Antique Ebony and Sterling Vanity Sets

In the late Victorian era up until around 1920, ebony wood vanity sets were very popular amongst men and women alike. Usually these utilitarian items were fitted with sterling silver mountings that could be monogrammed. 

You could find trays (dresser trays, pin trays, comb trays), hand mirrors, powder shakers, perfume bottles, perfume atomizers, hatpin holders, combs, ring holder/tree, all sorts of brushes (hair brushes, clothes brushes, military brushes, toothbrushes, bonnet brushes, curved hat brushes), jars or boxes (hair receivers, powder jars, salve jars, rouge jar, hair pin boxes), glove stretcher, curling irons, buttonhooks, shoe horns, manicure implements (nail buffers, nail files, cuticle knives, tweezers, nail brushes, corn knives) sewing implements (thimbles, bobbins, needle cases, awls, thread winders, sock darners, pin cushion, etc), clock, candlesticks, travel sets in cases and more, all fitted with ebony backings, bases, lids or handles.

Fabrics, Fancy Goods and Notions - Volume 46. 1912:

"WOODS USED IN THE MAKING OF MIRRORS - The variety of woods which are used in the manufacture of toilet mirrors is practically limitless. The most expensive, ebony is to all other woods what gold is to the metals - first in wide spread popularity. Comparatively few people. however. are conversant upon the subject of ebony. They do not know. for instance. that there are several grades of it used commercially/ The best is known as Gaboon Ebony. This is very black, marked by fine gray streaks, and is extremely brittle. It grows in equatorial Africa;, is cut into logs four feet long; carried on the heads of black slaves for upwords of a hundred miles to the coast, where it is dumped into the sea, sinking, and afterwards fished out and loaded on vessels for exportation/ It has the appearance of dilapidated rail road ties when bought, and is, therefore subject to considerable waste. Macassar, found in South and Central America, is the next highest grade of ebony. The best specimens come from the Brazilian jungles. It is characterized by beautiful streaks of yellow and brown, and is used chiefly for our Natural Ebony products. It is also known as Turtle Ebony. Other good grades of ebony grow in Jamaica, Madagascar, the Isle of Pines, and the Philippine Islands."

Most of the ebony was imported from Africa and into France and the sterling pieces were applied in the USA. The little sterling silver appliques are clearly marked "Sterling." Items can be found marked with "Ebony", "Made in England, "Made in France", "Real Ebony", and "Genuine Ebony." Oftentimes, only the larger pieces in a set are marked, other times, smaller pieces were made up of black tinted celluloid, Bakelite, or as with earlier pieces, "Bois Durci". In 1907, "wooden and "bois durci" articles: Brushes - mounted in silver, in boxes...." were noted in The Canada Gazette.

Bois Durci was an early plastic molding material based on cellulose. It was patented in Paris and  England in 1855, by Francois Charles Lepage. Lepage claimed in his patent that he had invented "A new composition of materials which may be employed as a substitute for wood, leather, bone, metal and other hard or plastic substances."

Bois Durci was made from finely ground wood 'flour' and mixed with a natural animal derived binder, either egg or blood albumen or gelatine, animal waste products leftover from the Parisian slaughterhouses. Wood from ebony or rosewood was ground to a very fine powder, with a flour-like consistency. Once mixed with a binder and some black dye, the mixture is dried, powdered again and placed in a steel mold where it was compressed in a powerful hydraulic press whilst being heated by steam. The final product has a highly polished finish imparted by the surface of the steel mold, and the natural wood powder, provided a black or brown result. 

Lepage's patent referred to small household items, such as combs, pipe stems, etc. The Societe du Bois Durci was established to produce desk items, especially decorative inkwell stands and plaques. The factory was at Grenelle in Paris and products were sold through A. Latry & Cie. of 7 Rue du Grand-Chantier, (Au Marais) in Paris. By the end of the 20th century, the firm had been taken over by MIOM (La Manufacture d’Isolants et Objets Moulés) which was founded in 1898. They continued to make Bois Durci until about 1920, by which time it had been superseded by newer plastics materials, such as bakelite.

