme, symbolizing good luck and marital happiness. It was a fragrance meant to evoke emotions of love, new beginnings, and timeless beauty, seamlessly intertwining with the essence of the wedding day itself.

The timing of Something Blue's release was particularly significant, as the 1940s saw a surge in weddings following the end of World War II. The fragrance catered to a growing post-war sentiment of optimism and renewal, where the dream of a peaceful, happy future was embodied in the rituals of marriage. For brides of the time, wearing Something Blue would have been a way to celebrate this hopeful new chapter with a scent that was as pure and sophisticated as the vows being exchanged.

Unfortunately, the tragic death of Prince Artchil Gourielli in 1955 marked a turning point for Gourielli Perfumes. His widow, the renowned cosmetic magnate Helena Rubinstein, took control of the company and made the decision to discontinue the production of Gourielli fragrances, including Something Blue. Despite the perfume’s romantic associations and its niche appeal, the discontinuation of production meant that the scent, once a perfect match for brides, would no longer be available to the women who cherished it.

As a result, all bottles of Something Blue that remained in stores after the decision were considered "old stock." Despite the discontinuation, these remaining bottles continued to be sold throughout the late 1950s, with some still being offered as late as 1957. For those who managed to acquire a bottle of Something Blue during this time, the fragrance became a rare and cherished piece of perfume history, evoking not only the beauty of weddings but also a glimpse into a fleeting era where Gourielli's creations had a brief but significant cultural presence. The legacy of Something Blue persisted as a beloved, if increasingly scarce, symbol of bridal elegance and romantic nostalgia.

Fourth Dimension:

Fourth Dimension by Gourielli, launched in 1953, is a fragrance that boldly mirrors the era's burgeoning sense of innovation, exploration, and breaking free from old conventions. Gourielli’s choice of the name Fourth Dimension aligns with the cultural atmosphere of the 1950s—a decade of rapid change and technological advancements. In the post-World War II period, the world was awash in the spirit of modernity, progress, and the exciting unknown. The perfume’s name itself evokes images of the limitless, the uncharted, and the future—a place beyond the traditional three dimensions of time and space, where new concepts and possibilities emerged. “Three of your dimensions he can see,” as the saying goes, but for Gourielli, perfume was to be the “fourth dimension” of a woman—her multi-faceted essence made manifest in scent, a new realm to be explored and experienced.

This perfume was marketed directly to a younger, more dynamic generation—women aged 18 to 30, those who identified as moderns in a time when youth culture and a sense of freedom were being cultivated. Postwar women were more independent, engaged in the workforce, and exploring new social freedoms. These women embraced a spirit of adventure and possibility, and Fourth Dimension reflected that ethos. Gourielli’s perfume was described as “agelessly young, unlimited in possibilities,” an embodiment of the postwar optimism that nothing was off-limits, that new boundaries—be they in personal identity, careers, or style—were meant to be pushed.

The Fourth Dimension fragrance itself, with its spicy aldehydic floral composition, encapsulated this sense of bold experimentation and the exciting unknown. The use of aldehydes, which were a hallmark of mid-century perfumery, added a sharp, innovative edge to the perfume, making it feel futuristic and in tune with the age of scientific discovery. The aldehydic top notes were combined with complex florals like jasmine, lily of the valley, and Florentine iris, creating a scent that was both fresh and sophisticated. The spices and warm base notes, such as sandalwood, amber, and patchouli, grounded the fragrance, but the combination of these elements provided a truly multi-dimensional experience.

At the time of its release, the fragrance market was dominated by both classic, floral offerings and experimental, modern concoctions, so Fourth Dimension stood out in its futuristic approach. The perfume was a clear departure from traditional, more powdery or overtly floral perfumes that were popular at the time. Instead, it spoke to the new possibilities of perfume as a dynamic experience—one that was tailored for the independent, free-spirited woman of the 1950s. The fragrance, with its clean aldehydic opening and sensual, spicy undertones, felt like a breath of fresh air—a scent that suggested a woman who was forward-thinking, playful, and alive with possibilities.

