Introduction: The Fragrant Legacy of Lancôme
From its inception, Lancôme has been a house defined by its dedication to perfume. Long before it became a globally recognized name in luxury cosmetics and skincare, Lancôme was first and foremost a perfumery—one rooted in authenticity, elegance, and the refined artistry of French fragrance.
Founded in 1935 by Armand Petitjean, a former disciple of François Coty, the brand was born out of a desire to create perfumes that were not just fashionable, but truly beautiful. Petitjean envisioned a château named Lancosme as the spiritual home for his creations—a name that he refined to Lancôme, replacing the “s” with a circumflex accent, a subtle nod to French tradition and refinement. The rose, inspired by the wild roses growing around the ruins of the original château, was chosen as the brand’s enduring symbol.
At the Brussels Exhibition of 1935, Lancôme made a striking debut with five perfumes: Tropiques, Conquête, Kypre, Tendre Nuit, and Bocages. These fragrances, with names evoking romance, distant lands, and poetic moods, captured the imagination of the judges and earned awards—but commercial success took longer to follow. True perfumery, as always, is a matter of timing.
Today, in a world rediscovering the value of timeless classics and true olfactory artistry, Lancôme’s early creations and iconic bottles are being appreciated anew. Its legacy has only grown since becoming part of L'Oréal’s Luxury Division in 1964, expanding its influence in skincare, cosmetics, and fragrance.
Throughout its history, Lancôme has remained a symbol of French elegance, embodied by generations of actresses, models, perfumers, and creatives. Even fashion designers such as Proenza Schouler have drawn inspiration from its perfumes, attesting to the house’s far-reaching aesthetic influence.
This blog is dedicated to exploring the rich and nuanced story of Lancôme’s perfumes—from its earliest flacons to its most modern icons—celebrating the artistry, innovation, and timeless appeal that continue to define the brand.
Armand Petitjean
History
Petitjean was not alone in his mission. He was joined by a close-knit group of trusted collaborators—Georges Delhomme, Coty’s former design director; the d’Ornano brothers; and chemist Pierre Velon—each of whom shared his vision and his disappointment in the direction Coty had taken. Together, they set out to develop a line of products that reflected their belief in artistry, quality, and French elegance.
As the brand began to take shape, Petitjean sought a name that would embody the essence of France while also feeling refined and feminine. Though he briefly considered using the name of his birthplace, Saint-Loup, it didn’t evoke the character he was after. Guillaume d’Ornano suggested “Lancosme,” the name of a château in France’s Indre department. With a simple alteration—the silent “s” replaced by a circumflex—the name became “Lancôme,” a word that sounded unmistakably French and could be easily pronounced around the world. The circumflex not only added distinction but also became a subtle hallmark of the brand.
Lancôme’s founder was as elegant as the house he built. Petitjean, always impeccably dressed in pastel shirts with white collars and cuffs, was known for his courteous demeanor and dignified appearance. He treated even his junior staff with respect, greeting them with a tip of his hat. Yet, beneath his composed exterior, he possessed a determined and strategic mind. His blue eyes, warm and charming when he wished to persuade, could quickly turn sharp and commanding when needed. Discipline, self-control, and unwavering focus guided every move he made.
Asked once why he created Lancôme, Petitjean’s answer was direct: “Because I had seen that two American brands had taken control of the beauty industry. A French brand should be up alongside them.” His ambition was not merely nationalistic—it was a call to restore French leadership in the world of luxury perfumery and cosmetics.
Lancôme made its debut with bold flair. In June 1935, Petitjean launched five fragrances simultaneously at the Universal Exhibition in Brussels. The perfumes—unconventional for their time—were housed in richly ornamented bottles that defied the prevailing trend toward minimalism. Their baroque character and imaginative presentation made an immediate impression, even if commercial success was not immediate. From its inception, Lancôme was a brand with vision, elegance, and a commitment to authentic French artistry—qualities that still define it today.
Each of Lancôme’s first five perfumes, launched in 1935, reflected founder Armand Petitjean’s vision of a truly global perfumery—one that could speak to all women, across all continents. Rather than focus on a single statement fragrance, Petitjean introduced a quintet of olfactory creations, each exploring a distinct theme and emotional world. This bold debut was more than an artistic gesture—it was a strategic move aimed at international recognition. As Georges Delhomme, who designed the bottles, later explained: “During the thirties, less of anything was more chic. In your apartment, nothing on the walls. If you had a new painting, you showed it to visitors, then put it away. Perfume bottles were square or rectangular, flat. We wanted to do the opposite.” And so, the fragrances and their presentations stood out—not just for their scents, but for their opulent, sculptural design.
“Tropiques”, said to be Petitjean’s favorite, was a fragrance inspired by his travels in South America. He described its concept evocatively: “Imagine a man dressed in white, walking along the port of Pernambuco in the late afternoon. He finds himself in a corner of the dock where bananas, molasses, spices, precious woods, rum, and leathers are being unloaded… Tropiques is like honey. With its heavy coating of spices and aromatics it frightens off most of the English and the northerners, although it may appeal profoundly to women of society and artists.” The fragrance unfolds as a warm and spicy composition, with rich, aromatic base notes anchored by honeyed sweetness. Despite its sensual depth, bright, brassy top notes provide contrast, injecting sparkle and energy into its sultry profile. The bottle reflected its ornate character, adorned with raised gold-enhanced scrollwork—a visual echo of its luxuriant scent.