It is not known when the production of "Bois Durci" objects, in Paris, was discontinued. However, it is known that another factory was established in 1883 in Sezanne by members of the Hunebelle family. This factory used the same material to produce very similar items. Although stylistically similar, it is almost certain that none of the molds from Paris were used in Sezanne. The Sezanne factory continued in production, manufacturing items in both the Belle Epoque and Art Nouveau style until the factory was destroyed by fire in 1926.

Also in Sezanne,  at the Department of Marne, in 1899, Mr. A. Arnoult said that he controlled the manufacture in France of "bois durci," or wood pulp hardened by chemical manipulation and that he knew of no other house engaged in the fabrication. Arnoult claimed that the manufacture of bois durci was "not important" on the "account of the great expense of the outfit," "the difficulty of having the wood, entirely uniform in hardness, grain and age at time of use, which is necessary to produce proper results," and the "difficulty of procuring suitable workmen." He mentioned that the "nearest approach to the bois durci is the caoutchouc durci," and names are given of two house in France engaged in this manufacture. The product is probably the same as the vulcanized rubber of the United States."

You can see images below, shown in advertisements from the 1907 Fort Dearborn Watch & Clock Co. Catalog, Chicago, Il.

Jungle Gardenia by Tuvache c1932

Jungle Gardénia (Original) by Tuvache was launched in 1932, relaunched in 1957.

Tabu by Dana c1932

Tabu by Dana was launched in 1932, an era defined by contrasting social dynamics and a burgeoning interest in luxury and sensuality. The creation of this fragrance was inspired by a rather provocative request directed to perfumer Jean Carles: to develop a scent that a prostitute might wear, termed in French as “un parfum de puta.” This phrase evokes a potent image of allure and seduction, suggesting a fragrance that embodies both daring and sophistication. In the context of perfume, this notion is appropriate; it invites the idea of a scent that is bold, unapologetically sensual, and designed to captivate and entice.

The choice of the name Tabu carries significant weight, as it reflects deeper cultural connotations. The word "taboo," originating from the Polynesian term tapu, refers to something that is prohibited or restricted due to social or cultural norms. This concept evokes images of the forbidden and the mysterious, suggesting a fragrance that challenges conventions and explores the boundaries of desire. The naming was serendipitously inspired when Javier Serra, the founder of Dana Parfums, happened upon the cover of Sigmund Freud’s book Totem and Taboo while strolling through Nice, France. This encounter resonated with the fragrance’s daring nature, offering an intellectual underpinning to its sensual character. Interestingly, in 1935, Dana also launched a perfume named Totem, further emphasizing the connection to the complexities of human desire and social boundaries.

Tabu is classified as a floral woody amber oriental fragrance for women, embodying a luxurious and rich character that is perfectly suited for the cooler months of fall and winter. The scent opens with a captivating blend of floral notes that envelop the wearer in a lush bouquet, leading into a heart that reveals deeper, warmer elements. The interplay of woody and amber notes conjures a sense of opulence and sensuality, making it a perfect companion for evenings out or intimate gatherings. The fragrance exudes confidence and sophistication, encouraging women to embrace their sensuality in a society that was gradually shifting towards greater expressions of femininity and independence.

20 Carats by Dana c1933

20 Carats was first introduced in 1933 by Dana who launched Tabu just one year before. Originally only sold in their Parisian boutique, 20 Carats may have only been introduced to American women during this time by soldiers returning from duty in France, bringing home perfumes for their sweethearts, sisters and mothers.

Fame by Corday c1946

In the post-war era of the mid-1940s, launching a perfume like "Fame" by Corday would have evoked a poignant mix of sensuality, romance, and intimacy amidst a backdrop of recovery and rebuilding. The end of World War II marked a period of rejuvenation and optimism, where people sought to embrace joy and pleasure after years of hardship and sacrifice. The name "Fame" itself carries connotations of glamour, allure, and the allure of the spotlight.

