Laura Biagiotti by Laura Biagiotti c1982

Laura Biagiotti by Laura Biagiotti was launched in 1982 in association with Betrix/Eurocos, as the first signature perfume by the renowned Italian fashion designer. The name—“Laura Biagiotti by Laura Biagiotti”—was deliberate and emblematic. It conveyed both authorship and identity, reinforcing the designer's personal vision in olfactory form. In Italian (pronounced LAU-rah BEE-ah-JOT-tee), the repetition of the name operates like a signature on a canvas, underscoring that this scent is not merely a branded product, but a direct expression of the designer herself.

At its core, the name evokes a sense of self-assurance, sophistication, and artistic authorship. It brings to mind images of minimalist elegance, clean lines, and soft femininity—an extension of Biagiotti’s signature style in fashion. Emotionally, it calls forth a feeling of introspective refinement, of womanhood distilled into something serene, cultivated, and undeniably European. The later renaming to “Fiori Bianchi” (meaning "White Flowers" in Italian) in 1991 further clarified its delicate floral profile, but the original name retains the weight of legacy and personal vision. As early as 1984, it was subtitled, "Fleurs Blanches" in a newspaper ad for Hess' department store.

Launched at the beginning of the 1980s, Laura Biagiotti by Laura Biagiotti entered a world in transition. The early '80s marked a move away from the excesses of the '70s and into a decade defined by assertive femininity and growing internationalism in fashion. This was the dawn of the "power woman"—shoulder pads, tailored blazers, and minimalist silhouettes were growing in popularity, yet there was also a parallel return to more romantic and traditionally feminine aesthetics, often led by Italian designers like Biagiotti herself.

Laura Biagiotti was often referred to as the "Queen of Cashmere" and was celebrated for her ability to blend comfort with elegance. She dressed women in flowing knits and soft silhouettes, creating clothes that felt luxurious and effortless. Her choice to launch a fragrance was both a natural extension of her fashion line and a strategic move. Perfume, after all, is the invisible accessory—a way to complete a woman’s presence. And in the 1980s, it became increasingly expected for major fashion houses to release a fragrance to encapsulate their brand’s essence.

In this context, Laura Biagiotti by Laura Biagiotti stood out for its calm, clean freshness. Classified as a fresh white floral, it offered a gentle counterpoint to the bold, often overtly sensual perfumes that dominated the market at the time (like Opium, Poison, and Giorgio). It spoke to a quieter kind of confidence—a woman who didn’t need to announce herself loudly to make an impression. White florals traditionally symbolize purity, femininity, and understated grace. As a scent, Laura Biagiotti by Laura Biagiotti would have been perceived as refined and modern—suitable for both day and evening, for boardrooms and candlelit dinners alike. Its bouquet of white flowers likely included jasmine, lily, and perhaps orange blossom—notes known for their airy yet enduring presence.

For women of the time, wearing a perfume called Laura Biagiotti by Laura Biagiotti might have felt like an act of gentle empowerment—aligning themselves with a woman designer who understood the balance between strength and softness. It was not just a scent, but a statement: that elegance could be quiet, femininity could be intelligent, and beauty could come wrapped in subtlety rather than spectacle. In the broader context of perfumery, this fragrance walked a line between fitting into emerging trends (the growing popularity of lighter florals in contrast to heavy chypres and orientals) and offering something distinct: a signature scent that was uniquely personal, grounded in Italian artistry, and anchored by the name of a woman who shaped her own empire in the world of fashion.

Inspiration:

For Laura Biagiotti, fragrance was never a separate accessory—it was an essential part of a woman’s identity, an extension of her wardrobe, and just as intimate as the fabric that touched her skin. When she envisioned her debut perfume, Laura Biagiotti by Laura Biagiotti, she imagined a scent that would not overpower, but gently illuminate a woman’s presence. It was to be serene yet expressive, romantic but grounded, modern yet timeless. This was a fragrance that mirrored her philosophy of fashion: understated elegance, Mediterranean lightness, and a deep reverence for beauty.

The perfume is a tribute to her love of white—her signature color in fashion, seen in flowing linen dresses and luxurious white cashmeres. White, to Biagiotti, was purity, clarity, and refinement. And so, the soul of her fragrance is composed of white blossoms: a lush bouquet that feels both radiant and soothing. She believed white flowers carried the most memorable scents—ones that lingered in the mind long after the moment had passed. This guiding belief shaped the entire composition.