“Kypre”, a reimagining of the classic chypre genre, was deeper and more velvety than its traditional counterparts. It layered oakmoss, musk, and jasmine in a sophisticated, wine-like structure. Petitjean likened it to a Burgundy: “Kypre should be treated like a Burgundy; it needs to age in the bottle, like the wine. In our climate, it is more of a perfume for winter and for festivities, but in the East and in South America, it appeals in all seasons…” Its richness and elegance offered a distinctly European glamour, making it a refined choice for those drawn to classic, mossy compositions with a soft, lingering floral touch.
“Tendre Nuit” was the most romantic of the five, capturing the scent of a delicate spring evening. It featured a bouquet of magnolia, wallflower, and rose, opening with a surprising top note of cool lavender that soon gave way to a sweet heart of exotic fruits. This unexpected combination brought a freshness and seductiveness that felt simultaneously modern and tender. Tendre Nuit was a celebration of softness, creating a perfume that evoked intimacy and daydreams.
“Bocages” was a tribute to nature and carefree youth. The name, meaning “groves,” was fitting for a composition that blossomed with honeysuckle at its heart, supported by a sunny blend of jasmine and mimosa. Petitjean envisioned it for northern European women, saying, “The freshness and relaxed style of Bocages is perfect for younger women and will seduce Swedes, Norwegians, Belgians, Germans, and the women of northern France.” Bright, cheerful, and optimistic, it radiated charm and innocence—sunshine bottled into scent.
“Conquête” was the most opulent of the five and the one designed to make a statement. With a powerful heart of rose resting on a chypre base accented by leather, Conquête evoked the aura of a grand evening out. “Conquête, a concentrated fragrance of roses on a chypre base, will please any woman who likes to be noticed when she enters the theatre or a restaurant,” Petitjean remarked. “Conquête was a demonstration of mine. It was a symbol of conquest. It was necessary to conquer the world to make the reputation of Lancôme’s willpower.” The fragrance offered discreet luxury and was intended for bold, elegant women unafraid of attention.
Petitjean's goal with this quintuple launch was clear: to create a brand that would have international resonance from the start. He understood that in order to be taken seriously in the world of fine perfumery, a house had to offer diversity and sophistication. Each of the five fragrances was crafted to appeal to a different sensibility, culture, or mood—demonstrating that Lancôme could speak to a global audience with artistry and depth.
These five perfumes were followed shortly after by two eaux de cologne. Cachet Bleu, distinguished by its fresh orange note, was presented in a charming moon-fish shaped bottle. It offered a lighter, more casual elegance. The second, Étiquette Noire, was more refined—a sophisticated floral composition housed in a minimalist square flacon, underscoring the understated luxury Petitjean prized.
Together, these early fragrances laid the foundation for Lancôme’s future. They were not just perfumes, but statements—each one a facet of a larger vision, capturing the elegance, ambition, and artistic imagination that would come to define the house.
The man behind Lancôme’s first fragrances—Armand Petitjean—was a romantic visionary, deeply inspired by women and their elegance. Whether they were aristocratic blondes or raven-haired artists, he imagined them all as embodiments of refinement. His ideal of beauty was intrinsically linked to a very French sense of sophistication. This sensibility shaped not only the fragrances themselves, but also their presentation. One of Lancôme’s earliest advertisements captured this vision perfectly: two women—one fair, one dark—draped in flowing, luxurious negligees, seated before a grand oval mirror. The scene radiated opulence and subtle sensuality. The blonde woman held a perfume flacon—its stopper adorned with delicate glass jasmine blossoms—a detail that emphasized both femininity and craftsmanship. This image was a perfect reflection of Petitjean’s aesthetic values: that true beauty lies in suggestion, never in vulgar display. For him, fragrance was not merely a cosmetic; it was a form of poetic expression and cultural identity.
In 1935, Lancôme made its debut on the international stage with an extraordinary gesture—Petitjean launched five fragrances at once: Tropiques, Conquête, Kypre, Tendre Nuit, and Bocages. They were unveiled at the opening of the Exposition Universelle in Brussels. This was not only a bold business move, but an artistic statement. These perfumes—decidedly complex and baroque—stood in stark contrast to the prevailing minimalist trends of the decade. With lush compositions and ornate presentations, they defied convention. While the industry’s attention was caught by this audacity—the five perfumes won a double medal at the exhibition—perfumeries themselves hesitated. Many retailers were unsure how to position such an ambitious and unfamiliar brand. Sales were modest, but the launch set a tone: Lancôme would be a house of prestige, sophistication, and innovation.
Although fragrance was at the heart of Lancôme’s identity, Petitjean quickly realized that beauty could not exist in fragrance alone. He famously stated: “Perfume is prestige, the flower in your buttonhole. But beauty products are our daily bread.” It was a strategic pivot—one that would sustain the company and allow it to flourish in the long term. Seeking to redefine skincare through scientific advancement, Petitjean partnered with Dr. Medynski, a veterinary professor who had recently discovered a method to stabilize horse serum. This development was key to the creation of more effective skincare, as it enabled the integration of biologically active components.
Together with chemist Pierre Velon, Medynski developed a revolutionary treatment cream called Nutrix. It incorporated serum alongside proteins and vitamins to create a deeply nourishing formula. Marketed as a “regenerating night cream,” Nutrix quickly became known for its exceptional versatility: it was used to treat sunburn, insect stings, chilblains, frostbite, razor burn, and more. In a remarkable testament to its efficacy, the British Minister of Defense recommended it in the 1950s as the only treatment for radiation burns in the event of nuclear war.
