Rudi Gernreich by Rudi Gernreich c1974

Rudi Gernreich, the iconic fashion designer, ventured into the world of fragrance with the launch of Rudi Gernreich perfume in 1974, in collaboration with American Essence, Inc. This olfactory masterpiece was brought to life through the creative genius of perfumer Betty Busse, with production entrusted to the esteemed International Flavors and Fragrances (IFF).

Rudi Gernreich was a renowned Austrian-American fashion designer celebrated for his bold, avant-garde designs and innovative approach to fashion. Born on August 8, 1922, in Vienna, Austria, he fled to the United States in 1938 to escape the Nazi regime. Settling in Los Angeles, Gernreich began his career in the fashion industry and quickly gained a reputation for his unconventional and progressive designs.

He is best known for his minimalist and futuristic aesthetic, often challenging societal norms and conventions. Some of his most famous creations include the monokini, a topless swimsuit that caused a sensation in the 1960s, and unisex clothing that blurred the lines between men's and women's fashion. Gernreich was a pioneer in promoting body positivity and freedom of expression through his work, making a lasting impact on the fashion world. He passed away on April 21, 1985, leaving behind a legacy of innovation and boundary-pushing design.

In 1974, to commemorate the tenth anniversary of his revolutionary topless swimsuit, Rudi Gernreich launched his signature fragrance. Gernreich revealed that he had previously declined offers from major corporations to create fragrances and cosmetics, citing his aversion to the numerous contractual obligations and executive oversight involved. He said that he didn't like that there were "too many clauses and executives."

When Peter Diamandis, founder of the fledgling company American Essence, Inc., approached him, Gernreich decided to accept the offer. He explained, "Peter approached me, and I was very drawn to the fact that he's a smart, attractive, charming guy and very honest. I was immediately positive about the idea—it smelled good to me." Diamandis, a former editor at Mademoiselle magazine, had left his position to establish American Essence, Inc., a New York-based firm that also launched Anne Klein's first fragrance in 1974.

Like many designers of his era, Gernreich aspired to establish a strong presence in the burgeoning American perfumery market. He was determined to challenge the dominance of French perfumers, believing that American-produced fragrances could rival, if not surpass, their French counterparts. Gernreich stated, "There is no reason for the French to have a monopoly on perfume production. This company is dedicated to creating scents that are distinctly American, and I partnered with them because I wholeheartedly support that vision."

Gernreich remarked, "The sense of smell has been underestimated in fashion. Scents are evocative; they possess the subtle power to enhance the body's allure, making it more sensuous and attractive." He further observed, "Today, people are more attuned to their bodies. With this heightened body awareness, scents have become a crucial element of our environment. Interactions between people often hinge on chemical reactions, rather than visual cues. We know that certain smells elicit positive responses, while others can be irritating." Gernreich candidly admitted that the fundamental function of a fragrance is "to prevent a person from smelling unpleasant."

Fragrance of the Future:

"I believe modern perfume is an essential aspect of good grooming," Gernreich said. "Fragrances should be very body-conscious. I aimed for something heavy, animalistic, and sensuous. Americans have done something unique that Europeans haven't—they've masked natural odors with deodorants, effectively deodorizing smells. I don't approve of this. People should smell good, but natural scents should be enhanced and improved. A good perfume, when blended with your body's natural smells, becomes very exciting. Fragrances can change based on your mood or whether you smoke. That's one thing I hope this new perfume will achieve."

Marketed as "The Fragrance of the Future," the perfume sparked curiosity. When asked about the tagline, Diamandis quipped, "If you don't like that phrase, try 'sex in a bottle.' I believe there's a demand for new scents. With the surge in youth and sensuality, people crave novel fragrances. He discovered it." However, Gernreich expressed some dismay, noting that Diamandis "never consulted me about it."

Gernreich regarded fragrances not as frivolous indulgences, but as economical luxuries. He explained, "Buying a bottle of perfume is much more practical than splurging on an expensive bracelet. Perfume is a delightful thing. Fragrances tend to perform exceptionally well during economic downturns. In tough times, it's interesting to note that people often choose to buy a bottle of cologne instead of a new dress. While a woman might not always afford a new outfit, she can still treat herself to something that smells wonderful and boosts her spirits. During the Depression in the '30s, perfume companies thrived. I believe this represents a more legitimate approach to luxury."