From the first breath, the fragrance blooms with Italian jasmine—sweet, heady, and utterly feminine—paired with the lush creaminess of Indian tuberose. There is the distinctive, soft spiciness of Bulgarian rose, romantic and slightly honeyed, weaving through the airy freshness of lily of the valley from France and the tender green sweetness of Anatolian honeysuckle. Gardenia, always a symbol of grace, adds a waxy richness, while rare white orchids lend an ethereal, almost dewy quality.

These florals are not fleeting. They rest on a sensual base of sandalwood, oakmoss, and vetiver, grounding the composition with earthy warmth and a velvety depth that allows the fragrance to linger throughout the day. The inclusion of these base notes—especially oakmoss and vetiver—was intentional, giving the perfume a structure that balances its soft florals with an air of confidence.

For Biagiotti, this perfume was more than a scent; it was a personal dream realized. A lifelong collector of antique perfume flacons from around the world, her passion for perfumery was not superficial—it was rooted in history, craftsmanship, and emotional connection. The fragrance she created was meant for the modern, active woman—someone expressive, independent, and romantic. Just as each white flower in the bouquet brings its own nuance, each wearer would find something uniquely personal in the scent.

Laura Biagiotti by Laura Biagiotti is a whisper of elegance—never loud, always present. It’s a floral mist that seems to glow softly around the wearer, evoking sunlight on white linen and the timeless charm of a Roman afternoon. It’s not merely a perfume, but an experience—a poetic embodiment of Laura herself.

The Launch:

The debut of Laura Biagiotti by Laura Biagiotti was marked by elegance, exclusivity, and a touch of personal flair that reflected the designer’s refined sensibilities. The European launch of the fragrance was held in a setting as storied and romantic as the perfume itself—Biagiotti’s own 14th-century castle, nestled just outside Rome. With approximately 350 guests in attendance, the event embodied timeless Italian hospitality and the understated luxury that had come to define Biagiotti’s aesthetic. This selective and intimate introduction reflected the brand's deliberate approach: the fragrance would not be released en masse, but rather introduced gradually to a curated list of high-end retailers, allowing it to build quietly but confidently among discerning clientele.

The Laura Biagiotti fragrance made its European debut in May 1982, with an initial rollout focused on selective and strategically chosen international markets. The scent quickly found a home on the shelves of high-end retailers in Scandinavia, Germany, Saudi Arabia, South Africa, Australia, and, naturally, Italy—Laura Biagiotti's native country. This controlled distribution reflected the brand’s commitment to maintaining a sense of exclusivity and prestige from the outset.

By 1983, the line was projected to expand into approximately 200 to 250 retail doors. However, even at full maturity, distribution was always intended to remain limited. The strategic ceiling was set at a maximum of 400 to 500 department stores, a decision that aligned with the brand’s luxury image and ensured the fragrance would not become overexposed. This calculated restraint in distribution preserved the aspirational allure of the scent and reinforced its position as a designer perfume with refined appeal.

The fragrance itself was manufactured by Betrix, a Frankfurt-based company recognized as one of Europe's foremost producers of cosmetics and fine fragrances. Betrix’s reputation was built on successful lines such as Ellen Betrix cosmetics for women and Henry Betrix toiletries for men. Under its Eurocos Cosmetic Group subsidiary, Betrix handled an impressive portfolio of luxury brands, including Laura Biagiotti and Hugo Boss, both of which shared a reputation for sophistication and high standards in formulation and presentation.

For its U.S. introduction, the fragrance was initially distributed by Accents and Essentials, a New York-based firm led by industry veterans: Richard Hammel, president; Patricia Lynch, executive vice president; and Richard Lindstrom, vice president of the fragrance division and formerly associated with Pantene. Their leadership and experience were instrumental in navigating the American luxury market and ensuring that Laura Biagiotti maintained its European prestige while finding a foothold with American consumers.

When it came time to present the fragrance to the American market, the designer took great care to preserve that same level of refinement and warmth. In early April 1982, the U.S. launch was celebrated with a formal black-tie dinner at The Water Club in Manhattan—an elegant, waterfront restaurant known as the uptown counterpart to the famed River Café. The evening exuded an old-world charm, elevated by modern sophistication. In true Biagiotti fashion, it was more than a product unveiling; it was an experience of Italian artistry and womanhood, distilled into scent.

