Lilas Pourpre by Coty c1911

In 1911, the renowned perfumer François Coty unveiled the exquisite fragrance Le Lilas Pourpre.

The Romanov Grand Duchesses had a particular fondness for the floral scents crafted by the French house of Coty. Among them, Anastasia was captivated by the delicate notes of La Violette Pourpre, while Olga cherished the elegant aroma of La Rose Jacqueminot. Tatiana had a penchant for the exotic scent of Jasmin de Corse, and Maria's favorite was the enchanting Le Lilas Pourpre. These fragrances became a signature part of their refined and sophisticated personas, highlighting their individual preferences and styles.

Coty Perfume Gift Sets Pour L'Occasion 1938 Advertisement

Coty Perfume Gift Sets "Pour L'Occasion" 1938 Advertisement.

Ici by Coty c1995

Gourmand fragrances, which are scents inspired by food and dessert-like notes, experienced a significant surge in popularity around the time of the launch of "Ici" by Coty in 1995. This trend was part of a broader movement in perfumery towards more unconventional and experiential scents, as consumers sought fragrances that were not just pleasant to wear but also evoked a sense of nostalgia or indulgence.

One of the landmark gourmand fragrances that set the stage for this trend was "Angel" by Thierry Mugler, which debuted in 1992. Angel was revolutionary for its use of edible notes like chocolate, caramel, and vanilla, which were blended with traditional floral and oriental elements to create a unique olfactory experience. Its success paved the way for other perfumers to explore similar territory, leading to the creation of fragrances like "Ici" by Coty.

"Ici" capitalized on the gourmand trend by featuring notes such as vanilla, creme brulee, caramel, and cocoa, which further reinforced the idea of scent as a sensory experience reminiscent of indulgent desserts. By combining these edible elements with other aromatic components, "Ici" aimed to evoke a sense of luxury and comfort, appealing to consumers who sought fragrances that went beyond traditional floral or citrusy scents.

Overall, the rise of gourmand fragrances in the mid-1990s reflected a shift in consumer preferences towards more innovative and multisensory olfactory experiences. These scents tapped into the emotional connection between scent and memory, offering wearers a way to indulge in the pleasures of food and dessert through the medium of fragrance.

Sophia by Coty c1980

Sophia is a Coty fragrance inspired by the famous Sophia Loren. Created by James Bell.

Nokomis by Coty c1997

It's fascinating how the inspiration for Coty's perfume, Nokomis, could potentially be traced back to the 1995 Disney movie, "Pocahontas." Released just a couple of years before the launch of Nokomis, "Pocahontas" was a significant cultural event, particularly for its portrayal of Native American culture and themes of nature, connection, and spirituality.

Now, while Nokomis itself was named after the Ojibwe word for "grandmother," which holds deep significance within Native American culture, the connection to "Pocahontas" might lie in the broader cultural awareness and appreciation for Native American traditions and stories that the movie helped to foster.

In "Pocahontas," the character of Grandmother Willow serves as a wise and spiritual guide to the titular character. While Nokomis in Ojibwe tradition is not directly tied to Pocahontas or Grandmother Willow, the association with the term "grandmother" could evoke similar feelings of wisdom, guidance, and connection to nature that are present in both the movie and the fragrance.

Furthermore, the mention of Nokomis as a character in Longfellow's "The Song of Hiawatha" adds another layer to this potential inspiration. Longfellow's poem, though not directly related to "Pocahontas," is part of the broader cultural tapestry that includes Native American themes and characters, much like the Disney film.

So, while there may not be a direct link between Nokomis perfume and "Pocahontas," the cultural milieu of the mid-1990s, with its heightened interest in Native American stories and themes, likely played a role in shaping Coty's choice of name and perhaps the overall aesthetic and messaging of the fragrance.

The Song of Hiawatha by Henry Wadsworth Longfellow:

By The Shores of Gitche Gumee
By The Shining Big Sea Water
Stood The Wigwam of Nokomis
Daughter of the Moon Nokomis

Au Coeur des Calices by Coty c1912

In 1912, when "Au Coeur des Calices" by Coty was launched, the Western world was in the midst of significant social and cultural shifts. This was the Edwardian era, characterized by elegance, sophistication, and a sense of opulence. Delicate feminine fragrances were indeed en vogue, mirroring the refined tastes of the time.

The French name "Au Coeur des Calices" translates to "At the Heart of the Calyxes" in English.  Calyxes are the protective coverings of a flower's bud, often associated with the innermost essence of a blossom. In the context of fragrance, the name suggests a focus on capturing the essence or the most potent part of the flower, perhaps hinting at a rich, intense scent profile. This could imply that the perfume contained concentrated floral notes, highlighting the lush and intricate aromas found within the heart of the flowers. 