Equally forward-thinking was the way Nutrix was promoted: “Nutrix guards against skin deficiencies by encouraging the skin’s self-defense mechanisms.” This language, rooted in biomimicry and preventative care, was decades ahead of its time. It marked a shift toward science-backed skincare—an approach that Lancôme continues to champion to this day. Nutrix itself remains a cult favorite, with loyal users who swear by its restorative properties.
Petitjean’s vision for Lancôme, born from a blend of romance, elegance, patriotism, and scientific curiosity, laid the foundation for what would become one of France’s most iconic beauty houses. His fragrances were not simply products—they were cultural statements, each one a carefully composed expression of femininity, French pride, and high artistry.
The 1930s saw Lancôme embark on a daring and imaginative olfactory journey that defined the house's early perfumery identity. Among its most audacious creations was Révolte, launched in 1936. Encased in a distinctive bottle shaped like a cobblestone—symbolic and subtly rebellious—it foreshadowed the spirit of dissent and modernity that would come to characterize social movements decades later. The fragrance itself was a bold statement: an uncompromising leather perfume with a strong aldehydic opening that struck the senses with intensity. As it developed on the skin, Révolte revealed a beautifully orchestrated floral heart, where rose, spicy carnation, and violet added complexity and softness. The dry down returned firmly to leather, rich and dry, making it equally wearable by men—a unisex concept rare for its time. While daring in composition and spirit, its name provoked discomfort in certain markets, notably South America, leading to its renaming as Cuir in 1939, a tribute to the prominent leather accord at its heart.
The following year, Lancôme continued its poetic exploration of scent with Peut-Être (1937), a tender floral built around lilac, rose, and linden blossom. Its gentle, wistful quality encapsulated a mood of romantic uncertainty, perfectly captured by its name, which translates to “perhaps.” For the American market, where translations sometimes risked awkwardness or misunderstanding, the perfume was rebranded as Qui Sait? (“Who Knows?”) in 1946. The fragrance presented a more introspective side of Lancôme, highlighting their ability to evoke both elegance and emotional nuance through scent.
In 1938, Lancôme introduced Flèches, a fragrance as sharp and arresting as its name—“Arrows”—suggests. Designed to be worn by both men and women, Flèches conjured the sensation of stepping into a lush greenhouse, filled with moss, leaves, and succulent plants, veiled in the subtle warmth of flower-laden air. It was an aromatic study in contrasts: the soft vanilla caress of heliotrope met the freshness of jasmine, daffodil, acacia, and vetiver, darting like arrows through a green and resinous backdrop. The base, built upon woody accords, musk, coriander, and coumarin, lent a lasting depth and sensuality. This innovative creation was also presented in a limited edition “faun” bottle, its two horn-like accents adding a mythological whimsy, and encased in a Japanese-style presentation box that emphasized the fragrance’s refined, worldly character.
Parallel to the development of these fragrances, Lancôme’s cosmetics division also flourished. In 1938, as the prevailing beauty trend leaned toward indelible, stain-based lipsticks that left lips parched, Armand Petitjean defied convention by introducing Rose de France. This delicate pale pink lipstick offered not just color, but comfort. Infused with a subtle rose fragrance, it delivered a sensual, luminous sheen—“lips soft and gleaming like a baby’s,” as advertisements promised. It was a revolutionary product, combining beauty with care, and was quickly embraced by women seeking glamour without compromise. Rose de France was accompanied by Conquête, a line of finely milled face powders in eighteen shades, ranging from rich golden browns to the palest ivory—a testament to Lancôme’s early attention to inclusivity and individualized beauty. Together, these products heralded a new philosophy of cosmetics: elegant, gentle, and imbued with a quiet luxury.
These years solidified Lancôme’s place not only as a perfumer of distinction but as a house that blended scientific innovation, aesthetic boldness, and deep emotional resonance in all its creations.
From its inception, Lancôme was a house of perfume. Though the company would eventually grow to encompass skin care and makeup, it was perfumery that formed the heart of its identity. Each division of the young brand was represented by a symbolic emblem: a rose for fragrance, a cherub for cosmetics, and a lotus flower for skincare. Of these, the rose became the most enduring—an emblem of timeless beauty and a nod to the refined, romantic spirit of French perfumery.
By 1939, just four years after its founding, Lancôme had already made its mark on the global stage. Orders for its perfumes and cosmetic goods were pouring in from cities as far-reaching as Oslo, Bogotá, Algiers, and Shanghai. The house’s ambitions were bold and international. Yet history intervened. The outbreak of World War II halted the momentum. With raw materials scarce, the production of perfumes, makeup, and creams slowed to a trickle. For most companies, this would have spelled retreat—but Armand Petitjean responded not with resignation, but with innovation.
Rather than focus on what couldn’t be made, Petitjean turned his attention to what could: people. In 1942, in the middle of wartime Paris, he founded the École Lancôme. Its mission was clear—to train a new kind of ambassador: women who would represent Lancôme, not only as a cosmetics brand, but as a cultural force. For Petitjean, perfumery was not merely a product—it was a vehicle of French elegance and civilization, and his “techniciennes” were to be the messengers. These ambassadors would communicate the values of Lancôme directly to women through meaningful, personal interaction—what Petitjean, pointedly and proudly, referred to as “propaganda,” in the original sense of the word: spreading ideas.