Always thoughtful about symbolism, Biagiotti crafted whimsical hats adorned with white flowers—each one representing a bloom found in her fragrance’s composition. These visual cues served as a tactile expression of the perfume’s heart: a lush bouquet of white florals that mirrored her love for purity, grace, and femininity. The limited initial distribution in Europe was mirrored in the U.S. strategy, maintaining the aura of selectiveness. Yet by the end of April 1982, Biagiotti was still engaged in negotiations with American cosmetic distributors. It wouldn’t be until the Christmas season that year that the fragrance reached broader circulation in upscale department stores across the country. 

As part of her promotional tour, Biagiotti made a personal appearance at Saks Fifth Avenue in New York City, where hundreds of women gathered at the perfume counter to meet her. Though still an emerging name in the American fashion and fragrance world, her warmth and sincerity left an immediate impression. “She is not yet that big a name in the United States,” said Terry Heagerty, a divisional merchandising manager at Saks, “but she has a warm, down-to-earth personality that comes across immediately.” This authenticity—coupled with her eye for detail and passion for perfumery—resonated with American consumers, many of whom were drawn to the approachable elegance of both the fragrance and its creator.

By 1984, distribution in the U.S. transitioned to International Cosmetic and Fragrance (ICF), signaling the brand’s ongoing evolution and commitment to securing robust representation in international markets. This shift reflected the natural progression of a European luxury fragrance adapting to the competitive and ever-changing landscape of global cosmetics, all while preserving the elegant spirit envisioned by Laura Biagiotti herself. Its eventual Canadian debut followed in 1985, continuing its slow but intentional international rollout.

Through each of these carefully curated moments, Laura Biagiotti by Laura Biagiotti established itself not as just another perfume launch, but as a statement of Biagiotti’s personal vision—a harmonious blend of fashion, emotion, and the enduring beauty of white florals.

 

Fragrance Composition:

So what does it smell like? Laura Biagiotti by Laura Biagiotti is classified as a fresh, green, white floral fragrance for women.  

• Top notes: Calabrian bergamot, Amalfi lemon blossom, Italian neroli, Sicilian mandarin, fruity notes, Anatolian honeysuckle, Alpine lily, Dutch hyacinth, Persian galbanum, green notes 
• Middle notes: white orchid, Chinese gardenia, Nossi-Be ylang ylang, Indian tuberose, Italian jasmine, French lily of the valley, Tunisian orange blossom, Bulgarian rose otto, Florentine orris, Moroccan narcissus
• Base notes: Tonkin musk, ambergris, Java vetiver, Virginia cedar, Mysore sandalwood and Yugoslavian oakmoss

 

Scent Profile:

As I begin to experience Laura Biagiotti by Laura Biagiotti, the first impression is like standing in a sun-dappled Italian garden at the height of spring, surrounded by dew-kissed petals and the vibrant hum of nature. The top notes open with a luminous sparkle—Calabrian bergamot, prized for its freshness and complexity, offers a sweet, slightly spicy citrus facet. Unlike bergamot grown in other regions, the Calabrian variety—harvested along the Ionian coast—has an unparalleled brightness, balancing floral sweetness with a soft bitterness that prevents the opening from feeling too saccharine.

The Amalfi lemon blossom soon follows—delicate, light, and ever so slightly honeyed. Blossoming along the dramatic coastal cliffs of southern Italy, these petals lend a whisper of citrus that feels more airy and floral than tart. Next comes Italian neroli, a distilled extract from bitter orange blossoms, with its ethereal, slightly green aroma. Neroli is often more radiant and sheer than orange blossom absolute, and the Italian origin—especially from Liguria—is known for yielding a purer, cleaner scent profile.

The citrus brightness is deepened by Sicilian mandarin, adding a juicy sweetness with a faint herbal edge. Sicily’s intense summer sun and fertile volcanic soils give this mandarin a rich, full-bodied profile that makes it especially distinctive. Nestled among these fruits is a hint of fruity notes, which may include soft pear or apple-like accords—most likely enhanced by aroma molecules such as aldehydes or linalool, which add a clean, airy lift.

As the top unfurls, a floral-green heart begins to stir. Anatolian honeysuckle, from the highlands of Turkey, smells nectarous and light, almost like a drop of golden syrup on skin—tinged with green and slightly animalic nuances. Then comes Alpine lily, likely referring to Madonna lily, cool and waxy, its white petals exuding a serene, creamy freshness. Dutch hyacinth provides a watery green floralcy—dense, slightly metallic, and gorgeously textured, evoking rain-drenched petals. Persian galbanum, a green resin from Iran, cuts through this bouquet with a piercing sharpness. Its earthy bitterness is refined, almost spicy, giving structure to the composition and setting the tone for the green notes—likely a blend of natural extracts and synthetic molecules such as cis-3-hexenol, which imparts a freshly crushed-leaf sensation that makes the perfume feel alive.