During the time period when delicate feminine fragrances were in vogue, such a name would have resonated with women who sought perfumes that not only embodied femininity but also offered a sense of depth and complexity. It aligns with the preference for elegant, sophisticated scents that reflected the refined tastes of the Edwardian era.

The launch of this perfume in 1912 coincided with the era of the Titanic, an iconic event that epitomized the extravagance and grandeur of the time. Just as the Titanic represented the pinnacle of luxury and sophistication, "Au Coeur des Calices" likely aimed to capture the essence of that era's refined femininity, offering women a scent that evoked a sense of timeless beauty and elegance.

La Jacinthe by Coty c1914

La Jacinthe by Coty was launched in 1914.

L'Ambreine c1906

L'Ambreine by Coty, launched in 1906, carries with it a name that evokes both mystery and luxury. The word "Ambreine" is derived from the French word ambre, meaning ambergris, and the suffix -ine, commonly used to denote a substance or compound. In this case, the term “L’Ambreine” would be pronounced as “lahm-brin,” with the emphasis on the second syllable. Amber, historically prized for its warm, rich color and deep, resinous scent, conjures images of golden-hued jewels, ancient treasures, and the earthy warmth of the natural world. The name itself evokes a sense of opulence and sensuality, a fragrance inspired by the mysteries of the East, with its exotic allure and complex, animalic undertones.

The early 20th century, when L'Ambreine was introduced, was a time of tremendous change and innovation. The period, straddling the tail end of the Belle Époque and the dawn of the modern era, was marked by both technological advances and a yearning for escapism. Women of the time were entering new realms of independence and freedom, and fashions reflected this evolution. The Art Nouveau and Art Deco movements were in full bloom, with intricate, flowing designs and bold geometric shapes inspiring everything from architecture to fashion. The trend toward more exotic and oriental-inspired fragrances paralleled these aesthetic shifts, reflecting a fascination with the faraway and the unknown. The demand for perfumes with rich, complex compositions, often incorporating animalic or "oriental" notes, was at its height, and women sought fragrances that matched their evolving roles as both liberated individuals and sophisticated consumers of luxury goods.

Coty Perfumes and Their Color Coordinations

Over the years, Coty often used special colors when packaging their perfumes. These colors variations often changed according to the different packaging used. Most bakelite are solid colors while the lucite caps often had marbling veins. Please note that the caps can fade color if exposed to sunlight, one example is that the pale pink can often turn almost white. Here is a list of known color coordinations that I have found, you will usually find the caps for perfume bottles are colored in the following:

• Red: generally used for L'Aimant, but also used for A'Suma , L'Origan

• Dark Pink to Fuschia: generally used for L'Aimant in later years

• Light Pink to Lavender: generally used for La Rose Jacqueminot, but also used for L'Origan, Meteor,  Muguet des Bois, A'Suma

• Orange to Peach: generally used for L'Origan, used for A'Suma

• Dark Green: generally used for Emeraude, but also used for Chypre, La Rose Jacqueminot, L'Aimant, A'Suma, Le Vertige, Muguet, Le Nouveau Gardenia

• Jade Green: generally used for Chypre, Le Vertige, Emeraude, A'Suma, Meteor, Oeillet France, Le Nouveau Gardenia

• Blue: generally used for Paris, but also used by L'Aimant, L'Origan, Chypre, Le Vertige, Muguet des Bois, Iris, Le Nouveau Gardenia, and L'Ambre Antique

• White: generally used for L'Origan but also used for Styx, Chypre, Meteor, Muguet, Muse, A'Suma, Le Vertige, Le Nouveau Gardenia

• Black: generally used for Styx, but also by Le Vertige, Lavande, L'Origan, and Muse

Chypre by Coty c1908

The launch of Chypre by Coty in 1908 marked a significant moment in the history of perfumery. This period, the early 20th century, was characterized by a shift in fragrance trends and the emergence of new olfactory styles. The word "chypre" itself comes from the French word for Cyprus, and this genre of perfumes is known for its woody, mossy, and citrusy accords.

The early 1900s were a time of cultural and artistic change, with the Belle Époque giving way to the more modern and progressive sensibilities of the early 20th century. Perfumery was undergoing a similar transformation, moving away from the heavy, floral scents of the Victorian era towards lighter, more abstract compositions.

