Crown Jewel by Prince Matchabelli c1946

In 1946, Crown Jewel by Prince Matchabelli emerged onto the perfumery scene, marking a significant moment for the brand post-World War II. This period was characterized by a resurgence in luxury and glamour after the austerity of war years, making it an opportune time for a new fragrance launch. Perfumery itself was undergoing a renaissance, with iconic fragrances becoming associated with both personal luxury and societal status.

Prince Matchabelli's choice of the name "Crown Jewel" for this perfume carries multiple layers of significance. Firstly, it aligns with the brand's royal associations—Prince Matchabelli himself was a Georgian prince, and by naming a fragrance "Crown Jewel," he evoked notions of regal elegance and exclusivity. The term "Crown Jewel" is traditionally used to denote the most precious and valuable item in a collection, often associated with royalty and dynastic heritage. By applying this name to a perfume, Matchabelli positioned his creation as a pinnacle of luxury and refinement, appealing to those who sought to embody sophistication and opulence.

The name "Crown Jewel" would resonate deeply with consumers who aspired to a sense of royalty and elegance in their personal lives. It would evoke images of ornate crowns adorned with rare gems, sumptuous courtly settings, and the allure of precious treasures. Those who wore the perfume would likely feel a sense of elevated status and sophistication, akin to wearing a coveted jewel that enhances their aura of glamour and allure.

In essence, Crown Jewel by Prince Matchabelli embodied more than just a perfume; it encapsulated a vision of luxury, elegance, and timeless allure. Its name and marketing strategy were crafted to resonate with an audience seeking to adorn themselves with nothing less than a "crown jewel" of fragrance, symbolizing both personal indulgence and cultural sophistication.

Parfums Paul Caret

Paul Caret, a designer active in the 1920s, was among the wave of couturiers who recognized the appeal of launching perfumes as extensions of their fashion houses. Much like his contemporaries, Caret sought to offer clients a complete experience of elegance, with fragrances that would complement and enhance his fashionable creations. Perfumes were increasingly seen as essential elements in a designer's portfolio, adding an aura of refinement that aligned with the chic attire of the era.

However, Caret’s venture into perfumery appears to have been brief, making his line one of the rarest among early fashion designers. Unlike the enduring perfume lines of some of his peers, Caret’s creations were only produced in limited quantities, likely due to the challenges of entering a competitive market dominated by established perfume houses. Today, these perfumes are elusive treasures for collectors and historians, with only a few surviving bottles known to exist. Their scarcity adds an air of mystique to Caret’s legacy, reflecting both the fleeting nature of his perfumed endeavors and their rarity as coveted artifacts from the era of early designer perfumes.

Conquete by Lancome c1935

Conquête by Lancôme, launched in 1935, emerged during a tumultuous and transformative era known as the Great Depression. This period was marked by widespread economic hardship, yet also saw a remarkable flourishing of creativity and escapism in popular culture. Amidst the struggles, there was a longing for romance, adventure, and heroism, which found expression in various forms of media, including films and fashion that often romanticized the medieval era, knights, and chivalric conquests.

The choice of the name "Conquête" for this perfume is particularly evocative and fitting for the time. The word "conquête" is French for "conquest," a term rich with historical and emotional resonance. It conjures images of knights, gallant battles, and the pursuit of noble goals, themes that were incredibly appealing during the Great Depression. These themes offered an escape from the harsh realities of daily life, providing a sense of grandeur and timeless elegance.

Imprevu by Coty c1965

In 1965, when Coty launched Imprevu, the world was amidst a vibrant cultural shift. It was a time of considerable change and exploration, both socially and artistically. The mid-1960s marked the peak of the Swinging Sixties era, characterized by a rebellious spirit, a rejection of traditional values, and an embrace of youth culture.

Around the world, significant events were shaping history. In the United States, the Civil Rights Movement was gaining momentum, with key figures like Martin Luther King Jr. leading marches and protests for racial equality. The Vietnam War was escalating, sparking anti-war demonstrations and a countercultural movement that challenged authority and the status quo. In Europe, the Swinging London scene was flourishing, with its fashion, music, and art scenes capturing global attention.

