Chloe by Karl Lagerfeld c1975

Chloé by Parfums Lagerfeld, introduced in 1975, was more than just a fragrance—it was a sensory extension of a fashion house known for its refined romanticism and feminine charm. At the time, Parfums Lagerfeld was a subsidiary of Eli Lilly & Co., based in Indianapolis, and the fragrance itself was distributed through another of Lilly’s holdings, Elizabeth Arden, headquartered in New York. This structure positioned Chloé not only as a fashion-forward scent but also as a serious commercial endeavor supported by two major names in pharmaceuticals and cosmetics.

The name “Chloé” (pronounced klo-ay in layman’s terms) was taken from the fashion house Chloé, for which Karl Lagerfeld had been a leading designer since the 1960s. But the choice carried deeper significance. The word "Chloé" comes from ancient Greek, meaning “green shoot” or “young bloom,” and has long been associated with freshness, youth, vitality, and natural beauty. It evokes imagery of soft spring air, sunlit gardens, carefree elegance, and the quiet confidence of a woman who doesn’t need to shout to be noticed. The name itself carried an emotional resonance—it felt both delicate and timeless, much like Lagerfeld’s fashion vision.

Karl Lagerfeld, who was already a rising star in European couture, was known for his sleek silhouettes, flowing lines, and unapologetically feminine tailoring. He referred to his design ethos as “quietly important”—never overdone, but always impactful. In that spirit, launching a fragrance was a natural step. Perfume, like fashion, could become a signature. It could express mood, identity, and presence without saying a word. Lagerfeld understood that to truly embody the Chloé woman, scent needed to be part of the picture. A fragrance completed the wardrobe, lingering like a final whisper of style.

The mid-1970s was a time of aesthetic evolution. Following the youthquake of the 1960s and the radical experimentation of the early '70s, the mood was shifting toward a softer, more romantic sensibility. Flowing fabrics, earth tones, peasant blouses, high-waisted trousers, and bohemian elegance were dominant on the runway and in the streets. In perfumery, this translated into lush florals and bold compositions—scents that projected presence and embodied femininity with rich, expressive blends.

Into this landscape, Chloé made a striking entrance. Created by perfumers W. Pitt Hugelmann and Betty Busse at IFF (International Flavors & Fragrances), Chloé was categorized as a heavy floral. It opened with a green-fruity brightness, quickly giving way to a lavish white floral heart centered around tuberose, a note known for its creamy, enveloping, and almost intoxicating depth. The base was sensual, warm, and unmistakably feminine, with an extraordinary complexity—reportedly composed of 178 rare essences and oils. For some, the perfume bordered on cloying, even oppressive, but others found it undeniably luxurious, romantic, and memorable.

Within the heavy floral category, Chloé distinguished itself through richness and quality. Unlike more modern interpretations that dilute florals with ozonic or sheer notes, Chloé embraced its density. It did not apologize for its intensity. The bottle design reinforced the message of refined femininity—a flat, oval glass flacon imported from France, topped with a frosted glass trumpet-lily stopper, and accompanied by a watch crystal-style saucer base. It was tactile, elegant, and sculptural. Retailing for $80 an ounce, it was priced to reflect its ingredients and positioning—high-end, aspirational, couture-level perfumery.

While the heavy floral trend was not new in 1975, Chloé stood apart by being so thoroughly itself. It did not chase trends but rather reflected the DNA of its house—romantic, artistic, complex. It suited the Chloé woman: one who appreciated beauty, substance, and softness with strength.

Karl Lagerfeld’s fame at the time was rising rapidly. Known for his multifaceted genius, sharp intellect, and ability to reinvent fashion houses, he had already made waves at Chloé and would go on to revitalize Chanel in the 1980s. Known for his photographic memory, encyclopedic knowledge of art and fashion history, and sharp wit, Lagerfeld had a gift for combining classic elegance with modern verve. He added fragrance to the Chloé line because he understood the power of scent in branding—how it could distill the aesthetic of a label into a sensory experience. Chloé, as a perfume, was more than a product; it was the embodiment of Lagerfeld’s vision of the modern woman: elegant, confident, and unmistakably feminine. Launching a fragrance was both a strategic move—expanding the brand's reach—and an artistic expression, allowing him to convey emotion and identity through scent.