François Coty, the founder of the Coty perfume house, was a pivotal figure in this evolution. He was instrumental in popularizing the concept of designer perfumes and making them accessible to a wider audience. Coty's Chypre fragrance was groundbreaking for its innovative blend of citrus, floral, and woody notes, which departed from the traditional single-flower scents that were prevalent at the time.

The launch of Chypre by Coty in 1908 would have occurred against the backdrop of a rapidly changing society, where new ideas and artistic movements were flourishing. It represented a departure from the past and a bold step into the future of perfumery, setting the stage for the diverse range of fragrances that would follow in the decades to come.

L'Or by Coty c1912

In 1912, François Coty introduced L’Or, a fragrance whose very name evokes luxury, opulence, and timeless beauty. In French, L’Or (pronounced “lor”) translates to "gold," a metal that has symbolized wealth, power, and divinity across civilizations. Choosing gold as the inspiration for a perfume suggests an aspiration to create something precious, radiant, and enduring—a scent that would embody the same timeless allure as the coveted metal itself. Gold is luminous yet untouchable, rich yet weightless, making it a fitting muse for a fragrance meant to feel both lavish and ethereal.

The name L’Or would have immediately captivated the women of 1912, conjuring images of gilded salons, intricately beaded gowns, and the shimmering glow of candlelight on satin gloves. It was an era of grandeur and transformation, as the Belle Époque reached its twilight. This was a time of extraordinary artistic and cultural achievements—Paris was the epicenter of fashion, art, and innovation, where the haute bourgeoisie indulged in the finest luxuries. Women were beginning to assert their independence, embracing a newfound sense of modernity while still reveling in the romantic excesses of the past.

Fashion in 1912 was evolving rapidly. The corseted hourglass silhouette of the previous decades was loosening, giving way to more fluid and elongated lines inspired by Paul Poiret and the Orientalist craze. Rich fabrics, intricate embroidery, and exotic embellishments were highly sought after, mirroring the sumptuous, spicy florals of perfumes like L’Or and its near twin, L’Origan (1905). The fascination with the East, opulence, and sensuality played directly into the appeal of Coty’s fragrance, which blended floral and tobacco notes in a composition that felt both seductive and refined.

 

Jasmin de Corse by Coty 1906

Launched in 1906, Jasmin de Corse by Coty is a fragrance that carries deep personal significance for its creator, François Coty, born François Spoturno on the Mediterranean island of Corsica. The name "Jasmin de Corse" translates from French as "Jasmine of Corsica" (pronounced zhaz-mehn duh kors). The phrase evokes sun-drenched landscapes, rolling hills scented with wildflowers, and the island’s rich botanical heritage. By naming the fragrance after his homeland, Coty not only paid tribute to his Corsican roots but also drew upon the island’s legendary natural beauty and aromatic flora to create a scent that was both nostalgic and exotic.

The early 1900s, when Jasmin de Corse was introduced, marked the height of the Belle Époque (1871–1914), a period of artistic, cultural, and scientific flourishing in Europe. Fashion was transitioning from the elaborate S-curve corseted silhouettes of the late 19th century to the more fluid, empire-line gowns that would dominate the years leading up to World War I. Women of the time sought luxury and romance in their fragrances, using perfume as a means of expressing femininity, status, and sensuality. A scent called Jasmin de Corse would have evoked images of sun-warmed Mediterranean gardens, opulence, and the allure of an island untamed yet steeped in history.

The olfactory composition of Jasmin de Corse is classified as a sweet floral, known for being intensely rich, heady, and lingering. The fragrance was built around indolic jasmine, a type of jasmine that possesses a deep, almost animalic intensity, giving it a sensual and slightly smoky character. In an era when perfumes were often light, powdery, or aldehydic, Jasmin de Corse stood out for its unapologetic richness and depth. While heavy florals such as rose, tuberose, and violet were popular at the time, Coty's take on jasmine was particularly bold, setting it apart from more delicate floral compositions.

Very Rare Antique 1920s Coty Perfume & Cosmetics Catalog Price List w/Pictures

Here are the scanned pages from my 1928 Coty catalog featuring updated prices on perfumes and cosmetics available that year.

Chanel No. 5 and Coty

Chanel No. 5 and Coty

There is a rumor that has been going around since the 1920's. It seems that some people believe that Francois Coty was the inventor of Chanel No.5. People maintain that Chanel No. 5 was an act of industrial espionage and that its formula was stolen from a competitor's laboratory in the south of France. This theory is part of that long, tangled history that connected Coco Chanel and her friend - and -competitor - Francois Coty.

