Vintage Counterfeit Perfumes and Fantasy Fakes

During the 20th century, the perfume industry was rife with counterfeiting at every turn. There was some trickery going on in the 1930s-1950s regarding designer named perfumes. I can find famous names on bogus labels for perfumes in bottles that you would never see used by that brand. Various con men had boxes and labels printed up, then decanted or adulterated, refilling cheaper bottles with even cheaper perfume, then slapping the newly printed labels on them, and passing them off as genuine.

I have created a comprehensive guide for fake vintage perfumes going back to the 1920s and into the 1970s. Much of the crucial information I have gathered has been revealed nowhere else and it can answer a lot of questions regarding so called "rare" editions or bottles of designer perfumes. 

Discussed in this guide are rebottlers, fake pricing schemes, and outright counterfeits. A significant portion of the guide is devoted to what I call "fantasy fakes." Fantasy fakes are, in my own parlance and definition, is the usage of bottles and labels that a genuine perfumery brand would have never used. This also includes names of perfumes that were never part of their catalog such as "Ce Soir Ou Jamais" by Christian Dior. I have done extensive research on these in order to determine whether they are genuine or fake. You might be surprised, delighted or even disappointed at the information I uncovered.

Before you shell out hundreds for a rare "Poiret" perfume bottle, please see my guide first!

Pretexte by Lanvin c1937

Pretexte by Lanvin: launched in 1937, created by Andre Fraysse.

Crescendo by Lanvin c1958

Launched in 1958, Crescendo by Lanvin entered the fragrance market during a period of post-war optimism and burgeoning modernity. The 1950s were characterized by a blend of traditional elegance and emerging innovation in the perfume industry. Iconic fragrances like Dior's Miss Dior (1947) and Chanel No. 5 (1921, but continuously popular) were celebrated for their classic compositions, while new trends began to favor more complex and adventurous scents. The floral oriental classification of Crescendo placed it among the sophisticated and richly layered perfumes that appealed to the era's evolving tastes.

Lanvin's choice of the name "Crescendo" is both evocative and symbolic. The word "crescendo," derived from Italian, refers to a gradual increase in volume or intensity in music. In the context of perfume, it suggests a fragrance that unfolds and intensifies over time, revealing its complexity in layers. This concept would resonate deeply with women in the late 1950s, who were increasingly embracing modernity, sophistication, and depth in their personal style and life choices.

Women of the time would likely respond to Crescendo with enthusiasm and appreciation for its nuanced composition and evocative name. The word "Crescendo" conjures images of rising emotions, building intensity, and a harmonious blend of notes, much like a musical composition. It evokes a sense of anticipation and excitement, mirroring the progressive and optimistic spirit of the era. The imagery associated with Crescendo would be one of elegance, grace, and a powerful, yet controlled, allure.

Interpreted in relation to perfume, "Crescendo" implies a scent experience that starts subtly and grows more pronounced and captivating as it develops on the skin. It suggests a dynamic fragrance journey, where each layer of notes builds upon the previous one to create a symphony of aromas. For women in 1958, wearing Crescendo would be akin to embarking on an olfactory journey that mirrors their own life's crescendo—full of growth, complexity, and beauty.

The name also hints at a sense of drama and performance, aligning perfectly with the cultural backdrop of the time, where cinema, theater, and music were flourishing. Crescendo by Lanvin, therefore, not only offered a luxurious and sophisticated fragrance but also encapsulated the excitement and dynamic changes of the era, making it a memorable and fitting choice for the modern woman of the late 1950s.

Arpege by Lanvin c1927

Arpège by Lanvin, launched in 1927, is one of the house's most iconic perfumes, created by André Fraysse and Paul Vacher. Its name, "Arpège," is drawn from the musical term "arpeggio," a sequence of notes played in quick succession rather than simultaneously. This reference to music was a personal tribute from Jeanne Lanvin to her only daughter, Marie-Blanche, who was a talented pianist. The name "Arpège" originates from French, and it resonates with imagery of elegance, grace, and harmony—qualities that embody both music and the fragrance itself.

The word "Arpège" evokes a sense of movement and rhythm. In a musical context, an arpeggio is a fluid, ascending or descending cascade of notes, creating a sense of flow and beauty. Translating this into a scent, "Arpège" suggests a perfume that unfolds in layers, with notes that rise and intertwine, much like the notes of a musical composition. The fragrance would be interpreted as sophisticated, delicate, yet dynamic—a melody of floral and aldehydic notes that harmonize to form an intricate and balanced whole.

Women in the 1920s would have related to a perfume named "Arpège" as something sophisticated and refined, likely associating it with the elegance of the modern, artistic woman. The Roaring Twenties were marked by a period of social and cultural transformation, with women embracing new freedoms, from fashion to lifestyle. They were stepping into public life more prominently, and a fragrance like Arpège would have appealed to their desire for luxury and individuality. The name itself, with its musical connotations, would have attracted women who appreciated art and refinement, as music and culture were highly regarded during this period.

At the time of its launch, the perfume landscape was rich with innovation. Chanel No. 5, launched in 1921, had introduced aldehydic florals into the mainstream, setting a trend for modern, abstract fragrances. However, Arpège distinguished itself through its complex, highly layered structure, composed of over 60 natural ingredients. It was classified as a floral aldehyde, much like its contemporaries, but with a softer, more romantic floral heart, emphasizing jasmine, rose, and lily of the valley. The use of aldehydes added a sparkling brightness to the bouquet, making the scent feel modern yet timeless.

The era saw the rise of opulent, multi-faceted fragrances that mirrored the complexity of the evolving social landscape. While Arpège followed certain trends, such as the use of aldehydes and florals, it was unique for its depth and sophistication, reflecting Jeanne Lanvin’s dedication to craftsmanship and artistry. It was a fragrance that stood for luxury, grace, and emotional expression, much like the music its name was drawn from.

Rumeur by Lanvin c1934

Rumeur by Lanvin: launched in 1934. Created by André Fraysse. Intended primarily for furs.

My Sin by Lanvin c1924

The design house of Lanvin was among the first to present a perfume as part of a collection. My Sin was created in 1924 and first sold and trademarked in Paris under the name Mon Péché by Lanvin.

"A perfume of enchantment - of enthrallment...My Sin holds enticing charm for the delights which are to come. Smart women are always fond of My Sin's complimentary chic..."

Parfums Le Galion

Le Galion of Neuilly and Paris France.

The story of Parfums Le Galion begins in 1930 with the founding of the house by Prince Murat, who was a descendant of Joachim Murat, brother in law of Napoleon 1st, and King of Naples. The company was originally located at 11 bis, rue Amelie in Paris.

Spanish Geranium by Lanvin c1925

Géranium D'Espagne by Lanvin: launched in 1925, created by Madame Marie Zede, and later may have been tweaked by Andre Fraysse. WWII halted production of the perfume but by 1950 it was re-introduced and renamed Spanish Geranium in 1951 for the US market.

Petales Froisses by Lanvin c1926

Petales Froisses by Lanvin: launched in 1926. Created by Andre Fraysse. The name means "crushed petals".