The École Lancôme was revolutionary for its time. Admission was selective—never more than twenty students at a time—and the training rigorous. Students were immersed in a curriculum that combined science and art: anatomy, physiology, product formulation, drawing, modeling, and theatrical makeup. Most importantly, they studied massage—considered a cornerstone of beauty care in the 1930s. Petitjean enlisted the best. The program’s instructor, Dr. Durey, had trained under Professor Leroy, a noted expert in facial massage at the Imperial Court of Japan. Dr. Durey taught a special technique developed exclusively for Lancôme: le massage à sec—dry massage without oils or creams—designed to provide a more precise and controlled treatment for the delicate facial tissues.
But this technique went beyond the skin. Dr. Durey believed beauty was a union of body and spirit. His teachings emphasized emotional connection and empathy. He wrote, “You can only give an effective treatment if you are sympathetic… Movement by movement, a harmony is created between the two people. The aura of the beauty adviser is activated.” This philosophy, deeply rooted in respect and care, mirrored Petitjean’s vision for perfumery: that the experience of scent was intimate, emotional, and transformative.
Even amid global upheaval, Lancôme remained faithful to the ideals that had shaped its founding—a belief in beauty as a kind of cultural transmission, and perfumery as its most eloquent language. While bottles could not always be produced, and perfume itself became rare, the brand kept alive the spirit of fragrance through its people, its education, and its commitment to refinement.
In this way, the rose of Lancôme never truly stopped blooming.
Armand Petitjean personally taught the perfumery course at the École Lancôme, and a rare surviving copy of his course notes—typed on fragile onion-skin paper—provides a rare glimpse into his thinking and speaking style. Since Petitjean gave no recorded interviews, these notes stand as the only direct expression of his views on fragrance and his deeply held aesthetic philosophy. In them, one finds a reverent nod to François Coty, the legendary figure who shaped modern perfumery. Petitjean describes Coty not just as a perfumer, but as an architectural visionary—"a builder." Coty's fragrances, according to Petitjean, mirrored the grandeur and symmetry of his personal surroundings, such as the terrace of his château at Montbazon. Just as Coty insisted that a drawing room must be circular or oval, and that galleries should be broad, so too were his perfumes—“clear, solid, magnificent.”
Petitjean lamented the decline of what he called fragrances clairs, or clear fragrances—those based on the essence of a single flower such lily of the valley, rose, carnation, violet or gardenia. He believed these pure, straightforward compositions had fallen out of fashion due to the influence of couture houses, which introduced more complex, layered scents that acculturated women to bold, overpowering perfumes. He saw this as a detour from the elegance and restraint that had once defined French perfumery.
During the hardships of World War II, when resources were limited and the market was disrupted, Petitjean steered Lancôme back toward simplicity. The house introduced two lavender-based scents: La Vallée Bleue in 1943 and Lavandes in 1945. These fragrances represented not only a return to French olfactory roots, but also a practical response to material shortages. Lavender, being abundantly available in France and strongly associated with national identity, was both symbolic and utilitarian.
Petitjean had a talent for vivid, almost poetic expression. In a particularly memorable turn of phrase, he wrote: “L’art du parfumeur est de fixer l’aérien”—“the perfumer’s art is to give to airy nothing a local place of habitation and a name.” His remark is a paraphrase of Shakespeare, but it captures the delicate, intangible nature of fragrance, and the skill required to capture the ephemeral and make it last. He was keenly aware of how fragrance interacted with the wearer, noting that perfumes could shift dramatically depending on skin chemistry and health. He once quipped, “Arthritis and red hair are the death of jasmine,” showing his blend of wit and scientific observation.
Petitjean's strong personality and determination shine through in his reflections on Conquête, one of Lancôme’s signature scents. He described it as “a demonstration of willpower. Mine. Conquête was a symbol. It was necessary to conquer the world to make the reputation of Lancôme.” For Petitjean, perfume was never just about aroma—it was about identity, culture, and ambition. In this way, his teachings at the École Lancôme were not just technical instruction in blending and formulation, but an initiation into a broader vision: that perfume, at its best, is a form of artistic and national expression.
After World War II, while Lancôme perfumes had not yet conquered the global fragrance industry, Armand Petitjean had certainly secured a devoted following among women through his skin-care line, notably thanks to his uncompromising dedication to quality. His refusal to use substitutes in Lancôme formulas created what became known as “Nutrix hunger,” a craving for the brand’s deeply nourishing cream that spread by word of mouth. Still, Petitjean longed to express himself once more through perfume. He was, at heart, a perfumer—restless to return to his true passion.
In 1947, seizing upon the growing postwar interest in travel and exoticism, Petitjean launched Marrakech, a sumptuous floral oriental fragrance that reflected the seductive, sun-drenched allure of Morocco. The perfume was constructed around a sensual, richly animalic leather accord, layered with opulent florals, and dominated by an assertive rose note. Beneath the lush petals, a leathery depth smoldered—bold and evocative, grounding the fragrance in warm, resinous earthiness. Though unmistakably feminine, it carried an air of untamed mystery that made it unlike most florals of the day.
The bottle for Marrakech was just as ambitious as its composition. Shaped like an amphora and flanked by stylized palmetto fronds, it was crafted of heavy glass to evoke ancient elegance. Originally designed by Marc Lalique, the execution proved technically challenging. It was Georges Delhomme—an expert in glassmaking with a deep, practical understanding of the craft—who ultimately succeeded in realizing Petitjean’s vision. As Delhomme once said, “You have to get your face burned over the furnace to understand.” His technical skill allowed the flacon to come to life exactly as imagined, setting a precedent for the lavish, artistically conceived presentations that would follow in Lancôme’s golden postwar era.