As we move to the heart, the perfume blossoms fully. White orchid, often a fantasy note in perfumery, evokes creamy petals with a soft, luminous transparency, bolstered by synthetic musks and floralizers like hedione, which has a fresh jasmine-like clarity and adds diffusion. Chinese gardenia, more pungent than its tropical counterparts, has a rich, narcotic edge—its indolic warmth giving the fragrance depth.

Nossi-Bé ylang-ylang, sourced from the island off Madagascar, brings an exotic, almost banana-like lushness with creamy floral tones and a tinge of spice. This particular ylang-ylang is known for its superior oil, thanks to the island's oceanic breezes and humid climate. Indian tuberose, voluptuous and rich, swells at the center with its fleshy, white floral opulence—an aroma akin to night-blooming blossoms, heady and sensual. It’s likely enriched with undecalactone, a creamy, peach-like lactone that amplifies its narcotic sweetness.

Italian jasmine weaves its way through the heart—more tender and sun-warmed than its Egyptian cousin—while French lily of the valley sparkles with its soapy, green brightness, perhaps supported by hydroxycitronellal to boost its diffusive freshness. Tunisian orange blossom adds a honeyed, nectarous glow, its fuller profile due to higher concentrations of indoles and terpenes.

Bulgarian rose otto, the liquid gold of perfumery, deepens the composition with its round, honeyed and slightly peppery floralcy. This exquisite oil—steam-distilled from rose petals harvested at dawn in the Valley of Roses—is among the most luxurious forms of rose, more delicate than absolutes. The floral heart is anchored by Florentine orris, a powdery, suede-like aroma distilled from iris rhizomes aged for several years. Its texture is silky, almost skin-like. Finally, Moroccan narcissus—green, hay-like, slightly leathery—adds a twilight melancholy to the otherwise luminous bouquet, its unique scent profile grounded and nostalgic.

The drydown of the fragrance is a gentle caress of warmth and sensuality. Tonkin musk, once sourced from deer and now replicated with modern musks like muscone or galaxolide, gives a clean yet animalic softness. It enhances skin-like warmth without veering into overt sensuality. Ambergris, today typically reconstituted through synthetic ambroxan or Cetalox, offers a salty, radiant glow, helping the florals linger with an almost ethereal smoothness.

Java vetiver adds an earthy depth—smokier and more rugged than Haitian vetiver—with mineral tones that ground the floral heart. Virginia cedar, dry and pencil-sharp, lends a linear, woodsy backbone. Then comes the creaminess of Mysore sandalwood, one of the rarest and most revered perfume woods. Unlike its Australian cousin, Mysore sandalwood is warm, milky, and subtly spiced, its aroma both sacred and sensual. The final whisper of Yugoslavian oakmoss—dark, mossy, and slightly leathery—anchors the entire structure, adding a vintage elegance and a touch of chypre-like complexity.

Together, the blend is a seamless, poetic weaving of natural elegance and technical artistry—a fragrance that captures the soul of the Mediterranean woman: serene, luminous, romantic, and quietly unforgettable.

Bottles:

The Laura Biagiotti fragrance line was housed in a refined and architecturally inspired presentation, perfectly echoing the designer’s aesthetic rooted in Roman classicism and modern elegance. The bottles themselves were tall and square in shape, with a columnar silhouette that subtly referenced the graceful lines of ancient Roman architecture—a visual motif often present in Biagiotti’s fashion collections. Crafted in clear glass, the flacons allowed the delicate golden hue of the fragrance to shimmer through, adding to their luminous, understated appeal.

The Parfum bottles were the most luxurious in the line, distinguished by their elegant golden collars and capped with square-shaped frosted glass stoppers. These stoppers added a tactile softness and diffused glow to the design, lending an air of timelessness and sophistication. In contrast, the Eau de Parfum and Eau de Toilette versions were fitted with opaque plastic caps that mimicked the appearance of frosted glass. While more practical and durable, these caps still maintained the visual harmony of the line, ensuring consistency across all concentrations.

All bottles were manufactured in France by Pochet et du Courval, one of the world’s most esteemed glassmakers, with a legacy of supplying exquisitely crafted flacons to the finest perfume houses. Their craftsmanship ensured that each bottle was not only visually elegant but also perfectly balanced in the hand—a tactile extension of the fragrance’s grace.