During this time, Hollywood was at its peak, with stars like Ingrid Bergman, Rita Hayworth, and Humphrey Bogart captivating audiences worldwide. Actresses and actors were not just entertainers but symbols of style and sophistication, embodying a sense of elegance and allure. The stage and radio also played significant roles in shaping cultural norms and defining societal expectations of beauty and allure.

Choosing the name "Fame" for a perfume would have been highly appropriate in this context. It speaks to the desire for recognition, admiration, and the aspiration to be remembered or celebrated. Blanche Arvoy, the creator, likely chose this name to evoke the essence of celebrity and allure, aiming to empower women with a fragrance that encapsulates glamour and sophistication.

Toujours Moi by Corday c1923

Toujours Moi by Corday: launched in 1923 in France, in USA by 1924. Toujours Moi (Always Me) started life as the favored incense used in the Notre Dame cathedral of France. Hundreds of years later in 1923, the great House of Corday translated that incense into a classic perfume which would be known as their signature fragrance.

Elgin American Compacts c1940 Advertisements

Vintage advertisements for Elgin American compacts from a 1940 N. Shure catalog. Shown as various enameled compacts, some have cloisonne.

Diorella by Christian Dior c1972

Diorella by Christian Dior: created by Edmond Roudnitska, was launched in 1972. The name combining Dior's name was most probably inspired by Cinderella.

Cocktail by Jean Patou c1984

Cocktail, launched in 1984 as part of Jean Patou's "Ma Collection," was inspired by the iconic trio of scents originally crafted in the 1930s by Jean Patou himself: Cocktail Dry, Cocktail Sweet, and Cocktail Bitter-Sweet. This reimagining is credited to Jean Kerleo, who brought his own modern interpretation to the fragrance, particularly focusing on Cocktail Dry.

Jean Kerleo's approach aimed to capture the essence and allure of Cocktail Dry while infusing it with contemporary elements. This modern interpretation retained the sophisticated and lively character of the original fragrance, making it accessible to a new generation of perfume enthusiasts while honoring the legacy of Jean Patou's olfactory creations.

The launch of Cocktail in 1984 under the "Ma Collection" series not only preserved the spirit of the classic Cocktail perfumes but also introduced them to a broader audience who appreciated both the historical significance and the timeless appeal of these scents. Kerleo's adaptation ensured that Cocktail continued to resonate with its original charm while adapting to contemporary tastes, solidifying its place as a beloved fragrance in the lineage of Jean Patou's enduring creations.

Victoria by Victoria's Secret c1989

Victoria by Victoria's Secret; launched in 1988 in association with Gryphon Development.

Blue Flame by Ellyn Deleith c1941

Launched in 1941, Blue Flame by Ellyn Deleith encapsulates a moment in history marked by both uncertainty and hope. Ellyn Deleith, a perfumer whose work exemplified the innovative spirit of the early 20th century, sought to create a fragrance that would resonate deeply with women during a transformative period. The name Blue Flame evokes a sense of warmth, passion, and a flicker of vitality, suggesting an inner strength that women were beginning to embrace during World War II.

The term Blue Flame carries various interpretations, with its roots in the English language, symbolizing both the beauty and intensity of the color blue paired with the warmth of fire. This juxtaposition conjures vivid images of glowing embers and flickering flames, evoking emotions of passion, energy, and a certain mystique. In the context of fragrance, Blue Flame may suggest a scent that is both uplifting and comforting, encapsulating the essence of resilience and femininity.

Classified as a sweet white floral fragrance for women, Blue Flame would have appealed to the sensibilities of American women at the time, who were navigating a world in flux. The scent features a harmonious blend of delicate white florals, evoking an air of elegance and sophistication. This perfume would symbolize not just a moment of beauty but also a sense of empowerment, allowing women to express their individuality and strength amidst the challenges of the era.