In essence, Chloé by Karl Lagerfeld was not just a perfume—it was a romantic statement, a stylized memory, and an olfactory garment worn close to the skin. It captured a moment in time, yet remained timeless in its message: femininity, when well-crafted, never goes out of style.

Fragrance Composition:

 So what does it smell like? Chloe by Karl Lagerfeld is classified as a floral fragrance for women. It begins with a fruity, green top, followed by a exotic floral heart, layered over a sensual, feminine base. Reportedly made up of 178 oils and rare essences.

• Top notes: Comoros Island ylang-ylang, green notes, American honeysuckle, Tunisian orange blossom, Grasse lilac, Philippine coconut, Calabrian bergamot, aldehydes and Georgian peach 
• Middle notes: Dutch hyacinth, Florentine orris, Grasse jasmine, Bulgarian rose, Egyptian narcissus, Portuguese tuberose, Alpine lily of the valley, Algerian jonquil, Russian coriander, Zanzibar carnation, Moroccan orange blossom 
• Base notes: Indonesian patchouli, Haitian vetiver, Yugoslavian oakmoss, Mysore sandalwood, ambergris, Tonkin musk, Virginian cedar and Siamese benzoin

 

Scent Profile:

Smelling Chloé by Karl Lagerfeld is like opening a gilded door into a sun-drenched conservatory overflowing with lush blooms, tender fruits, and rare woods. Each note is carefully chosen, sourced from distant corners of the world, creating a symphonic blend that is both romantic and dramatically opulent—almost baroque in its complexity. The perfume does not unfold so much as it blooms, layer upon layer, like a greenhouse of exotic flowers just beginning to breathe in the warmth of morning.

The top notes are green and juicy, yet immediately tinged with a narcotic sweetness. The first breath is filled with ylang-ylang from the Comoros Islands, a particularly prized variety grown in the volcanic soil of these Indian Ocean isles. It offers a heady, banana-cream richness, lush and sultry, with slightly leathery undertones. This creamy note is lifted by Calabrian bergamot, brisk and tart, with a distinctly floral edge—bergamot from Calabria is famed for its clarity and brightness. Tunisian orange blossom adds a honeyed, slightly waxy bloom, lending a plushness to the citrus sparkle. 

American honeysuckle is a dewy whisper—green, lightly floral, with a hint of wild nectar. Then comes the green accord, vivid and almost sap-like, which breathes life into the opening. These notes are softened by Georgian peach, juicy and ripe, though more skin than pulp, and by the surprising note of Philippine coconut, which adds a creamy, milky softness rather than overt sweetness. Aldehydes—those shimmery synthetic molecules used so famously in Chanel No. 5—act as a crystalline lens over the bouquet, adding sparkle, lift, and that intangible "perfumey" aura that elevates natural elements into abstraction. Here, they work to animate the fruit and flowers, making them gleam like morning dew.

As the heart unfolds, the perfume becomes even more decadent, almost intoxicating. At its core is a lavish floral tapestry: Grasse jasmine, the perfume industry’s gold standard, with its creamy, indolic sensuality; Bulgarian rose, deep and velvety, grown in the famed Valley of the Roses where dawn-harvested petals yield the richest absolute. Egyptian narcissus contributes its honeyed, hay-like nuance, tinged with green bitterness. There is the exotic spiciness of Zanzibar carnation, a note more fiery than floral, and Portuguese tuberose, a note many fear and love—a creamy, mentholated, head-spinning bloom that clings to the senses. 