The presentation boxes further reflected Laura Biagiotti’s love for purity and texture. Each box was wrapped in white textured paper that simulated linen, a direct nod to one of Biagiotti’s signature fabrics. Known for her affinity for white in both her fashion and fragrance concepts, the linen-like surface of the boxes gave them a quiet luxury, simultaneously evoking the crisp freshness of Mediterranean textiles and the artisanal refinement of Italian couture. Altogether, the packaging formed a cohesive expression of Biagiotti’s personal style and the ethos of her fragrance: serene, romantic, and unmistakably refined.

Product Line:

The Laura Biagiotti fragrance line was thoughtfully structured to appeal to a range of wearers through multiple concentrations and luxurious ancillary products, allowing the wearer to experience the scent in layers of intensity. Each concentration reflected not only a difference in strength and longevity but also in price point, bottle design, and intention of use.

Parfum (Extrait de Parfum)

At the pinnacle of the line was the Parfum, the most potent and enduring form of the fragrance. This highly concentrated composition contains the highest percentage of aromatic compounds, typically between 20–30%, and is meant to be applied sparingly at pulse points. The Parfum revealed the richest and most nuanced expression of the scent, with a velvety development on the skin and exceptional longevity.

Offerings included the 0.33 oz Parfum Purse Spray, retailed at $45 in Canada in 1985—a practical luxury for touch-ups on the go. The 0.25 oz flacon, also priced at $45.00 in the early 1980s, was a compact but indulgent format. A more generous 0.5 oz Parfum flacon retailed for $75.00 in 1983–84, rising to $95 by 1985, reflecting its premium quality. The most luxurious format was the 1 oz Parfum Carafe Luxe, a limited-edition collectible priced at $160 in 1983, crafted to be treasured and displayed. The standard 1 oz Parfum was priced slightly lower, at $135.50 in 1984, still positioned as an elite offering for the true connoisseur.

Eau de Parfum Concentree (EdP)

A tier below the Parfum in concentration is the Eau de Parfum, which contains approximately 10–20% aromatic compounds. It is designed to supplement, not replace, the Parfum, offering a more expansive projection while still maintaining elegant longevity. The Eau de Parfum versions were ideal for those who wanted a fuller scent presence without the weight of a true Parfum.

Formats included the 0.5 oz Eau de Parfum, which retailed for $19.50 in 1985, a modest yet rich option. The line also offered generous splash bottles in 1.69 oz and 3.38 oz, priced at $37.50 and $57.50 respectively during 1983–84—excellent for lavish application. Spray versions added convenience with 1.69 oz Natural Spray priced at $40.00, and the 3.38 oz Natural Spray at $60.00. These versions retained the character of the original scent while making it accessible for day-to-day wear.

Eau de Toilette (EdT)

The Eau de Toilette concentration is typically around 5–10%, offering a lighter, more fleeting impression of the scent. While less concentrated, it was designed to be worn the same way as Eau de Parfum, and it provided a fresh and wearable version for warmer weather or casual settings.

Sizes ranged from the petite 0.84 oz Spray priced at $15 in Canada in 1985 to the more common 1 oz and 1.69 oz bottles in both splash and spray. Prices ranged from $22.50 to $42, depending on format and region, with 3.38 oz EdT Splash reaching $59 in 1985. Spray formats became particularly popular, offering ease of application with respectable projection. The 3.38 oz Eau de Toilette Natural Spray, priced at $50 in the mid-1980s, offered a generous and balanced option for daily use.

Bath & Body Products

To complete the scent ritual, Biagiotti offered a suite of bath and body products, allowing wearers to layer the fragrance for enhanced longevity and a luxurious skin experience. The 5 oz Body Lotion, priced at $32 in 1984, and the 7 oz Perfumed Moisturizing Body Lotion, also $32 in 1986, provided hydration with a whisper of scent. The 5 oz Shower Gel, retailed at $19.50 in Canada in 1985, was an elegant prelude to the perfume itself—cocooning the skin in the fragrance from the start of the day. The 100gr Perfumed Beauty Soap, another bath time staple, was available in a white plastic case.

Altogether, the Laura Biagiotti fragrance collection offered a multi-sensory experience, meticulously crafted across strengths and formats, each thoughtfully priced and packaged to evoke luxury, accessibility, and the enduring beauty of Italian refinement.