With Marrakech, Petitjean reaffirmed his ability to express narrative and place through scent. The fragrance captured not only the perfume trends of the time—floral richness, animalic warmth, exoticism—but also his enduring belief that a perfume must be as beautifully built as architecture: clear, solid, and magnificent.
Over the course of the late 1940s and 1950s, Lancôme embarked on a poetic exploration of the seasons through a delicate and thoughtful collection of fragrances called the Eau de Senteur line. Each perfume in this series was conceived as a scented homage to one of the four seasons, capturing their emotional resonance through olfactory storytelling. Rather than presenting bold, statement-making perfumes, these were nuanced, evocative eaux designed to accompany the rhythms of nature—and the shifting moods of women throughout the year.
Launched in 1947, Joyeux Été and Bel Automne marked the beginning of this seasonal journey. Joyeux Été, though named for summer, was surprisingly structured with warmth and depth. It was a calendar-conscious creation—meant not for the height of heat, but for the later days of the season when the air cools and lengthens. The fragrance combined classic florals like rose and jasmine with a mossy, musky base of oakmoss and soft animalic undertones, lending it a sultry, late-summer evening feel. In contrast, Bel Automne was steeped in the golden richness of fall. Built on a vibrant resinous base, it was softened and sweetened with velvety mosses, capturing both the crispness and the quiet melancholy of autumn leaves. It evoked the feeling of walking through a forest at dusk—cool air mingled with the warming scent of the forest floor.
In 1952, Lancôme released Grâces du Printemps, their ode to spring. This fragrance was light-hearted and vivacious, reflecting the joyful optimism of nature’s reawakening. It opened with sparkling citrus notes, immediately uplifting, and was tempered by a spicy heart of carnation—always a symbol of freshness and vitality. The drydown, cool and green, relied on a bed of mosses and aromatic herbs, suggesting tender shoots, dew-kissed leaves, and a garden just beginning to stir.
Rounding out the quartet was Fêtes de l’Hiver, introduced in 1957. Designed to convey the comforting richness of winter, it was warm, woody, and enveloping. Though less is known about its exact structure, the composition favored deeper, balsamic accords—likely sandalwood or cedar—enhanced with the kind of quiet spices and resins that call to mind firesides and festivities. Its name, which translates as “Winter Celebrations,” suggests not only the season’s austerity, but its sensual pleasures: candlelight, soft wool, polished woods, and holiday perfumes worn close to the skin.
Together, these four fragrances offered not just a wardrobe of scents, but a philosophical concept—perfume as a companion to nature’s turning wheel. They reflected Armand Petitjean’s broader vision of perfumery: rooted in beauty, seasonality, and emotion, always shaped by both olfactory artistry and poetic intention.
In 1949, Lancôme reached what many consider the pinnacle of Armand Petitjean’s artistic and creative leadership with the launch of Magie. This perfume was not just a new release—it was the culmination of years of vision and refinement. Petitjean had long dreamed of creating a fragrance that would embody mystery, elegance, and sensuality, and Magie became the vehicle for that dream. Working closely with George Leplieux, Lancôme’s in-house perfumer or "nose," Petitjean oversaw an exhaustive process involving over a thousand trials to perfect the composition. The result was a fragrance that felt both avant-garde and timeless, modern yet deeply luxurious.
Magie was a floral aldehyde in the grand French tradition, yet it stood apart from its contemporaries through its unique layering of precious ingredients. The opening, luminous and effervescent, introduced fresh aldehydes that quickly gave way to an opulent heart dominated by jasmine—Petitjean’s favored flower. Rose, ylang-ylang, and hyacinth enriched the floral core, giving it plushness and a radiant femininity. Beneath the florals lay a sophisticated structure of aromatic woods: iris for powdery elegance, Lebanon cedar for depth and warmth, and a final anchoring in earthy vetiver and patchouli. This complexity created an effect that was both intoxicating and refined, magical in the true sense of the word.
The bottle for Magie was no less remarkable than the fragrance it held. Petitjean envisioned something sculptural, something that expressed the flow and movement of fabric—specifically, the graceful folds of a kimono. His idea was realized by Georges Delhomme, who crafted a delicate torsade of crystal that twisted upward like a spiral, catching light and shadow in its curves. The design was not only beautiful, but innovative for its time, and came to symbolize the elegance of mid-century French perfumery. Today, it remains one of the most admired bottles of the postwar period.
With Magie, Petitjean succeeded in creating more than a perfume—he created an experience that united scent, form, and imagination. It stood as a testament to his belief that perfume could be both art and aspiration, and marked one of Lancôme’s most celebrated achievements in the 20th century.
In 1952, Lancôme unveiled Trésor—the original Trésor, distinct from the better-known 1990s version. This iteration was a refined oriental fragrance, conceived as the perfect companion to the house’s earlier masterpiece, Magie. Created under Armand Petitjean’s watchful eye, Trésor was a sumptuous perfume, its composition rich with warmth, opulence, and a touch of the exotic. Designed for sophistication, it balanced boldness with refinement, offering a scent that lingered like an intimate whisper on the skin.