Dutch hyacinth offers an aqueous, green floral snap, while Florentine orris, derived from the dried rhizomes of iris plants, brings a powdered suede-like texture. It’s one of perfumery’s most expensive materials—earthy, dry, and quietly noble. Moroccan orange blossom enters again, this time warmer, more golden, refined by sun and tradition. There’s the tender hush of Alpine lily of the valley, crystalline and green, and Algerian jonquil, which gives a narcotic sweetness with a trace of leather and hay. A soft dusting of Russian coriander seed introduces a peppery, citrus facet, subtly bridging the heart with the drydown.

Then the perfume sinks luxuriously into its base, which is warm, dark, and enveloping. Indonesian patchouli emerges first—earthy, damp, almost camphorous, but aged into softness, like the scent of velvet stored in a cedar-lined trunk. Haitian vetiver adds a smoky-grassy elegance, more refined than its Indian cousin, with a sweet woody edge. Yugoslavian oakmoss brings the forest floor: green, slightly bitter, mossy, grounding the florals and adding chypre depth. 

Mysore sandalwood—now largely unavailable—was legendary for its creamy, sweet, lactonic woodiness, and its inclusion here adds the backbone of sensual warmth. Siamese benzoin, a natural resin, lends a balsamic, vanilla-laced incense feel. Virginian cedar brings a dry, clean woodiness that balances the richness of the other resins. And finally, a ghost-like trail of ambergris and Tonkin musk, now recreated with modern synthetics, imparts a sensual animalic hum—warm, salty-skin-like, and deeply intimate. These notes don’t shout; they murmur close to the body.

In this composition, synthetics like aldehydes and musks aren’t used to replace natural materials—they enhance them, abstracting and polishing their facets. Aldehydes make the top notes shimmer like frost on petals, while synthetic musks and reconstructed ambergris lend longevity and diffusion, making the entire perfume feel as though it’s blooming from the wearer’s skin rather than just sitting on it.

Chloé by Lagerfeld is not a perfume you merely wear—it’s one you inhabit. It’s a world of flowers, sunlit fruit, rare woods, and antique powders, all wrapped into a fragrance that is at once elegant, intoxicating, and unabashedly feminine.

Bottles:

The original Chloé parfum by Karl Lagerfeld was presented in a bottle as evocative and romantic as the fragrance itself. The flacon is a study in quiet luxury—oval in form, with soft, curving lines that echo the feminine silhouette. It feels sensuous in the hand, weighty but graceful, as if designed not just to hold perfume, but to be cherished. The stopper is its crowning glory: a sculpted, frosted glass calla lily that rises from the bottle like a flower caught mid-bloom. This organic, undulating form pays homage to the elegant Art Deco lines of René Lalique, and yet bears a distinctive identity of its own—modern, yet timeless. The effect is at once sculptural and soft, a visual metaphor for the perfume itself.

Designed by Joe Messina, the flacon was manufactured by the renowned French glassmaker Pochet et du Courval, a name synonymous with quality and artistry in perfume bottle production. Pochet’s centuries-old legacy is evident in the bottle’s clarity, precision, and delicate detailing. Every facet of the presentation reflects a balance between opulence and refinement. The flacon was housed inside a pale peach box with crisp white print—simple, feminine, and elegant. The peach hue was an inspired choice, whispering of powder, blossoms, and warm skin—tones that aligned perfectly with the perfume’s warm floral character. This restrained but sophisticated packaging stood out in an era that increasingly embraced minimalism or bold color.

The design was so well-received that it was awarded the Fragrance Foundation’s Award for Packaging—a prestigious recognition that underscored the artistic and commercial success of Chloé not just as a scent, but as a complete aesthetic experience. At a time when perfume bottles were becoming more standardized or fashion-forward, the Chloé flacon reminded the industry of the enduring power of sculptural beauty, tactile luxury, and the romance of the object itself.

 

Flanker Scents:

The original Chloe spawned some siblings scents, called flankers.

In 1992, Chloe Narcisse was launched and presented in a clear bottle with a stylized flower bud opaque cap designed by Denise Paglina. Created by Betty Busse of IFF in association with Parfums Lagerfeld and Elizabeth Arden. It is classified as a crisp fruity floral-oriental fragrance for women. It was available as Parfum, Eau de Parfum, Eau de Toilette, and Body Lotion. This vintage perfume has been discontinued. 