As Edmond Charles-Roux tells it: "The development of No.5 …proceeded in a rather heavy atmosphere reminiscent of the whispered machinations that herald a palace revolution…Plenty of intrigue, sudden reversals and secret alliances. Nothing was missing from the script not even the spectacular disappearance of one of Coty’s top chemists. The deserter fled, clutching to his bosom the fruit of long years of research: the formula for a perfume Coty could not make up his mind to put on the market because it cost so much to produce. That was one reason why this chemist went over to the enemy: he was afraid his invention would never be available to the public…Was his name Ernest Beaux? All queries being met by the impenetrable silence of those who know, we must be content to leave this point in darkness. But one thing is certain: about seven years later, Coty was producing a perfume that was almost exactly the same as Chanel No. 5. But although I sold tolerably well, L’Aimant never made a dent in the Chanel market.”

A closer look revealed a crazy mixed-up, story. On the other hand Yvonne Coty always claimed that Chanel No. 5 was named not after the number of the fragrance vial but after the number of “a station in Coty’s laboratory at either Suresnes or at the Rallet Factory in the south of France.” She seemed to believe that there was some possible buried connection. However, Ernest Beaux never worked for Coty. He has spent his entire career at Rallet, so he couldn’t have been the fleeing chemist. Perhaps it was another perfumer at Coty who absconded with the formula and passed it along to Ernest Beaux - who then handed it to Coco Chanel. One thing is for certain, in 1927, as Charles-Roux says, someone at Coty did have a copy of the Chanel No. 5 formula or something extremely similar to it. Coty’s fragrance L’Aimant, launched that year, was too close to have been any kind of accident. The question remains, did Coty have the formula all along and was Chanel No. 5 the copy?

There is a perfectly simple reason why Coty had a copy of the formula for a Chanel No. 5 perfume in 1927. A year before, Coty’s massive company had swallowed up one of his smaller competitors, the Chiris perfume house. Coty had been closely involved with the operations at Chiris for several decades. At the turn of the century, he has trained in their labs and became business partners with several of the owners of that family company. Since WWI, he has acted as those Chiris was his business alone, in many ways and its perfume “his” holdings. It was this sense of proprietorship that would fuel an intense and not always friendly spirit of competition between Coty and Coco Chanel.

In 1926, Coty had formally purchased the business and all of its holdings, which included the A. Rallet & Co perfume outfit. All the info that Coty needed to produce his own version of Chanel No.5 was sitting right there in the archives. But the name on top of that formula was not Chanel. No. 5. What he had acquired was the recipe for another perfume, one that was invented in 1914. It smelled unmistakably like Chanel No. 5, for one simple reason: it was the secret scent behind the world’s most famous perfume. This time, the crazy story was true. 

Most of this info was taken from the book "Secret of Chanel No. 5".

Here is more info on my Chanel blog site: https://chanelperfumebottles.blogspot.com/2013/05/chanel-no-5-by-chanel-c1921.html

Ambre Antique by Coty c1905

Ambre Antique by Coty, launched in 1905, was a fragrance steeped in historical allure and exotic fantasy. The name itself, Ambre Antique, directly translates from French as "Ancient Amber" (pronounced as "ahn-bruh ahn-teek"), evoking the image of a bygone era where rare and opulent materials were treasured. The name alone conjures visions of golden relics, perfumed chambers, and the sensuous mysteries of antiquity. Coty, a visionary perfumer and astute businessman, understood the romanticism surrounding ancient civilizations, particularly Ancient Egypt, and wove this fascination into the identity of his creation.

At the heart of Ambre Antique was ambergris, one of perfumery’s most legendary and enigmatic materials. A rare substance formed in the digestive system of sperm whales and aged by the sea, ambergris was prized for its complex, warm, and slightly animalic aroma. In the ancient world, it was revered for its unique scent and mystical qualities, believed to be a gift from the gods. The Egyptians, known for their mastery of fragrance and elaborate burial rituals, used resins, myrrh, and incense in both daily life and sacred ceremonies. Coty’s reference to the perfume of Ancient Egypt and gilded queens was not merely a marketing ploy; it resonated with the cultural imagination of the early 20th century, when discoveries like the excavation of Egyptian tombs and the growing field of Egyptology captivated the public.

The early 1900s, often referred to as the Belle Époque, was a period of artistic flourishing, technological innovation, and societal transformation. The fashion of the time reflected a shift towards greater freedom of movement—corsets were loosening, and the elegant S-curve silhouette, championed by designers like Paul Poiret, was replacing rigid Victorian styles. Women, inspired by exotic and oriental aesthetics, embraced luxurious fabrics, draped gowns, and intricate embroidery that echoed the styles of ancient civilizations. It was a time of opulence, but also of change, as women were beginning to assert greater independence in both fashion and society.