For young women, especially those targeted by Coty's marketing for Imprevu, life was undergoing profound changes. The traditional roles and expectations of women were being redefined. The rise of feminism and the sexual revolution empowered women to assert their independence, challenge societal norms, and embrace their individuality. Fashion icons like Twiggy and Brigitte Bardot epitomized the era's liberated spirit, influencing trends with their bold styles and attitudes.

Imprevu's debut represented a deliberate departure into modernity, perfectly aligned with the zeitgeist of the Swinging Sixties. Crafted by Bernard Chant, the fragrance aimed to encapsulate the essence of the contemporary woman amidst a backdrop of societal change and cultural revolution. Its very name, "Imprevu," meaning "unforeseen" in French, hinted at the unpredictability and excitement of the times.

White Linen by Estee Lauder c1978

Launched in 1978, White Linen by Estée Lauder emerged during a period when the fragrance market was predominantly dominated by rich, opulent perfumes, characterized by intense floral, oriental, and chypre compositions. The late 1970s were a time when powerful, heady fragrances like Opium by Yves Saint Laurent (1977) and Chanel No. 19 (1970) were making waves. These fragrances were known for their complex, bold scents, often layered with spices, resins, and heavy florals, reflecting the era's fascination with grandeur and exoticism.

In this context, White Linen offered a distinct contrast. Created by the renowned perfumers at IFF, it was designed to be a breath of fresh air—a clean, elegant, and understated fragrance. Its composition was a departure from the prevailing trends of the time, focusing instead on a purity that evoked a sense of simplicity and refinement. The fragrance emphasized a crisp, clean scent profile that was both modern and timeless, featuring notes that conjured the idea of freshly laundered linens, with its emphasis on clean florals and subtle woody undertones.

The name "White Linen" was strategically chosen to reflect these qualities. "White" symbolizes purity, cleanliness, and simplicity, while "Linen" evokes an image of fresh, crisp fabric that has just been washed. Together, these words suggest a sense of effortless elegance and everyday luxury—a contrast to the more opulent and complex fragrances of the era. This name effectively communicated a vision of understated sophistication and modern freshness, appealing to women who desired a fragrance that was both refined and approachable.

The imagery associated with "White Linen" would likely evoke emotions of clarity and cleanliness. It might bring to mind serene, sunlit spaces filled with the scent of fresh air and newly laundered fabrics. The name suggests an effortless grace, embodying a sense of calm and understated beauty. Women responding to White Linen would have likely been drawn to its sophisticated simplicity—a fragrance that provided a refined yet subtle olfactory signature, perfect for everyday wear. It catered to those who appreciated a scent that was elegant without being overpowering, reflecting a modern, polished persona.

In summary, White Linen carved out a unique niche in the fragrance landscape of the late 1970s by presenting a clean, fresh alternative to the era's more extravagant perfumes. Its name and scent profile resonated with a desire for purity and understated elegance, appealing to women who sought a sophisticated yet uncomplicated fragrance experience.

The New Romantics:

In 1978, Estée Lauder's innovative approach to fragrance was embodied in the launch of The New Romantics Collection, a groundbreaking trio designed to reflect the layered fashion trends of the time. This collection, which included White Linen, Celadon, and Pavilion, was conceived with the intention of providing women with a versatile and personalized fragrance experience. The idea was to offer scents that could be worn individually for distinct olfactory profiles or layered together to create a multitude of unique fragrance combinations.

The concept behind The New Romantics Collection was inspired by the layered fashion trends of the late 1970s, where clothing often featured multiple textures and colors combined to create a single, cohesive look. Estée Lauder mirrored this fashion trend in her fragrances, allowing each perfume to be a standalone experience while also blending harmoniously with the others. This layering capability meant that when worn together, the three fragrances could interact to produce 27 different olfactory permutations, offering women nearly endless possibilities to tailor their scent to their mood or occasion.

Estée Lauder's vision for this collection was to empower women with the freedom to experiment and express themselves through fragrance. In her own words, "Fragrance is an extension of the women who wears it, a reaching out to those around her. My new three fragrances are meant to be enjoyed with new freedom. I created them to work together through their floral notes... The ingredients are natural so that one complements the other. A woman will never mix them quite the same way. She will enjoy each one separately, but she will have almost endless possibilities to express her own creations, too."