• Top notes: marigold, living red plumeria, violet, peach, pineapple, frangipani, living orange blossom and apricot
• Middle notes: exotic spices, gardenia, carnation, calendula, rose otto and jasmine and living narcissus 
• Base notes: tolu balsam, cedar, vanilla absolute, musk, sandalwood

In 1993, Chloe Fleur de Narcisse was launched in association with Parfums Lagerfeld. Created by Anne Flipo as an eau de cologne. It is classified as a fresh fruity floral fragrance for women. This was discontinued by 1994.

• Top notes: black currant, watery notes, peach and pineapple
• Middle notes: mimosa, iris, narcissus, gardenia and carnation
• Base notes: leather, white tobacco, oakmoss, vanilla and musk

In 1995, Chloe Innocence was released and presented in a milky glass bottle by designed by Fabian Baron. The perfume was created by Nathalie Lorson, in association with Parfums Lagerfeld. This vintage perfume was discontinued around 2000 or so. It is classified as a fresh floral white flower fragrance for women. 

• Top notes: apple, bergamot, peach and water hyacinth
• Middle notes: geranium, jasmine, rose, freesia, honeysuckle headspace, lily of the valley and violet 
• Base notes: hawthorn, orris, cedarwood, vetiver, heliotrope headspace and musk

Fate of the Fragrance:

Chloe was originally produced and distributed by Bethco Fragrances, Inc. of New York, New York (a subdivision of Elizabeth Arden-Faberge, Inc). Bethco operated as the upper end American producer of Chloe, Lagerfeld and Fendi perfumes. Bottles will be found with labels with the Bethco names.

In 1989, Unilever purchased Bethco Fragrances, Inc, but the labels will still be branded with the Bethco name.

Around 1990, Elizabeth Arden organized a subdivision, Parfums International, Ltd, to control the other Unilever owned fragrance brands (Lagerfeld, Chloe, Fendi, Elizabeth Taylor, Decadence, etc). These labels will be marked with the Parfums International, Ltd name.

Original Chloe fragrance and flankers:

• 1975 Chloe by Karl Lagerfeld
• 1992 Chloe Narcisse
• 1993 Chloe Fleur de Narcisse 
• 1995 Chloe Innocence

CLICK HERE TO FIND THE ORIGINAL CHLOE PERFUME BY KARL LAGERFELD

In 2005, the brand was acquired by Coty Prestige. In 2007, Chloe was totally reformulated by Michel Almairac and Amandine Marie into an entirely new fragrance (in Eau de Parfum strength) and relaunched in a newly designed bottle. These labels will now be branded with the Parfums Chloe and Coty Prestige names. This version was discontinued.

The Chloe fragrance was reformulated in 2008 and released as both Eau de Parfum and Eau de Toilette in non-floral bottles, in 2009, the pure Parfum version was introduced. This is an entirely different fragrance than the 1975 version.

If you are looking for the original vintage version, make sure your box or label mentions the "Bethco" or the "Parfums International" name.

New edition and flankers:

• 2005 Chloe Collection 2005 (limited edition)
• 2007 Chloe Eau de Parfum (disc)
• 2008 Chloe Lisy (disc)
• 2008 Chloe Eau de Parfum (reformulated)
• 2008 Chloe Eau de Toilette (disc)
• 2009 Chloe Eau de Toilette (disc)
• 2009 Chloe Eau de Parfum Intense (disc)
• 2009 Chloe Parfum
• 2010 Chloe Intense Collect'Or (limited edition packaging/disc)
• 2011 Chloe Rose Edition (limited edition packaging/disc)
• 2012 L'Eau de Chloe
• 2013 Chloe Roses De Chloe
• 2015 Chloe Eau de Toilette (reformulated)
• 2016 Chloe Fleur de Parfum
• 2017 Chloé Absolu de Parfum

Chloe Collection, a limited edition scent, was launched in 2005. Created by Clement Gavarry and Carlos Benaim. It is classified as a fruity floral fragrance for women. This is discontinued.