Shocking You by Schiaparelli c1976

The mid-1970s was a time of cultural shifts and fashion experimentation. Following the tumultuous 1960s, which saw significant social and political changes, the 1970s continued to break traditional norms. This decade was marked by a mix of rebellion against the status quo and a desire for individual expression. Disco culture was flourishing, with its vibrant, extravagant fashion, while the punk movement was beginning to emerge, challenging conventional aesthetics and societal expectations. Amid this backdrop, fashion designer Elsa Schiaparelli, known for her avant-garde and surrealist designs, made a significant impact.

Schiaparelli, a contemporary of Coco Chanel, was renowned for her bold, unconventional approach to fashion. Her designs often featured unexpected elements, such as her famous lobster dress and her collaborations with surrealist artist Salvador Dalí. Schiaparelli's connection to perfumes was a natural extension of her brand, blending her artistic vision with olfactory creations. She understood that a fragrance could be as much a part of a woman's identity as her clothing, and her perfumes were designed to complement her daring fashion.

The name "Shocking You" is a nod to Schiaparelli's iconic fragrance "Shocking," which was introduced in 1937 and named after her signature shocking pink color. "Shocking You," launched in 1976, would evoke the same sense of surprise and boldness that characterized Schiaparelli's work. The name suggests a fragrance that is daring, provocative, and unapologetically bold, capturing the spirit of the era's desire for self-expression and rebellion.

"Shocking You" would be an appropriate name for a perfume because it encapsulates the essence of Schiaparelli's brand—unconventional, vibrant, and designed to make a statement. It implies a scent that would stand out, defy expectations, and leave a lasting impression, much like Schiaparelli's fashion.

Indiscret by Lucien Lelong c1936

Indiscret by Lucien Lelong: launched in 1936. Pronounced as "AN-DEES-KRAY", in French it means "heedless, indiscreet."

Joya by Myrurgia c1924

The 1920s, often referred to as the Roaring Twenties, was a time of significant cultural and social change, marked by economic prosperity and a move towards modernity in art, fashion, and lifestyle. This era saw a fascination with luxury and opulence, partly as a reaction to the austerity of World War I. Jewelry, or "joyas" in Spanish, became symbols of wealth, glamour, and the liberated spirit of the time. The period was also notable for its burgeoning film industry, with silent films often showcasing themes of romance, wealth, and exoticism, which complemented the allure of luxurious items like fine perfumes and jewels.

Myrurgia's choice of the name "Joya" for their perfume in 1924 taps into these cultural currents. The word "Joya" means "jewel" in Spanish, and it evokes images of elegance, beauty, and rarity. These connotations are perfectly suited to a luxury perfume, designed to be a precious and cherished item. Naming the perfume "Joya" aligns it with the opulence and sophistication associated with high-quality jewelry, suggesting that the fragrance is as valuable and exquisite as a fine jewel.

During this transitional period into the Art Deco era, the design and fashion trends were greatly influenced by the lavishness and geometric elegance characteristic of Art Deco design. Popular gemstones included diamonds, sapphires, emeralds, rubies, onyx, pearls, and amethyst, each prized for its beauty and rarity. These stones often featured in intricate designs that highlighted the clean lines and sharp angles of the Art Deco style. Precious metals such as platinum, white gold, and to a lesser extent, yellow gold, were used to create settings that enhanced the brilliance of these gemstones. Platinum, in particular, was favored for its strength and neutral color, making it ideal for the detailed and symmetrical designs of the period.

For women of the 1920s, a perfume named "Joya" would resonate deeply. The decade was one of emancipation and empowerment, with women breaking free from traditional roles and exploring new freedoms, including in their fashion and lifestyle choices. A perfume called "Joya" would appeal to their desire for luxury and self-expression, embodying the new sense of identity and sophistication they were cultivating. The name would suggest that wearing the perfume was akin to adorning oneself with a beautiful piece of jewelry, enhancing their allure and elegance.

Acclaim by Ciro c1950

Acclaim by Ciro: launched in 1950.