Each fragrance in The New Romantics Collection was crafted with natural ingredients that were chosen to harmonize with one another, ensuring that the overall sensory experience was both cohesive and versatile. White Linen brought a crisp, clean aroma, Celadon offered a fresh, green floral scent, and Pavilion provided a richer, more complex floral note. Together, these scents created a sophisticated olfactory palette that could be mixed and matched according to personal preference.

This innovative approach allowed women to explore their individuality and creativity through fragrance, aligning with the broader cultural shifts of the time that emphasized personal expression and freedom. By providing a structured yet flexible framework for fragrance layering, Estée Lauder not only offered a novel way to experience perfume but also resonated deeply with the evolving attitudes toward personal style and identity.

In 1978, White Linen emerged as a hallmark of crisp, spring-like freshness. Its scent was designed to evoke the purity and vitality of a new season, capturing the essence of clean linens fresh from the wash and the invigorating spirit of spring. This fragrance featured a delicate yet vibrant composition that emphasized clarity and simplicity, making it ideal for those who sought a light, refreshing scent that resonated with the natural elegance of springtime.

In contrast, Celadon was characterized as a "light mixture of a flower garden," blending the floral richness of a lush garden with a touch of verdant greenery. Its composition was a harmonious fusion of jonquils and ylang ylang, complemented by a mix of fruity and green notes that added depth and vibrancy to the fragrance. The result was a scent that evoked the delicate beauty of a blooming garden, capturing both the sweetness of flowers and the freshness of green foliage.

Pavilion offered a more exotic and complex olfactory experience, described as a "sensuous sophisticated formulation." It featured a rich bouquet of tuberose, narcissus, and jasmine, which were intertwined with earthy patchouli and warm spices. Mossy tones provided an additional layer of depth, creating a fragrance that was both luxurious and intriguing. This scent was crafted to embody sophistication and sensuality, appealing to those who desired a more opulent and enveloping fragrance experience.

Estée Lauder emphasized the connection between fragrance and personal lifestyle, noting that "Fragrance is not separate from living. Women have more varied lifestyles than ever before. They are more independent and more confident. They are showing more creativity. Now they can be as individual with fragrance as they are with their wardrobes." This perspective highlighted the evolving role of fragrance in a woman’s life, reflecting her independence and creativity. With The New Romantics Collection, Lauder provided women with the tools to express their unique identities through scent, allowing them to curate their olfactory experiences just as they did their wardrobes. This approach celebrated the diverse and dynamic nature of modern life, offering a range of fragrances that could adapt to and enhance each woman's individual style.

Layering The New Romantics:

Estée Lauder provided a range of creative tips for wearing her The New Romantics Collection fragrances, emphasizing the versatility and personal expression offered by her innovative layering concept. Her advice was intended to help women maximize the impact and enjoyment of each scent, enhancing the overall olfactory experience.

One of her suggestions was to wear the fragrances side by side, allowing each scent to bloom independently. This approach mirrors the way quadraphonic sound creates a rich, immersive auditory experience, with each fragrance contributing its unique notes to a harmonious whole. By applying the perfumes in this manner, the individual characteristics of each scent would be appreciated, while their combined effect would create a multifaceted and dynamic fragrance experience.

Lauder also recommended layering vertically, using White Linen on the neck and shoulders to highlight its crisp, spring-like freshness, Celadon on the arms to add a floral and green complexity, and Pavilion on the back of the knees for a deeper, more sensual touch. This method allowed the more robust scents to rise and mingle with the lighter notes, creating a balanced and evolving fragrance profile that interacted with the body’s natural warmth and movement.

For a more adaptive approach, Lauder suggested applying different fragrances throughout the day based on mood and activity. Starting the day with the invigorating freshness of White Linen would provide a crisp, clean start, while transitioning to Celadon in the afternoon would bring a refreshing, floral nuance. As evening approached, Pavilion could be applied to evoke a sophisticated, sensual aura. This method allowed women to tailor their scent to different parts of their day, enhancing their overall experience.

Another playful recommendation was to wear Celadon on one wrist, Pavilion on the other, and White Linen on the neck and shoulders. This technique created a dynamic interplay of scents as the wearer moved, with the fragrances drifting and blending across their body. This approach highlighted the collection's layering potential and added an element of personal interaction with the fragrances.

Lauder encouraged experimentation with quantities to achieve the desired effect. She suggested using one short spray of Celadon, two long sprays of Pavilion, and three short sprays of White Linen, or applying one fragrance all over and touching pulse points with others. This flexibility allowed women to customize their scent experience to match their preferences and the intensity they desired.