The fragrance itself opened with the deep, velvety breath of Ispahan roses and creamy Chinese gardenias. A subtle fruity nuance—barely perceptible but undeniably present—lifted the floral bouquet, giving it a bright and engaging sparkle. Beneath this luminous core lay a lavish oriental base: the softness of precious woods, the richness of fine leather, the glowing embers of incense, and the musky warmth of civet. The result was a perfume that enveloped the wearer in an aura of sensual elegance, its effect luxurious yet understated. It was not a loud perfume, but rather one that revealed its facets slowly, like a jewel held to the light.
The flacon was equally exquisite—cut from crystal and faceted like a diamond, it conveyed a sense of timeless luxury. It was designed not just to hold perfume, but to embody it, like a precious treasure box filled with fragrant riches. Every element, from the weight of the crystal to the sparkle of its many facets, reinforced the theme of rarity and value—hence the name Trésor, meaning “treasure.”
To launch this extraordinary perfume, Petitjean staged a grand and theatrical fête at the Palais de Chaillot in Paris. The evening's highlight was a ballet choreographed by the famed Serge Lifar, set to music by Henri Sauguet. In the performance, Trésor and Magie were personified as two dancers whose duet embodied elegance and enchantment. In the world of Lancôme, they were a pair—inseparable and complementary, two sides of a fragrant coin.
Advertising from this era, some of which still survives in the Lancôme archives, tells the story visually. One ad shows the shimmering flacons of Trésor and Magie set against a star-filled night sky. Another presents a whimsical fantasy scene: a princely figure representing Trésor tenderly clasping the hand of a fairy-like Magie. Together, they suggest a romance told in scent, a fairy tale crafted for the senses.
Trésor (1952) remains a testament to Lancôme’s golden age, when fragrance creation was a marriage of art, performance, and refined craftsmanship.
Also in 1952, Lancôme introduced Envol, a refined green floral chypre that expanded the house’s olfactory vocabulary with a more modern, brisk elegance. While French women encountered the fragrance in the early fifties, American audiences would not be introduced to it until 1957. Envol, which means "flight" or "takeoff" in French, lived up to its name: the fragrance opens with a soaring green accord—vivid, crisp, and bright—suggestive of a spring breeze sweeping across freshly cut stems and crushed leaves.
At its heart lies a dominant lily note—cool, dewy, and refined—tempered with a whisper of fruitiness. This fruit note is not overtly sweet or juicy, but subtle and restrained, just enough to lend softness and nuance to the floral core. The lily is never heady or overpowering; instead, it unfolds with delicacy, accompanied by a quiet, sophisticated shimmer of aldehydes and the restrained spice often characteristic of classic chypres.
As the composition develops, the green top notes give way to a more structured base typical of the chypre family, with mossy, woody, and slightly earthy undertones that ground the composition. The interplay between the vibrant top and heart notes and the darker base creates a graceful contrast—light versus shadow, delicacy balanced by depth. Envol is not an extravagant perfume, but one of quiet confidence, suitable for a woman who preferred understated elegance.
The bottle, like many from this era, was simple yet refined—designed to express the fragrance’s poised femininity. Its name and scent both hinted at a kind of emotional ascent: not only a physical "flight," but a lifting of the spirit, a gentle surge of confidence wrapped in green silk and filtered sunlight. In the context of Lancôme’s mid-century output, Envol occupied a more modern, restrained niche, offering a cooler alternative to the opulence of Trésor or the enchantment of Magie. It was a perfume that felt fresh, assured, and quietly luminous.
During the early 1950s, Armand Petitjean found himself both personally and professionally fulfilled. At his villa, Les Vallieres, surrounded by expansive gardens crowned with one of France’s most majestic Ginkgo trees, he cultivated an environment of refined beauty that mirrored his passion for perfumery. The villa’s rose garden was renowned for its flawless blooms, a testament to the Petitjean family’s deep appreciation for flowers, a natural source of inspiration for fragrance creation. His wife, Nelly, was an accomplished orchid grower and floral arranger, whose skillful compositions enhanced their home’s elegant atmosphere—a fitting backdrop for a man devoted to crafting exquisite scents. The family’s Sunday lunches were elaborate gatherings, often hosting notable writers like Jean Giraudoux, leading medical experts, and promising talents within the Lancôme organization whom Petitjean personally mentored. His social life extended into the weekdays with regular dining at iconic Parisian establishments such as Maxim’s, Lucas Carton, and Laperouse, often accompanied by the Lancôme “techniciennes,” the specially trained brand ambassadors. These gatherings culminated annually in grand New Year’s dinners at the Plaza Athénée, where elegance and tradition reigned, with guests donning long dresses and dinner jackets. Music and dancing, especially waltzes and tangos—which Petitjean particularly loved—rounded off these glamorous soirées. To honor high society events and charitable balls, Petitjean frequently released limited-edition bottles of his fragrances, such as Bouquet de Violettes and Les Danseurs, which have since become highly coveted rarities among collectors.
Petitjean’s professional legacy was equally secure. Though his son, Armand-Marcel, famously declared he would never work for his “magnificent tyrant” of a father, the future of the brand was entrusted to his grandson, Jean-Claude. From an early age, Jean-Claude accompanied Petitjean, immersing himself in perfumery studies at Lancôme’s production facility, mastering ten languages, and excelling in athletics—preparing to carry forward the mantle of the “Lancôme Superman.” This careful grooming underscored Petitjean’s dedication to not just preserving, but elevating Lancôme’s status in the world of fragrance.