Finding the Right Scent:

Gernreich revealed that developing the fragrance took about a year. He started by discussing his vision with a chemist, aiming to create a scent that could be worn by both men and women. Explaining his concept of a unisex fragrance, Gernreich said, "I believe unisex is often misunderstood. People confuse it with a 'messing up' of sexuality, but I think it actually clarifies things. Antiquated attitudes about gender roles are gradually disappearing. Men and women are realizing they are much closer in spirit than they might have thought. The differences between men and women are not as significant as people believe." Diamandis added, "I think Rudi's point is that fundamentally, a nose is a nose is a nose."

Gernreich mentioned that he had numerous meetings in New York with Betty Busse, the head chemist from IFF, to review the latest samples. "It was an intriguing process because I collaborated closely with the chemist for about a year," he explained. "Initially, we delved into the philosophical aspects behind my beliefs and the image I wanted to convey. This led to the elimination of many chemicals before we even began the actual formulation process."

In addition to Rudi Gernreich's eponymous fragrance, Betty Busse has contributed to the creation of numerous iconic fragrances throughout her career. Some of her notable creations include: Marcella Borghese - Fiamma (1965); Estee Lauder - Estee Super (1969); Shiseido - Rivage (1974); Prince Matchabelli - Aviance (1975); Karl Lagerfeld - Chloe (1975); Calvin Klein - Obsession (1985); Lancôme - Trésor (1990); Estée Lauder - Pleasures (1995); Clinique - Happy (1997); Ralph Lauren - Polo Blue for Men (2003). These are just a few examples of Betty Busse's impressive portfolio, showcasing her talent and expertise in the art of perfumery.

Gernreich collaborated closely with the laboratory, meticulously refining the scent and conducting tests while making subtle adjustments along the way. The chemists in the lab played a crucial role in this process, as Gernreich noted, "They were able to detect significant differences that I couldn't perceive. I'm quite inexperienced when it comes to fragrances and I'm truly impressed by the complexity of the industry. However, it's essential to eliminate those elements that don't contribute positively. Design isn't always visual; composition is also a form of design. Creating a perfume is an abstract process, imbued with a certain mystique. Yet, I didn't want fragrance to be shrouded in unnecessary mystery. It should be straightforward and sincere. I also aimed to steer clear of fleeting trends in scent."

The fragrance experts advised Gernreich that the prevailing trend leaned towards something fresh, citrusy, and green, but this did not align with his vision. He expressed, "No, I desire something more sensuous." He noted that heavy scents were currently discouraged, with trends favoring freshness, outdoor elements, and green notes, all of which were popular at the time. However, this wasn't what he sought. He clarified, "I didn't want something purely botanical. I knew I didn't want it to be overly floral. I continuously emphasized the need for depth and richness. It had to have a universal appeal." Gernreich recognized the necessity for a "touch of leather" to cater to masculine preferences. Strong floral components were promptly dismissed from consideration. After extensive deliberation, he realized that his desired fragrance leaned more towards the traditional French perfumes of yesteryear, characterized by potent, enduring, animalic odors.

"The head chemist [Betty Busse] had an incredible sensuality about her, and her culinary skills were unmatched, blending French and Chinese cuisines with finesse. The fragrance we crafted is rooted in the realm of the animalistic, exuding warmth and sensuality with a hint of weightiness," Gernreich remarked. "I dialed down the floral aspects and introduced abundant notes of leather. It's a fragrance that transcends traditional gender norms—it's for everyone. In fact, it's the pioneering unisex perfume," he proudly declared.

Gernreich went on to unveil, "Some of the ingredients used have never before been incorporated in perfumery. I relied solely on my instincts." He meticulously tested 150 samples, incorporating them into his daily life and even sharing them with friends for their feedback. Gernreich fondly recalled his first customer, none other than the illustrious actress Ava Gardner, who adorned herself with the fragrance for the Academy Awards. As it turned out, Gardner was not only a patron of his creation but also a personal friend, expressing her genuine admiration for the scent.

Encouraged by the positive responses, Gernreich meticulously narrowed down his options to one definitive fragrance. The culmination of his efforts resulted in a blend comprising 25 essential oils, complemented by novel aromatic compounds reminiscent of natural musk and civet. Furthermore, the composition exuded additional warmth through the inclusion of rare combinations of moss, leather, and herbs, a departure from conventional fragrance formulations.

Launch:

The perfume made its debut at I. Magnin stores in Los Angeles before gracing the shelves of upscale department stores across the nation, including Bloomingdale's, Bergdorf-Goodman, Maas Bros., Famous-Barr, Lord & Taylor, and B. Altman in New York City and beyond. During the presentations, models Peggy Moffitt, Leon Bing, and Ginny Kaneen were elegantly attired in black and white ensembles, perfectly complementing the sophisticated packaging of the fragrance.