Finally, Lauder noted that wearing multiple fragrances helped maintain a fresh perception of the scents. When wearing only one fragrance for an extended period, one’s senses can become accustomed to it, diminishing its impact. By alternating between two or three fragrances, the nose remained attuned to the evolving notes, ensuring that the scent continued to be perceived as novel and engaging. This approach also meant that those around the wearer would remain pleasantly aware of the fragrance’s complexity and allure.

Prices for The New Romantics:

In 1980, the retail prices for The New Romantics Collection reflected a tiered pricing strategy based on both the fragrance and the size of the bottle. For the smaller 0.5 oz parfum sprays, White Linen was priced at $8.50, making it the most expensive of the trio. This price premium likely reflected its growing popularity and perceived value. Pavilion followed closely at $8.00, while Celadon was priced at $7.50, positioning it as the most affordable option in the smaller size.

When considering the larger 1.75 oz parfum sprays, White Linen remained the priciest at $20.00, reinforcing its status as the collection's flagship fragrance. Pavilion was priced at $17.50, and Celadon at $15.00, showing a consistent pricing hierarchy that mirrored the smaller sizes. The differences in pricing across the perfumes could have been influenced by factors such as production costs, perceived market demand, and the individual appeal of each fragrance.

By 1994, the prices for the 0.5 oz parfum sprays had decreased slightly, reflecting a shift in the market or a strategic adjustment by Estée Lauder. White Linen remained at $8.50, unchanged from its 1980 price. Pavilion saw a reduction to $7.50, and Celadon dropped to $6.50. The price adjustments for Pavilion and Celadon indicated a continued effort to remain competitive and accessible, possibly due to their diminished popularity compared to White Linen. These price changes highlighted the evolving dynamics within the fragrance market and the impact of consumer preferences on pricing strategies.

Popularity of White Linen:

Estée Lauder's The New Romantics Collection was initially envisioned as an adventurous exploration of fragrance layering, reflecting the trend of combining multiple scents to create a unique, personalized olfactory experience. White Linen, Celadon, and Pavilion were each crafted to interact harmoniously, allowing women to experiment with different combinations and express their individuality through scent. However, despite the innovative concept, White Linen quickly emerged as the standout success of the line, eclipsing its companions and becoming the focal point of the collection.

As White Linen gained popularity, it became clear that it was the true winner among the trio. The fragrance resonated strongly with consumers, leading Estée Lauder to pivot its focus solely toward this successful product. By 1985, the two other fragrances, Celadon and Pavilion, were described as "moribund" in comparison, indicating they were struggling to maintain relevance and appeal in the marketplace.

In 1986, Bob Barnes, then president of Estée Lauder USA, acknowledged a concern that White Linen was being perceived as a summer fragrance, potentially limiting its appeal throughout the year. To counter this perception and reinforce its versatility, the company adopted a new tagline: "White Linen, a crisp, refreshing fragrance from Estée Lauder to live in all summer long, all year long." This strategic move aimed to broaden the fragrance's appeal, emphasizing its suitability for any season.

Ultimately, White Linen proved to be the enduring success of The New Romantics Collection, while Celadon and Pavilion were discontinued around 1994. The preference for a single, distinct fragrance over a layering system may have contributed to this outcome. Women may have favored the simplicity of a singular, well-defined scent rather than the complexity of combining multiple perfumes. White Linen's ability to capture and maintain consumer interest ensured its lasting presence, while the concept of layering multiple fragrances, despite its initial allure, did not resonate as strongly in the long term.

 

Fragrance Composition:

So what does it smell like? White Linen is classified as an aldehydic floral fragrance for women. It begins with a aldehydic, fresh flowery top, followed by a radiant floral heart, resting on a sensual, spicy, woody base. 

"Top notes sparkle with a fresh floral aldehyde composition recalling the crisp air of springs first scents - lavender, Bulgarian rose, Moroccan roses, jasmine, orange blossom, lily of the valley and violet blending with pimento berry, orris and the clean, sweet sharpness of orange. Background warms the vetiver, moss, incense and amber."