Chunga by Weil c1977

Chunga by Weil: launched in 1977.

Jin Abe by Jin Abe c1998

Jin Abe by Jin Abe: launched in 1998.

Helietta Caracciolo by Caracciolo c1981

Helietta Caracciolo by Caracciolo: launched in 1981. Caracciolo was an Italian designer of fine and fashion jewelry based in Rome.

Orgia by Myrurgia c1922

In 1922, when Myrurgia launched their perfume "Orgia," Spain was experiencing a vibrant cultural period known as the "Silver Age." This era was characterized by a blossoming of arts, literature, and cinema, marked by a fascination with sensuality, passion, and romanticism. Films of the time often explored themes of love, desire, and the allure of the exotic, resonating with the flamboyant and expressive nature of the period.

The choice of the name "Orgia" by Myrurgia seems deliberate and reflective of the cultural milieu. In Spanish, "Orgia," pronounced "or-hee-ah," traditionally refers to a lavish celebration or revelry, often associated with excess and indulgence. However, its connotation can also suggest a profusion of beauty and sensory delights, aligning perfectly with the perfume's purported essence of "many flowers, many lights, many loves."

For women of the 1920s, a perfume named "Orgia" would likely evoke images of passion, romance, and an exotic allure. In a time when societal norms were loosening and women were increasingly asserting their independence, a fragrance promising such extravagance and allure would likely resonate deeply.

Parfumerie Delia

Parfums Delia of Paris, France.

Modern Perfumery Magazine, 1919

Vintage Shampoo - Yucca Dew

"ooh oooh yucca dew "

The all natural Yucca-Dew Shampoo was made by Alberto-Culver in 1972. It was very distinctive at the time for what it contained, it had the oils from the yucca plant to enrich your hair, leaving it soft, glossy and manageable. Yucca roots when pounded, produce a soapy lather suitable for shampoo. This fact has been known to certain Native Americans in the southwestern United States and Mexicans for centuries and the plant is often called soapweed or soap plant.

La Rose by Rochas c1949

In 1949, the launch of "La Rose" by Rochas occurred amidst a post-war period marked by a resurgence of optimism and elegance. Marcel Rochas, the founder, likely chose the name "La Rose" for its timeless and universally beloved connotations. "La Rose," translating to "The Rose" in English, is a name steeped in symbolic richness. Roses have long been revered in perfumery for their delicate yet powerful fragrance, evoking notions of romance, femininity, and natural beauty. This flower's association with perfumery stretches back centuries, celebrated for its complex scent profile that ranges from fresh and dewy to richly floral and intoxicating.

The name "La Rose" would resonate deeply with individuals appreciative of classic elegance and refined tastes. For them, encountering this perfume would evoke images of lush rose gardens in bloom, enveloping them in a sensory experience reminiscent of springtime and passionate romance. The word itself conjures feelings of tenderness, sophistication, and a timeless allure, appealing to those who value tradition and grace.

Vintage Boudoirs of the Stars - Part 4

Joan Evans, c1940s-1950s, various perfumes and powder boxes on her vanity.

 Joan Fontaine, c1930s-1940s, various perfumes and goodies on her vanity.

Joan Fontaine, c1940s, various perfumes on her vanity.

Joan Crawford, c1940s, gorgeous mirror front vanity table, some treasures on the table.

Judith Barrett, c1940, various crystal bottles and an atomizer on her vanity

June Collyer, c1920s, Apollo Studios pierced brass perfume atomizer on her vanity.

Bullock, Ward & Co

Bullock, Ward & Co. of Chicago, Illinois were manufacturers of soap, perfumes, pure food flavor extracts and toilet specialties. The company was established in 1899 by Thomas H. Bullock and Phillip T. Ward, and primarily dealt in the mail order business.

Le Parfum Ideal by Houbigant c1896

Le Parfum Ideal was created by Houbigant by in house perfumer, Paul Parquet in 1896, but it was launched for the first time at the 1900 Worlds Fair, along with another perfume Coeur de Jeanette.