The brand image during this period flourished under Petitjean’s stewardship. His signature creations, Magie and Trésor, had secured his reputation as a leading perfumer, enchanting women with their rich, complex compositions. The allure of Lancôme extended beyond perfume into cosmetics, with women eagerly seeking out his lipsticks housed in exquisitely crafted golden cases, produced at his own jewelry factory near Annecy. This seamless fusion of luxury, artistry, and craftsmanship defined the Lancôme aesthetic of the 1950s—a sophisticated blend of scent, beauty, and elegance that reflected both Petitjean’s personal tastes and his visionary approach to perfumery.
Armand Petitjean’s vision for Lancôme’s global expansion was brought vividly to life through his specially trained “techniciennes,” the brand’s international ambassadors. These women were not mere salespeople but highly skilled professionals, equipped with deep knowledge of perfumery, cosmetics, and local cultures. Nina Gaucher, of Russian descent, made a remarkable impression in Moscow, charming President Khrushchev and securing an enormous order. In Central America, Cécile Cristofini was dispatched with a practical request—to persuade the local agent to cover her expenses, a gamble that paid off handsomely as she personally instructed over a thousand women in makeup application. Meanwhile, in New York, Simone de Reyssi captivated the city’s elite and media alike, often surrounded by buyers and journalists at lunch, effortlessly enchanting them with Lancôme’s flagship fragrance Magie. Wherever they traveled, these ambassadors were treated like celebrities—welcomed by African heads of state and governors, interviewed on Australian television, and featured prominently in major newspapers worldwide.
The rigorous training of these women was critical to their success. Beyond mastering anatomy, physiology, and cosmetics techniques, they learned everything from local customs and regulatory requirements to logistics and sales reporting. Their role extended beyond mere product promotion to cultural ambassadorship, spreading Lancôme’s values and French elegance globally. By 1955, Lancôme’s products were available in 98 countries through 33 agents, including nine direct subsidiaries. Some representatives traveled the globe twice yearly, reflecting the brand’s impressive international reach. Although some markets like China remained difficult, Petitjean’s ambition was unshaken: “I dream of one day selling a lipstick to every woman in China.” His global empire was firmly established, earning him the nickname “Armand the Magnificent.”
Yet, fortune shifted in the mid-1950s. The devastating loss of his wife in 1955 deeply affected Petitjean, and the following year, his grandson Jean-Claude, whom he had groomed as his successor, chose a different path. This personal turmoil coincided with emerging challenges within Lancôme. Petitjean’s insistence on high standards in product development led to friction internally, especially regarding the newly launched Océane skincare line. This collection, based on seawater and marine extracts, was overly complex with numerous products named after mythological figures such as Aphrodite, Triton, Nérée, and Neptune. Compounded by a complicated five-category skin-type classification system, it confused distributors, representatives, and consumers alike, impeding its success.
During this uncertain period, Petitjean clung to traditional ideals of elegance, sometimes to his detriment. He famously rejected the disposable lipstick case, a revolutionary innovation embraced by competitors, declaring, “No woman worthy of the name would ever put such a horror in her handbag!” He could not envision that modern women might prefer the convenience of plastic tubes over Lancôme’s exquisite, gold-plated lipstick cases like Shaker and Clé de Coquette. This refusal cost the brand dearly as competitors capitalized on the new trend, while Lancôme’s once-coveted cosmetic jewelry fell out of favor.
Amidst these struggles, Petitjean was determined to establish a monumental legacy in manufacturing. In 1950, he purchased land near Orly airport, on the busy National 7 highway, intending it to become Lancôme’s flagship production plant at Chevilly-Larue. Surrounded initially by shrubs and rose bushes, the estate was marked by an imposing iron fence. The foundation stone was laid in early 1957. The building’s walls were crafted from creamy Poitou stone, chosen for its enduring color, while the roofing of Fumay slate would take on a purple glow at sunset. Petitjean envisioned this site as a grand statement: travelers departing France via Orly would see Lancôme’s name emblazoned in gold letters, leaving a lasting impression. However, unforeseen infrastructure changes—such as the construction of the A6 motorway and the later opening of Roissy airport farther north—would complicate this grand vision.
In 1957, Lancôme introduced Flèches d’Or, a perfume celebrated for its brilliance, described as “sparkling like a cut diamond.” Classified as a floral chypre, this fragrance features dominant notes of jasmine and spices, combining a luminous floral heart with the classic mossy, woody chypre foundation. It exemplified the brand’s continued commitment to sophisticated, multi-faceted compositions that balanced elegance with complexity, appealing to women seeking refinement and subtlety in their scent.
A particularly remarkable moment in Lancôme’s history came on March 25, 1960, during Soviet Premier Nikita Khrushchev’s official state visit to Paris. To mark this event and the shared optimism of the space age, Lancôme presented five bottles of Magie perfume in the exceptional “Lune en Croissant” opalescent glass bottle to Khrushchev and his delegation. Designed by Georges Delhomme, this bottle commemorated the launch of Sputnik 3 in 1958, capturing the era’s fascination with space exploration. The perfume thus transcended its role as a fragrance to become a symbolic artifact of Cold War diplomacy, blending cultural and technological celebration in a unique expression of perfumery artistry.
By 1961, however, Lancôme’s financial position had become precarious. Armand Petitjean, having invested heavily in the construction of the new Chevilly production plant, found himself burdened with mounting debts at a time when the cosmetics market was evolving rapidly. The company’s bank issued an ultimatum to Armand-Marcel Petitjean, Armand’s son, demanding decisive action within 48 hours to avoid losing credit. Despite lacking formal business experience—he was a writer—Armand-Marcel stepped up as provisional managing director, assuming leadership at a critical juncture.