• Top notes: aldehydes, peach, citrus oils, flower calyx note, honeysuckle, orange
• Middle notes: lavender, hyacinth, orange blossom, Bulgarian rose, gardenia, lily of the valley, lilac, orchid, Grasse jasmine, Moroccan rose, Nossi-Be ylang ylang, iris, pimento berry, violet
• Base notes: Haitian vetiver, musk, incense, oakmoss, cedar, amber, Ceylon sandalwood, civet, honey, Thailand benzoin, tonka bean

Scent Profile:

Imagine opening the bottle of White Linen, and you're immediately greeted by a rush of crisp, airy aldehydes. They sparkle with a fresh, almost effervescent quality, evoking the sensation of spring’s first breath. The aldehydes merge seamlessly with a peachy top note that offers a juicy, succulent sweetness. Citrus oils add a bright, zesty edge, invigorating the senses with a burst of tangy freshness. A delicate flower calyx note introduces a subtle floral touch, soft and ethereal, while the honeysuckle brings a sweet, honeyed richness. The orange note here adds a further layer of tangy brightness, blending effortlessly with the other top notes.

As the fragrance settles, the middle notes reveal a beautifully radiant floral bouquet. Lavender’s soothing, herbaceous quality intertwines with the rich, velvety essence of Bulgarian rose and the deep, exotic aroma of Moroccan rose. Hyacinth and orange blossom contribute a lush, intoxicating sweetness, while gardenia adds a creamy, tropical depth. The lily of the valley imparts a fresh, green, dewy note, and lilac offers a soft, powdery nuance. Orchid’s exotic, floral scent blends harmoniously with Grasse jasmine's warm, sensual quality, creating a complex and elegant floral heart. Nossi-Be ylang ylang adds a hint of opulence with its rich, sweet, and slightly fruity aroma, while iris introduces a subtle, velvety earthiness. The pimento berry adds a spicy kick, and violet imparts a delicate, powdery sweetness.

In the base notes, the fragrance deepens into a warm, sensual foundation. Haitian vetiver offers a smoky, earthy richness that grounds the composition, while musk adds a soft, animalic warmth. Incense provides a subtle, spiritual smokiness, enhancing the fragrance’s depth. Oakmoss introduces a rugged, woody-green note, and cedar adds a dry, aromatic woodiness. Amber lends a golden, resinous warmth, and Ceylon sandalwood contributes a creamy, exotic richness. Civet adds a slightly animalic, yet pleasantly musky depth, while honey offers a sweet, warm nuance. Thailand benzoin and tonka bean bring a rich, balsamic sweetness, rounding out the fragrance with a comforting, resinous finish.

Bottles:

White Linen, a signature fragrance from Estée Lauder, was elegantly housed in a bottle designed by the renowned Pierre Dinand. Dinand’s design became iconic for its clean, sophisticated lines, which reflected the crisp and fresh character of the fragrance itself. Over the years, this bottle style remained largely unchanged, maintaining its classic silhouette with minimal modifications. The consistent design underscored the fragrance’s timeless appeal and the enduring quality associated with the Estée Lauder brand.

The standard White Linen bottles were available in various sizes to cater to different preferences. These included a 0.25 oz parfum, a 0.50 oz parfum, a 1 oz parfum, and a 0.25 oz signature parfum spray. This range allowed consumers to choose the size that best fit their needs, whether for daily wear or special occasions.

In 1983, Estée Lauder introduced a special limited edition bottle called the Frosted Shell for the Christmas season. This limited edition bottle was a frosted glass creation shaped like a delicate shell, capturing the wintery essence of the holiday season. It featured a gold-tone cap adorned with a silken tassel, adding a touch of festive elegance. The Frosted Shell bottle held 0.25 oz of pure parfum and was originally priced at $40, reflecting its exclusivity and seasonal appeal. This special edition exemplified Estée Lauder’s commitment to offering unique and luxurious packaging options that complemented the fragrance’s refined character.

Fate of the Fragrance:

White Linen has been continuously made since 1978. Although, changes have been made. As of 2024, White Linen continues to be available on Estée Lauder's website, but this version represents a departure from its original formulation. The modern incarnation of White Linen has been carefully reformulated to align with contemporary preferences and to adhere to the latest International Fragrance Association (IFRA) guidelines, which impose restrictions on certain ingredients for safety and environmental reasons.

Fragrance Composition:

It is classified as fresh floral fragrance for women.