In terms of trends, Fourth Dimension tapped into the postwar fascination with space, technology, and innovation. The 1950s saw a boom in science fiction and the beginnings of space exploration, and this cultural landscape influenced everything from fashion to architecture to fragrance. Perfumes of the era, like Chanel No. 5 and Dior’s Miss Dior, were stepping into a modernist aesthetic, but Fourth Dimension was distinctly progressive. It embodied the contemporary woman, poised at the intersection of tradition and modernity, and offered a fragrance that was as complex and evolving as the woman herself.

For women of the time, Fourth Dimension wasn’t just a scent; it was an expression of their evolving identities. The fragrance felt like a companion to a new, exciting way of life—one that was empowered by the possibilities of the future and the embrace of new, avant-garde ideas. The name Fourth Dimension would have spoken directly to women who saw themselves as part of this emerging narrative—intelligent, self-assured, and driven by new opportunities.

In the context of the other fragrances on the market, Fourth Dimension was unique for the time period, standing out as a more daring, conceptual offering. While other fragrances might have leaned into more traditional, feminine, and floral compositions, Fourth Dimension embraced complexity, innovation, and a sense of mystery. It was less about the overtly sensual or romantic, and more about the new dimensions that women could explore as they navigated their evolving roles in society.

Ultimately, Fourth Dimension was not just a fragrance; it was a statement—about the limitless potential of women in the 1950s, about the expanding horizons of the modern world, and about the perfume’s place as part of the cultural revolution that was unfolding at the time. The fragrance was a reflection of the bold, young spirit that defined the decade, and it would have resonated deeply with those who saw themselves as pioneers in a world that was just beginning to discover what was possible.

Fragrance Composition:

So what does it smell like? Fourth Dimension is classified as a spicy aldehydic floral fragrance for women.

• Top notes: bergamot, aldehydes, lemon, mandarin, rosemary, cinnamon, pimento
• Middle notes: nutmeg, clove, rose, tuberose, jasmine, carnation, ylang ylang, freesia, heliotrope
• Base notes: sandalwood, oakmoss, vetiver, ambergris, musk, patchouli

Scent Profile:

Fourth Dimension unfolds like a journey into uncharted territories—an olfactory exploration of cosmic energy and vast, infinite possibilities. The bergamot bursts through like a blast of ionized air, bright and zesty, the first impression of the unknown. It carries the fresh sharpness of an early morning on another planet, where the air tastes of purity and the possibility of discovery. Lemon, crisp and invigorating, cuts through the atmosphere, its tangy bite as sharp as a rocket launching into the unknown, a sharp ascent through clouds into the clear expanse above. 

As the fragrance ascends, mandarin follows, a citrus note with a gentler warmth, its sweetness a comforting reminder of Earth, a grounding balance to the cool freshness. Aldehydes shimmer through the air like the first rays of starlight, diffusing an effervescent, metallic glow—clear, almost crystalline in its brilliance. The initial blast is sharp, clean, almost otherworldly, evoking the feeling of breaking through the atmosphere and into the void. Rosemary, with its green, herbal pungency, evokes the scent of space stations—functional, raw, and utilitarian—but with a touch of wildness, like the remnant scents of Earth hanging on the edge of space.

Then, cinnamon and pimento surge in with the fire of engines igniting—a touch of heat that could almost be felt in the core of the body. Their spicy intensity radiates warmth, like the exhilarating friction of a spaceship’s re-entry into the atmosphere, the pulsing energy of something powerful and new. The spices whirl and twist like a comet’s tail, bringing a tantalizing heat to the cold, infinite air around.

As the journey continues into deeper realms, the middle notes begin to unfurl, blooming into a complex mix of delicate and powerful aromas. Nutmeg and clove crackle through the air, warm and piquant like the scent of distant stars reaching their full intensity. The heat of these spices contrasts beautifully with the lush, heady rose—its rich petals as velvety as a nebula, expanding across the fragrance like the gentle, intricate swirl of distant galaxies. The perfume blooms further with tuberose, which pulses like a supernova—a dense, intoxicating floral note that dominates the scent, yet is laced with an intoxicating, almost electric warmth. There’s a pulse of life in this note, as though the perfume is alive with energy, with new stars forming. The cool, airy note of jasmine adds a cosmic, almost ethereal lightness, its aroma drifting like stardust, sweet and floral, pulling you toward the far reaches of space.