The quintessential label for Le Parfum Ideal features a Gibson Girl sniffing a flower, this label was made of gilded foil and heavily embossed.

Mademoiselle Ricci by Nina Ricci c1967

Mademoiselle Ricci by Nina Ricci: launched in 1967. An eau de toilette created for young girls by

Michel Hy.

Cialenga by Balenciaga c1973

Cialenga by Balenciaga: launched in 1973 and created by perfumer Jacques Jantzen.

Courant by Helena Rubinstein c1972

Courant by Helena Rubinstein: launched in 1972. Created by Max Gavarry. Courant was reportedly formulated to change with a woman's body temperature.

Halston

Halston (pronounced HALL'-STON).

Established by fashion designer Roy Halston Frowick (1932-1990) in Des Moines; started as a milliner. There is tons of info on Halston online, so I won't go into that here, but I will concentrate on his fragrances.

Directoire by Charles of the Ritz c1946

In 1946, Directoire by Charles of the Ritz was launched into a world emerging from the devastation of World War II. This early post-war period was marked by significant societal shifts and economic recovery efforts, particularly in Europe, where the Marshall Plan was soon to be implemented to rebuild economies. The transition from a wartime to a peacetime economy meant the demobilization of soldiers and a complex adjustment for women who had joined the workforce during the war and were now expected to return to domestic roles. Fashion and culture, however, began to experience a resurgence as wartime rationing ended, with luxury goods and fashion reclaiming their places in society. Christian Dior’s "New Look," introduced in 1947, emphasized femininity and opulence, sharply contrasting the austere styles of the wartime period.

The inspiration for the perfume, the Directoire period, spanned from 1795 to 1799 and followed the tumultuous years of the French Revolution and the Reign of Terror. Governed by a directory of five directors, this era represented a time of relative stability and cultural rejuvenation before the rise of Napoleon Bonaparte. The period was distinguished by a return to classical influences in art, fashion, and architecture. Women's fashion during the Directoire period featured empire waist dresses that allowed greater movement and comfort, moving away from the restrictive corsets and elaborate gowns of the earlier 18th century. This simplicity and elegance, inspired by classical Greek and Roman styles, were defining characteristics of the era's fashion.

For women in the post-World War II era, the Directoire period's fashion and cultural shifts had a particular appeal. After enduring years of wartime austerity and utilitarian clothing, women longed for a return to elegance, luxury, and femininity. The classical elegance of the Directoire period resonated with this sentiment, symbolizing both a break from the past's restrictions and a renewed focus on comfort and beauty. The Directoire period also represented a time of rebuilding and re-establishing social order after revolutionary chaos, mirroring the post-war period's spirit of reconstruction and renewal.

Naming the perfume "Directoire" evoked the sophistication and classical beauty of this historical era, appealing to women who desired to embrace a sense of historical glamour. The association with a period of cultural renaissance and new beginnings made it an appealing inspiration for a luxury product like perfume. Directoire by Charles of the Ritz encapsulated the longing for elegance, stability, and a return to classical beauty in a world recovering from the upheaval of war.

DIRECTOIRE ... the fragrance of an epoch of splendour, distilled for you by Charles of the Ritz Bottled, packaged, sealed in France. 

André Chapus Parfumeur

André Chapus, 11 bis Avenue Mac-Mahon, Paris, launched a range of perfumes and cosmetics in the 1940s.

 

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.

Intimate by Revlon c1955

Intimate by Revlon: launched in 1955, created by IFF.

Most Precious by Evyan c1951

Most Precious by Evyan: launched in 1951.

c1962 ad

Laura Biagiotti by Laura Biagiotti c1982

Laura Biagiotti by Laura Biagiotti: launched in 1982. This was the first Laura Biagiotti perfume, it was later known as Fiori Bianchi (White Flowers) in 1991.

This fragrance was manufactured by Ellen Betrix and distributed in the United States by New York-based Accents and Essentials.