• Top notes: Bulgarian rose, jasmine, lily of the valley
• Middle notes: violet, orris
• Base notes: vetiver, moss, amber

Differing Scent Profiles:

The transition from the original 1978 formula of Estee Lauder's White Linen to its current reformulated version represents a significant shift in both complexity and style, reflecting changes in consumer preferences and ingredient regulations over time.

The reformulated version of White Linen, classified as a fresh floral fragrance, has undergone a substantial simplification of its original structure. The top notes now feature Bulgarian rose, jasmine, and lily of the valley. This new opening retains the floral essence of the original but without the distinctive aldehydic sparkle and the complexity of citrus and peach. The focus is on a more straightforward, refined floral bouquet that emphasizes the elegance of rose and jasmine, with lily of the valley adding a fresh, green quality.

In the middle notes, the reformulated version includes violet and orris. The absence of the broader range of floral components from the original heart, such as hyacinth, gardenia, and Moroccan rose, results in a more streamlined and less intricate floral profile. Violet introduces a soft, powdery sweetness, while orris adds a subtle, creamy powderiness that provides a touch of elegance and depth.

The base notes of the current formula are simplified to vetiver, moss, and amber. This adjustment eliminates many of the original base notes, including musk, incense, oakmoss, cedar, civet, honey, benzoin, and tonka bean. The result is a cleaner, less complex base that retains the earthy and warm qualities of vetiver and amber, with moss providing a touch of freshness and natural depth. This simplified base aims for a modern, more accessible finish, aligning with contemporary preferences for cleaner and less intense fragrances.

Overall, the current formula of White Linen reflects a shift towards a fresher and more streamlined floral profile, with a focus on key floral notes and a simplified base. This contrasts with the original 1978 version's rich and complex aldehydic floral composition, which was notable for its depth and intricate layering of ingredients.

 

Perfumes Amiguet

Perfumes Amiguet, founded by Roberto Amiguet Farré and based at 59 P. Gómez (Corrales), Havana, Cuba, brought the rich cultural and botanical heritage of Cuba to life through its perfumes and toiletries. The brand's fragrances, introduced between the 1930s and 1950s, reflect the vibrant, tropical essence of Havana, drawing on local ingredients and the island’s affinity for tobacco, florals, and earthy tones.

Skylark by Barbara Gould c1940

Barbara Gould’s choice of the name "Skylark" for her 1940 perfume is both poetic and evocative, drawing on rich natural imagery and symbolism. The word "skylark" comes from Old Norse origins, "lǫkr" meaning "lark," combined with "sky," reflecting the bird's tendency to ascend and sing while airborne. A skylark is a small bird known for its melodious and uplifting song, often associated with freedom, joy, and the vastness of open skies. This delicate creature, with its soaring flight and musical voice, naturally conjures images of lightness, beauty, and nature’s grace.

In the context of scent, the word "Skylark" suggests a perfume that is airy, bright, and fresh. One might imagine a fragrance that opens with vibrant top notes, perhaps citrus or soft green accords, leading into a bouquet of delicate florals like apple blossom, rose, or lily of the valley. The perfume would likely evoke feelings of freedom, happiness, and a connection to the outdoors, much like the skylark's flight evokes a sense of liberation and peace.

For women in the 1940s, "Skylark" would have held significant appeal, especially as the world was on the brink of war. The United States was still recovering from the Great Depression, and the perfume’s launch in 1940 came just before the country entered World War II. During this tumultuous time, the name "Skylark" would have symbolized an emotional escape from the challenges of daily life, offering an image of serenity and beauty. For American women, who were increasingly stepping into new roles due to the war, a perfume called "Skylark" might have represented a sense of hope, optimism, and resilience. The bird’s association with freedom and its uplifting song could symbolize the desire for peace and the return to simpler, more carefree days.

Alchimie by Rochas c1998

The perfume Alchimie by Parfums Rochas was launched in October 1998. The late 1990s was a period characterized by a mix of technological optimism and a turn towards nostalgia. The dot-com boom was in full swing, leading to significant advancements in technology and the internet, which influenced fashion, culture, and even fragrance trends. Despite the futuristic outlook, there was a strong pull towards romanticism and a longing for the mystique and elegance of bygone eras. This dichotomy created a perfect backdrop for the launch of a fragrance that sought to blend ancient allure with contemporary sophistication.