Cosmetics:

In 1985, the Laura Biagiotti brand expanded its reach in Canada with the introduction of a dedicated line of cosmetics to complement its already successful fragrance range. Designed with the same elegance and refinement that characterized Biagiotti’s fashion and scent offerings, the cosmetics line was created to appeal to modern women seeking both beauty and skin sensitivity. All products in the collection were hypoallergenic and fragrance-free, a forward-thinking decision at the time that catered to growing consumer awareness around skin sensitivities and allergic reactions. This emphasis on skin health, combined with fashionable color offerings, made the line both chic and practical.

The cosmetics were presented in Biagiotti’s signature white packaging, evoking a sense of luxury and minimalism while aligning with the brand’s fashion aesthetic. The color palette was described as "up-to-the-minute," reflecting seasonal fashion trends and offering versatile options for everyday wear and special occasions alike.

The range included a Moisturizing Lipstick, which retailed for $16.50 and provided hydration alongside vivid color—ideal for women wanting both comfort and impact. The Shiny Nail Lacquer, also $16.50, offered glossy, fashion-forward shades for polished fingertips. Complexion products included the Rich Silk Foundation at $24.50, promising a smooth, radiant finish, and the Satin Pressed Powder Compact, priced at $27.50, which offered a refined, matte effect in a portable format.

For color cosmetics, the line featured the Tender Satin Blusher at $29.50, designed to provide a natural flush with a silky texture, and the Superfrost Eye Shadow Duo, also priced at $29.50, which combined two complementary shades for versatile eye looks with a luminous finish. Completing the range was Perfect Lash Mascara, retailing for $19.50, promising enhanced length and volume for defined lashes.

Despite its stylish presentation and careful formulation, the Laura Biagiotti cosmetics line was relatively short-lived. By 1989, the collection was discontinued, likely due to market shifts or strategic brand realignment. Still, during its brief existence, the cosmetics line represented a thoughtful extension of Biagiotti’s vision—merging Italian elegance with everyday usability, all while addressing the needs of sensitive skin.

Fate of the Fragrance:

The original Laura Biagiotti fragrance, first launched in 1982, has long since been discontinued and has become a sought-after rarity among collectors and perfume lovers. Over the years, it has quietly acquired a cult following, especially among those who experienced its luminous floral aura firsthand. As time passed and it faded from department store shelves, the perfume began to be referred to by several unofficial names—each one an affectionate nod to its signature character.

Most often, it is called Laura Biagiotti White, a simple yet evocative nickname likely inspired by the perfume’s clean, radiant aesthetic and its pristine white packaging. Others refer to it as Laura Biagiotti Fiori Bianchi, the Italian phrase for “white flowers,” which perfectly captures the heart of the composition. This alternate name emphasizes the fragrance's rich floral core, built around some of the most opulent and narcotic white florals in perfumery, such as tuberose, ylang ylang, jasmine, and gardenia. Some bottles are marketed as Laura Biagiotti Fiori Bianchi.

The term white flowers or white floral has also become a shorthand used by fans and fragrance archivists when referring to this perfume, particularly in online discussions or when seeking it on the secondary market. These alternative names are not just descriptive—they are remnants of memory, ways in which the perfume lives on in conversation and nostalgia, even as it becomes increasingly scarce. The scent is now considered a hidden gem of 1980s perfumery, a luminous example of the era’s love for expansive floral bouquets softened by green and musky undertones. Its disappearance from regular production has only deepened its allure, making any surviving bottles all the more treasured.

Laura Biagiotti Night:

In 1985, Laura Biagiotti Night made its discreet debut as a limited edition fragrance, quietly extending the Biagiotti perfume line into the realm of evening wear. Designed as a more sensual, dramatic counterpart to the original Laura Biagiotti scent, Night was positioned as a fragrance suited for after-dark elegance—ideal for special occasions, romantic evenings, or sophisticated soirées. Unlike its daytime predecessor, which was characterized by fresh green notes and an expansive white floral heart, Laura Biagiotti Night leaned into deeper, richer tones that evoked the mystery and allure of nighttime.

What makes this fragrance especially intriguing is its regional exclusivity. It appears to have only been available in Canada, and in very limited distribution at that. This unusual geographic confinement, combined with the ephemeral nature of its production, has rendered Laura Biagiotti Night one of the more elusive entries in the Biagiotti fragrance archive. While no official note pyramid has been widely documented, contemporary accounts and vintage enthusiasts suggest that the scent retained the elegant floral signature of the original, but was enriched with denser woods, spices, or musks—transforming the airy brightness of the daytime formula into something warmer, more intimate, and velvet-like in its sensuality.