• Top notes: passion fruit, pear, tuberose
• Middle notes: gardenia, tuberose
• Base notes: woods, birch, musk

In 2007, Chloe Eau de Parfum was created by Amandine Marie and Michel Almairac of Robertet, in association with Coty. This version is discontinued, but reformulated and relaunched in 2008 in both Eau de Parfum and Eau de Toilette. In 2009, the pure Parfum was introduced. The Eau de Toilette was also discontinued but reformulated and relaunched in 2009.

• Top notes: peony, lychee, freesia
• Middle notes: magnolia, lily of the valley and rose
• Base notes: Virginia cedar and amber

Introduced in 2008, Chloe Lisy, a floral fragrance for women, was created by Michel Almairac and Amandine Clerc-Marie. Available as parfum extrait in a 15ml size purse spray in a leather case. This too is discontinued and can be hard to find.

• Top notes: pink peony, litchi and freesia
• Middle notes: magnolia, rose and lily of the valley
• Base notes: cedar, honey and amber

In 2009, Chloe Eau de Parfum Intense was launched. It is classified as a floral fragrance for women. This is discontinued.

• Top notes: pink peppercorn, freesia, litchi, pink peony 
• Middle notes: magnolia, rose petals, lily of the valley 
• Base notes: sandalwood, tonka, amber, honey, cedar wood

  

In 2009, Chloe Eau de Toilette, was launched.  By 2015, this Eau de Toilette was discontinued, but reformulated and relaunched again with additional notes of bergamot, rose, magnolia and gardenia.

• Top notes: mandarin, melon 
• Middle notes: freesia, rose
• Base notes: sandalwood, iris

 
For 2010, a collector bottle was released, Chloe Intense Collect'Or. The limited edition bottle was tied with a golden ribbon.

• Top notes: pink peppercorn, freesia, litchi, pink peony 
• Middle notes: magnolia, rose petals, lily of the valley 
• Base notes: sandalwood, tonka, amber, honey, cedar wood

2011 saw the release of the eau de parfum, Chloe Rose Edition, in which the bottle was simply tied with a limited edition bright pink bow for Spring.

• Top notes:  peony, lychee, freesia 
• Middle notes: rose, magnolia, lily of the valley
• Base notes: Virginia cedar, amber

2012 brought L'Eau de Chloe, an eau de toilette, classified as a floral chypre fragrance and created by Michel Almairac, 

• Top notes: citron, grapefruit, peach, bergamot, aldehydes
• Middle notes: distilled rosewater, rose, violet, freesia, jasmine, lily of the valley, magnolia, peony
• Base notes: patchouli, cedar, amber, labdanum, oakmoss, white musk

  

For 2013, Roses de Chloe was introduced, a floral fragrance for women. 

• Top notes:  bergamot, tarragon, lemon, lychee 
• Middle notes: damask rose, magnolia, cedar, apple, black currant, peach
• Base notes: white musk, woody notes, amber

The new version of the Chloe Eau de Toilette was launched in 2015 and differs from the 2009 version.

• Top notes:  bergamot, magnolia, lemon  
• Middle notes: white rose, gardenia, rose
• Base notes:  musk, cotton flower

  

In 2016, Chloe Fleur de Parfum was released.  Created by Michel Almairac and Mylene Alran.

• Top notes:  bergamot, verbena, grapefruit
• Middle notes: rose, cherry blossom, blackcurrant, peach
• Base notes:  white musk, rice, cedar

  

Chloé Absolu de Parfum arrived in 2017, as a floral oriental composition created by Michel Almairac. A limited edition to celebrate the 10th anniversary of the relaunched Chloe from 2007.

• Top notes: damask rose
• Middle notes: Grasse rose, patchouli
• Base notes: vanilla