Gernreich emphasized that his perfume was a reflection of his unique tastes, stating, "It's not overly floral. I aimed to reduce the floral aspect to cater to the preferences of modern consumers. Many women prefer fragrances with less floral intensity nowadays. It's a fragrance that may appeal to some and not to others. It stands apart from the prevailing trend perfumes by being heavier and more sensuous, with remarkable longevity. Musk and civet are key components, but they are ethically sourced through chemical synthesis, ensuring the welfare of animals. I am vehemently opposed to the idea of harming civet cats for perfume production. With advancements in chemical technology, natural bases are no longer necessary, allowing for the production of fragrances worldwide. The availability of synthetic alternatives has democratized perfume production, making it accessible across different countries."

The essence of the fragrance draws inspiration from animal essences, as Gernreich felt a deep connection to the vitality of life. However, he emphasized that despite its animalic nature, the production process ensured no harm to any living creatures. "For Rudi Gernreich perfume, we opted for synthetic rather than natural bases," he clarified. "These synthetic compounds can closely mimic the scents of civet and musk, among others. Moreover, they offer a level of consistency that natural essences often lack. Unlike natural sources, which can vary in fragrance, synthetic chemicals provide a more reliable and predictable outcome."

He expressed a preference for synthetic bases not only out of humanitarian concerns but also for environmental reasons. "Our perfume does not involve any harm to animals," he asserted. "This aligns with an ecologically conscious approach. I believe we are entering an era where environmental consciousness surpasses even our fashion choices. As our ecological awareness grows, it influences every aspect of our aesthetic sensibilities."

Gernreich expressed optimism about a future where fragrances would incorporate health-conscious ingredients. When questioned about his own fragrance, he remarked, "Not at the moment, but it's a goal. I envision adding anti-pollutant elements in the future. As our awareness of health, nutrition, and fitness increases, it naturally extends to our approach to body grooming."

Fragrance Composition:

 So what does it smell like? It is classified as a unisex leather fragrance. It is a mixture of earthy oakmoss, herbs, leather, civet, musk, floral and some 21 other chemically reproduced scents. It is described as "heady and warm" with a "leathery tobacco note."

• Top notes: clary sage,bergamot, galbanum, hyacinth, coriander, 
• Middle notes: tobacco,  jasmine, iris,  patchouli, oakmoss, opoponax, cumin, cedar 
• Base notes: Russian leather (birch tar), sandalwood, amber, civet, musk,labdanum, vetiver, cistus, tonka bean, castoreum

Scent Profile:

As I begin to experience Rudi Gernreich’s unisex leather fragrance, I am immediately greeted by a cascade of top notes, unfolding in a rich and complex symphony. The first breath is fresh and herbal, with clary sage opening the scent with an earthy sweetness. Its slightly bitter undertones bring an almost medicinal sharpness that contrasts beautifully with the brightness of bergamot. The citrusy zing of bergamot is crisp yet soft, offering a sparkling introduction that lifts the deeper elements waiting beneath. 

Galbanum soon emerges, its sharp, green bite cutting through the opening like a blade of fresh grass, adding a bitter, resinous edge. There’s something almost wild about it—raw, untamed—and this is softened only slightly by the floral yet green touch of hyacinth, which is cool and dewy, bringing a springlike freshness. Hovering just underneath is the spicy warmth of coriander, its herbal, peppery quality grounding the brighter, greener notes, hinting at the complexity to come.

As the top notes melt into the heart, the fragrance deepens and becomes more sensual. The rich, smoky warmth of tobacco curls through the air, lending a leathery, slightly sweet smokiness that is both comforting and seductive. Jasmine rises delicately, its floral sweetness mingling with the tobacco, softening the edges with an elegant touch. Yet, this isn’t a heady jasmine; it feels restrained, like petals just on the verge of blooming, harmonizing with the subtle powderiness of iris. The iris adds a soft, almost creamy floral texture, adding sophistication to the fragrance. 

Then, patchouli makes its presence known—earthy, woody, and just a little bit spicy. Its rich depth pairs beautifully with the oakmoss, which adds a mossy, green dampness, evoking the scent of a forest floor. Opoponax, a sweet, resinous balsam, lends a honeyed warmth that clings to the other notes, while cumin adds a slightly spicy, animalic hint—just a whisper of heat beneath the surface. Finally, the dry, resinous quality of cedar anchors the heart, offering a woodsy, smoky dimension that complements the leather accord waiting in the base.