The packaging, while closely related to the original’s clean aesthetic, featured darker accents to reflect its nighttime identity, though surviving examples are exceptionally rare. Today, Laura Biagiotti Night is not only a lost flanker, but something of a whispered legend among perfume collectors—its very scarcity lending it a romantic, almost mythical status among those who remember it.

Fragrance Composition:

So what does it smell like? Laura Biagiotti Night is classified as a spicy oriental fragrance for women, recommended for evening wear. 

• Top notes: Hungarian clary sage, fruity notes, Sicilian orange, Calabrian bergamot, aldehydes and Amalfi lemon
• Middle notes: Vietnamese cinnamon, Zanzibar carnation, Nossi-Be ylang-ylang, Indian tuberose, Italian jasmine, Florentine orris root and Bulgarian rose
• Base notes: ambergris, Siamese benzoin, Ethiopian civet, Mysore sandalwood, Madagascar vanilla, Indonesian patchouli and Tonkin musk

Scent Profile:

The moment Laura Biagiotti Night opens on the skin, it reveals a scent as shadowy and sumptuous as twilight silk. The first impression is unexpectedly vivid—Calabrian bergamot and Sicilian orange burst forth with a brightness that’s not merely citrusy, but sun-warmed and sweetened, evoking the scent of fruit stands at dusk along the Amalfi coast. Their oils, cold-pressed from the peel, carry an aromatic complexity specific to southern Italy: bergamot from Calabria, with its bitter-green nuance, is softer and more floral than its Ivorian or Istrian counterparts, while the orange from Sicily lends a syrupy juiciness, reminiscent of candied peel and honeyed zest. Amalfi lemon adds a tart gleam—a crystalline flash of citrus that almost feels lit from within.

Threaded through the citrus is a delicate cascade of aldehydes, giving the opening a champagne-like effervescence. These synthetic compounds shimmer like moonlight on satin, imparting a sense of elevation and lightness that contrasts with the deeper notes to come. The aldehydes interact beautifully with the clary sage from Hungary, whose herbaceous sharpness adds a touch of aromatic tension. Clary sage from this region is prized for its earthy, almost leathery depth, tinged with a balsamic sweetness—it grounds the perfume’s brightness with a whisper of cool shadows. A blend of abstract fruity notes rounds out the top, redolent of stewed apricots, ripe plums, or fig nectar—never cloying, but plush and velvety.

As the top fades, the heart of Laura Biagiotti Night unfolds like silk brocade—layer upon layer of spice and florals. Vietnamese cinnamon leads the way, far more nuanced than its cassia cousin. This variety, known for its softer, almost woody sweetness, glows gently rather than scorches—suggesting warmth without overwhelming. Zanzibar carnation soon joins in, not the delicate garden flower but a heady, spicy accord reminiscent of clove, green stem, and petal. It adds a dry heat to the blend, mingling beautifully with the creamier florals that follow.

Nossi-Be ylang-ylang, grown on the volcanic island off Madagascar, lends a narcotic richness—its distinctive banana-tinged sweetness mingling with a waxy floral softness. It has a denser, more exotic profile than ylang from other locales, making it perfect for a nighttime fragrance. Indian tuberose, sultry and opulent, blooms alongside it—its unmistakable creamy-lactonic texture intensified by the slightly indolic undertone of Italian jasmine. The Bulgarian rose, distilled from blooms picked at dawn in the Valley of the Roses, introduces a velvety depth: warm, honeyed, and faintly peppery. Florentine orris root—one of the most luxurious and costly materials in perfumery—wraps the heart in a cool, powdery smoothness, like suede glove brushing bare skin. Its earthy, buttery violet tone gives weight to the flowers and extends their presence into the base.

As the scent settles, the base notes stretch out like midnight velvet. There is an enveloping warmth—ambergris, in its refined synthetic form, lends a marine softness and salty muskiness that seems to echo the skin’s own warmth. Siamese benzoin adds a golden resinous sweetness, balsamic and comforting, merging seamlessly with Madagascar vanilla, whose spicy, boozy richness perfumes the entire drydown with a lush, gourmand veil. Mysore sandalwood, with its creamy, milky depth, lends a smooth woody roundness—a far cry from the sharper Australian or synthetic versions. Its presence anchors the fragrance with a sense of timeless luxury.

Ethiopian civet—most likely recreated through ethical synthetics—contributes an animalic muskiness that lends depth and sensuality, softened by the natural muskiness of Tonkin musk (also synthetic in modern perfumery, but still redolent of its legendary warmth and lingering power). Indonesian patchouli, earthier and more camphorous than its Indian counterpart, weaves through the base like shadows in candlelight, deepening the sense of mystery and quiet decadence.