Carnation adds a touch of the terrestrial—an Earthy, peppery floral note that has the warmth of a home planet, while ylang ylang fills the air like an exotic planetary bloom, deeply floral and sweet, wrapping you in the heady intoxication of life at its fullest. Freesia lends an almost crystalline freshness to the heart, light and airy like a breath taken in weightlessness. And heliotrope lends a soft, powdery sweetness, its scent as delicate as the first rays of sunlight shining through the dark void, illuminating everything it touches.

As the fragrance settles into its base, it becomes the scent of infinite space—deep, rich, and grounding, yet ever-expanding. Sandalwood, smooth and creamy, evokes the endless rolling hills of a distant, deserted planet, the warmth of its wood grounding the ethereal flight. Oakmoss joins in, earthy and green, like the first signs of life on a foreign world—an old forest reclaimed in the stillness of space, where nature remains undisturbed by human touch. Vetiver, smoky and dry, calls to mind the airlock of a spacecraft, heavy with the scent of the unknown. It anchors the scent with the stability of Earth, even as you float further and further from home. 

Ambergris adds an air of mystery, its deep, briny scent like the ocean of a faraway world—distant, with a story of its own to tell, lost in time and space. The sensual warmth of musk mingles with the surrounding elements like the lifeblood of a star—warm, intoxicating, primal. Lastly, patchouli brings a smoky, earthy layer, grounding the perfume with a deep, almost ancient scent. It’s a reminder that no matter how far one travels, the Earth’s roots are always there, tugging gently, like gravity pulling you back home.

Together, Fourth Dimension captures the essence of space exploration—not just the journey, but the sensation of stepping into a new frontier. It is at once bright and airy, fiery and intense, grounding and cosmic. The fragrance evokes both the alien and the familiar—the vast, infinite unknown paired with the deep warmth of life, all wrapped in the mysterious and enduring scent of the universe itself.

Fate of the Fragrance:

Launched in 1953, Fourth Dimension by Gourielli was a fragrance that captured the essence of modernity and youth in an era that was ripe with possibility and change. The perfume was crafted for the young, dynamic woman who embraced the future with an optimistic spirit. Its complex aldehydic floral composition, filled with spicy top notes and bold florals, mirrored the contemporary ideals of progress, exploration, and independence that defined the post-war era. It was a fragrance for women who saw themselves as part of the new, modern world—those who were venturing into a landscape of greater freedom and self-expression. Fourth Dimension was more than just a scent; it was a declaration of youthful energy and an embodiment of the futuristic mindset that was taking root in society.

However, the promise of Fourth Dimension was cut short by tragedy. In 1955, just two years after the perfume's debut, Prince Artchil Gourielli, the creator behind the fragrance, passed away unexpectedly. His death marked the end of an era for some of the Gourielli Perfumes, as his widow, Helena Rubinstein, a powerful figure in the cosmetics industry, took control of the company. Despite her vast expertise and influence in the beauty world, Rubinstein made the decision to discontinue the production of some Gourielli fragrances, including Fourth Dimension. The perfume, which had been positioned as a trailblazer for the modern woman, was suddenly no longer available to the growing customer base who had embraced its bold, fresh profile.

The decision to halt production left many bottles of Fourth Dimension lingering on store shelves, eventually becoming "old stock." Despite the discontinuation, these remaining bottles continued to be sold throughout the late 1950s and into 1960, making them something of a rare find in the market. For those fortunate enough to have acquired one of the remaining bottles, Fourth Dimension became a piece of perfume history—a reminder of a brief, but impactful, moment in the world of fragrance. Even as new trends emerged in the 1960s, the scent of Fourth Dimension lingered as a nostalgic symbol of the post-war optimism and modernity that defined the early 1950s, a fleeting but significant period in the cultural and aesthetic landscape.