The name "Alchimie" is the French word for "alchemy," a term that evokes the mysterious and ancient practice of transforming base metals into gold and seeking the elixir of life. Alchemy has long been associated with mystical transformation and the pursuit of perfection, making it a fitting metaphor for the art of perfumery. In English, "Alchimie" translates directly to "alchemy," which conjures images of old-world wisdom, magical transformations, and the quest for ultimate beauty and refinement.

Alchemy and perfumery share several commonalities. Both are arts that involve intricate processes and the transformation of raw materials into something precious and desirable. Alchemists sought to create gold and the philosopher's stone, while perfumers blend natural and synthetic ingredients to create fragrances that captivate the senses and evoke emotions. The process of creating a perfume involves a deep understanding of chemistry, a keen artistic sense, and a touch of mystery—parallels to the esoteric practices of alchemists.

Anne Klein II by Anne Klein c1985

Anne Klein II was launched in 1985 during a period marked by significant transitions in fashion and fragrance. The early 1980s were a time of bold statements and a resurgence of classic elegance blended with modern sensibilities. The era was characterized by opulent styles, with power suits, shoulder pads, and a renewed focus on strong, independent women. In this context, Anne Klein II, created by Yves Tanguy in association with Parlux, emerged as a reflection of these cultural and aesthetic shifts.

Anne Klein II's name evokes a sense of continuity and refinement. As a sequel to the original Anne Klein fragrance, its designation as "Anne Klein II" suggests an evolution or an update of the initial perfume, maintaining the brand's core identity while introducing a new dimension. The use of Roman numerals to denote the second iteration of the perfume aligns with a sense of sophistication and timelessness, resonating with the same qualities associated with the Anne Klein fashion label. The name effectively conveys that this fragrance is a sophisticated extension of the original, meant for a woman who appreciates both tradition and innovation.

The choice of "Anne Klein II" as a name is particularly fitting for the perfume as it underscores the evolution of Anne Klein's brand into the realm of fragrances while maintaining a connection to its fashion roots. The name signifies a blend of classic elegance and contemporary flair, capturing the essence of the 1980s fashion world that Anne Klein was influential in shaping.

Anne Klein's relation to perfumery is indirect yet significant. Known primarily for her fashion design, Anne Klein's brand extended its influence into the world of fragrances as a natural progression of her fashion empire. Her designs were emblematic of modern, powerful femininity, and her foray into perfumery was a way to encapsulate this ethos in a scent. The perfume was created by Yves Tanguy, whose expertise in fragrance composition added a layer of sophistication to the brand’s fragrance offerings.

Ellyn Deleith Parfums

Ellyn Deleith, Inc. was an American company based in New York City established in 1936. They produced several fragrances including their best known, Blue Flame.

In the early 1940s, Ellyn Deleith introduced a line of exquisite fragrances that captured the imagination of women seeking luxury and elegance during a time of global uncertainty. Deleith sourced high-quality oils and essences from Europe and other regions renowned for their perfumery expertise. These rare ingredients, carefully selected for their richness and complexity, were blended in America with domestic alcohol, creating a unique fusion of international sophistication and local craftsmanship. The result was a line of perfumes that offered a sensory escape into realms of luxury, blending exotic imports with the strength and spirit of American ingenuity.

The name Deleith chose for her collection, "Moods of Crystals," reflected both the emotional depth and visual splendor of the fragrances. Each perfume was housed in a glittering cut-glass bottle imported from Czechoslovakia, known for its exceptional craftsmanship in glassmaking. These bottles were more than just containers; they were jewels in their own right, symbolizing the dazzling and transformative power of scent. The facets of the crystal bottles caught the light, reflecting the sparkling essence of the fragrances inside, adding a layer of glamour that enhanced the overall experience. The decision to use imported crystal emphasized Deleith’s commitment to luxury, creating perfumes that were as beautiful to behold as they were to wear.

With its roots in both Europe and America, the "Moods of Crystals" line embodied the cosmopolitan spirit of the time. Ellyn Deleith’s vision brought together the best of global perfumery, crafting scents that captured different moods and atmospheres, each one a reflection of the multifaceted lives of the women who wore them. The introduction of this line during the early 1940s offered a touch of glamour and emotional resonance at a time when many were seeking beauty and comfort in everyday luxuries