As the fragrance settles into its base, it becomes a bold, leathery embrace. Russian leather, with its unmistakable smoky, tar-like quality derived from birch tar, dominates, evoking the smell of well-worn leather jackets and antique furniture polished with age. The scent is rugged and raw, tempered only by the creamy richness of sandalwood, which adds a velvety smoothness. The warmth of amber glows from within, adding a resinous, almost golden sweetness that contrasts beautifully with the sharpness of the leather. 

Civet, animalic and musky, emerges—a primal, slightly feral note that enhances the leather's raw appeal. Musk, both clean and sensual, interweaves with the civet, creating an intimate, skin-like warmth. Labdanum, rich and ambery, adds a resinous depth with a sweet, leathery quality, amplifying the warmth and richness of the scent. As the fragrance lingers, vetiver brings an earthy, smoky greenness, its dry, grassy quality enhancing the leathery tobacco note. 

The sticky, resinous sweetness of cistus wraps around the base, while the smooth, comforting warmth of tonka bean adds a subtle vanilla-like richness. Lastly, the animalic depth of castoreum echoes through the base, its leathery, slightly smoky nuances enhancing the overall warmth and complexity of the fragrance.

The combination of these notes—both raw and refined—creates an enveloping, sensual fragrance that speaks of warmth, leather, and smoke. It is a heady blend, undeniably bold yet balanced by the interplay of herbal freshness, floral delicacy, and musky depth. The "leathery tobacco note" is unmistakable, grounding the fragrance with a warmth that is both familiar and daring.

Bottle:

When it came to the packaging, Gernreich opted for simplicity over extravagance, stating, "It's reflective of my style—very straightforward and uncomplicated." Rejecting any hint of flamboyance, he guided the glass production and packaging team to design something distinctively minimalistic, characterized by clean lines and devoid of the typical market trends. He emphasized, "I feel much more comfortable with the visual aspect of things."

The resulting flask, crafted from Pyrex by Corning Glass, boasts a strikingly elongated cylindrical shape reminiscent of a chemical beaker—a design that might typically be associated with a pharmaceutical laboratory. Gernreich regarded this form as an "honest shape," reflective of the fragrance's development in a lab. He explained, "Since the perfume was created in a laboratory, it only seemed fitting to house it in a Pyrex chemical beaker." Pyrex was selected for its ability to safeguard the fragrance from extreme temperature fluctuations and its recyclable nature. Gernreich further elaborated, "These flasks are truly Pyrex laboratory glassware, chosen for their exceptional functionality and resilience to both high heat and freezing cold. I conducted tests with the fragrance in an ordinary glass bottle, and the one housed in regular glass experienced color changes."

The bottle is labeled in milliliters, a foresighted choice anticipating the eventual adoption of the metric system in the United States. Gernreich remarked, "And the bottle is reusable. The only thing you can't do is erase my name."

The fragrance was available in various sizes to cater to different preferences and budgets. The smallest bottle contained 12ml (0.5 oz) and was priced at $20. Next was the 30ml (1 oz) flacon, retailing for $40, offering a larger quantity for those who desired more. For those seeking an even more substantial option, a special order was available, boasting a generous size of 30 ounces, albeit at a higher price of $250.

In addition to the perfume, the collection included complementary products such as body massaging cream, bath oil, and spray cologne, all bearing the same captivating scent. The packaging exuded simplicity and sophistication, with the bottles housed in sleek black and white boxes featuring Gernreich's name prominently displayed in bold print.

The 1 oz bottle stands at an impressive height of 8 inches, while its larger counterpart, the 30 oz bottle, towers at a commanding 15 inches. Such is its stature that it's occasionally mistaken for a factice—a decorative display bottle often mistaken for the real thing.

Fate of the Fragrance:

Gernreich observed that despite his intentions to create a unisex fragrance, the trend did not gain as much traction as anticipated. Despite being available in both men's stores and women's cosmetic counters, the market for the fragrance predominantly comprised female consumers. This disparity in consumer base might be attributed to the fact that the fragrance was not actively marketed as a unisex scent.

As for its discontinuation, the exact date remains elusive. However, based on the absence of newspaper advertisements for the fragrance after 1976, it is presumed to have been withdrawn from production around that time. Locating these products now might prove challenging, given their discontinued status.