In its entirety, Laura Biagiotti Night is a study in contrasts—luminescent citrus and aldehydes against plush florals and resinous woods, delicate sweetness intertwined with smoldering spice. Every material, whether natural or synthetically-enhanced, plays a role in conjuring a composition that feels simultaneously vintage and eternal—an ode to night, in all its glamour, secrecy, and sophistication.

Bottles:

Laura Biagiotti Night was presented in the same elegant, sculptural glass bottle as the original Laura Biagiotti fragrance, maintaining a cohesive aesthetic across the line. However, while the original was dressed in refined white—often referred to as Laura Biagiotti White or Fiori Bianchi to reflect its delicate, floral profile—Night stood out in bold, vibrant red. This visual distinction mirrored the difference in character between the two scents: where the white version evoked soft, luminous daytime wear, Night suggested depth, intrigue, and an evening sophistication. The contrast between the two color schemes—white for purity and red for passion—was a subtle yet effective way to differentiate the fragrances without altering the iconic bottle shape.

The fragrance was available in a range of concentrations, each tailored to a different intensity and wear experience. The Eau de Toilette Splash was offered in both 1 oz and 1.69 oz sizes. In general, Eau de Toilette contains a lighter concentration of aromatic compounds, typically around 5–15%, making it ideal for a gentle veil of scent. The splash format encouraged a more liberal application, perfect for refreshing the fragrance throughout the evening. The 1 oz bottle retailed for $30 CAD in 1986, while the larger 1.69 oz splash retailed for $50–63 CAD, suggesting some fluctuation based on market or retailer.

For those seeking greater depth and longevity, Laura Biagiotti Night was also released as a 1.69 oz Eau de Parfum Spray, which retailed for $63 CAD in 1985. Eau de Parfum generally contains a higher fragrance concentration—around 15–20%—resulting in a richer, longer-lasting scent that adheres more closely to the skin. The spray application offered a more controlled and elegant distribution, and this format would have been ideal for wearers desiring a lasting impression, especially in the context of an evening fragrance.

At the highest end of concentration was the 0.25 oz Parfum, also known as extrait de parfum. This format typically contains 20–30% aromatic compounds, making it the most potent and luxurious version. While small in volume, parfum is highly concentrated and requires only the lightest touch—applied traditionally to pulse points with a glass stopper or dabber. The extrait would have delivered the most nuanced and long-lasting rendition of Laura Biagiotti Night, capturing the intricacies of its spicy-oriental composition in full bloom, layer by layer, over time.

Altogether, these offerings allowed the fragrance to be experienced in multiple forms—whether through a lighter eau de toilette for a soft presence or a potent parfum for dramatic effect—all housed in a bottle design that subtly unified the line while allowing color to tell the story.

 

Fate of the Fragrance:

Laura Biagiotti Night was conceived from the start as an exclusive expression of the Biagiotti fragrance portfolio. Introduced in 1985 as a limited‑edition evening scent, its production run was intentionally kept small, and it was distributed almost exclusively in Canada. This deliberate scarcity lent the fragrance an aura of mystique during its brief time on shelves—an aura that has only deepened in the decades since its discontinuation.

Unlike the original Laura Biagiotti (often called “White”), which enjoyed a steady presence in upscale department stores throughout the 1980s, Night vanished from counters almost as quickly as it appeared. Its striking red‑packaged bottles saw only a handful of runs before production ceased, making it not just a seasonal flanker but a true rarity in the annals of 1980s perfumery. Even during its short market life, enthusiasts noted that if you missed the promotional window, there was little hope of ever finding a bottle again.

Today, Laura Biagiotti Night is prized among collectors for its elusive nature. While the original White Flowers scent has become increasingly scarce, Night is even harder to find—often surfacing only sporadically through vintage perfume dealers or secondary‑market auctions, where intact bottles command premium prices. Its limited release and rapid discontinuation have turned it into a veritable treasure hunt for fragrance aficionados and Laura Biagiotti loyalists alike.

The perfume’s disappearance shortly after launch—and its confinement to a single market—means that many who remember trying it in the mid‑1980s regard it as a vivid, almost cinematic memory rather than a readily available product. That very intangibility—of a scent that feels both familiar and just out of reach—is precisely what makes Laura Biagiotti Night a legendary and coveted collector’s item today.

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