Under Armand-Marcel’s guidance, the transition from the Courbevoie facility to the grand yet functionally problematic Chevilly plant was completed. The inauguration on June 20, 1962, was a ceremonious affair, with the Garde Nationale forming an honor guard for political and social dignitaries. A photograph from the event poignantly captures the tension between father and son: Armand-Marcel looks at his father with watchfulness and perhaps anxiety, while Armand himself gazes beyond his son at the sprawling complex—his monumental legacy now seemingly out of reach.
Armand-Marcel’s tenure lasted three challenging years, during which he sought to realign Lancôme with the changing market realities. The company rallied behind him, with international agents pre-ordering stock to sustain operations and product development. Nonetheless, overstocking soon limited their ability to reorder, and financial pressures remained acute. Eventually, the gravity of the situation became undeniable, and the family accepted the necessity of selling the company.
Several suitors expressed interest, including major names like Revlon, Yardley, and Payot, though none were French. The breakthrough came when François Dalle of L’Oréal made an offer emphasizing the financial strength and global reach L’Oréal could bring to Lancôme. Negotiations ensued and concluded on terms satisfactory to both parties, setting the stage for a new chapter that would revitalize Lancôme’s rich heritage under the wing of a larger, more resourceful corporation.
In 1967, Lancôme introduced Climat, a fragrance celebrated for its harmonious blend of freshness and florals, which concludes with a delicate powdery finish. This scent quickly became popular across the Soviet bloc, resonating with women who appreciated its subtle yet elegant character. The following year, Balafre was launched as a quintessential masculine fragrance, marked by its energetic and woody profile. Combining sandalwood, musk, and cedar with aromatic notes of lavender, cypress, bergamot, chamomile, and neroli (orange blossom), Balafre established itself as a bold and dynamic scent for men.
1968 also saw the debut of Ô de Lancôme, a fresh citrus eau de toilette distinguished by an intricate composition. Its top notes burst with bergamot, lemon, mandarin, petitgrain, basil, grapefruit, and witch hazel, while the heart unfolds with rosemary, coriander, honeysuckle, jasmine, rose, and water lily. The base offers a grounding blend of oakmoss, sandalwood, and vetiver, resulting in a vibrant yet balanced fragrance designed to evoke vitality and freshness.
Armand Petitjean passed away on September 29, 1970, at the age of 84, leaving behind a legacy that spanned multiple lifetimes. From humble beginnings, he had experienced the heights and lows of fortune and had engaged with some of the twentieth century’s most influential figures, including presidents, princes, intellectuals, and creatives. It would likely have pleased him to know that Lancôme had become a global presence, with products such as lipsticks being embraced by women worldwide—including in China, even if packaged in the disposable containers of modern times.
In 1971, the brand launched Sikkim, a woman’s fragrance inspired by the mystique of the northern Indian state. This rich chypre-fruity perfume presents an unusual yet compelling blend of oakmoss, patchouli, gardenia, bergamot, cut grass, thuja, jasmine, rose, iris, carnation, vetiver, leather, and amber, evoking the exoticism and complexity of the Orient.
Building on the success of Balafre, Lancôme released two flankers in 1974: Balafre Brun, a woody chypre fragrance for men, and Balafre Vert, a green woody chypre scent, expanding the line’s masculine appeal.
In 1978, Magie Noire was introduced, created by Gérard Coupy. This perfume is a crisp, floral-woody amber (oriental) composition with top notes of rose and galbanum; heart notes of ylang-ylang, St John’s wort, myrrh, and frankincense; and a rich base of patchouli, cedar, sandalwood, labdanum, lichens, and amber, creating an intoxicatingly complex bouquet.
Trophée, launched in 1982, was a rich citric masculine fragrance, adding to Lancôme’s masculine portfolio with its vibrant energy.
In 1985, Sagamore appeared as a masculine blend featuring spicy and animalic notes layered over amber and balsamic accords, followed in 1986 by Ô Intense, which unveiled a sophisticated trail of floral, spicy, and amber notes. Its fresh burst of rose, iris, tuberose, jasmine, lily of the valley, ylang-ylang, and carnation transitions into a warm base of cedar, moss, tonka bean, musk, and amber.
The year 1990 marked the launch of Trésor, a new fragrance carrying an iconic name. This semi-oriental floral parfum combines top notes of rose, lilac, and lily of the valley with a fruity heart of peach and apricot, resting on a warm foundation of sandalwood, amber, and musk.
In 1995, Lancôme introduced Poême, a rich floral-oriental parfum crafted by Jacques Cavallier. It broke new ground by incorporating two flowers never before used in perfumery: the Himalayan blue poppy and the datura, a desert flower. These unique top notes lead into a heart of mimosa, jonquil, freesia, rose, jasmine, and daffodil, supported by a base of vanilla flowers, amber, tonka bean, and musk, resulting in a deeply evocative and sensuous scent.
Lancôme made a striking debut in the world of perfumery in 1935, unveiling its first five fragrances—Tendre Nuit, Bocages, Conquête, Kypre, and Tropiques—at the World’s Fair in Brussels. These perfumes were notable for their complexity and richness, both in scent and presentation. Their bottles and packaging were lavish and ornate, deliberately contrasting with the prevailing minimalist Art Deco aesthetic that dominated the 1930s. This bold, decorative approach established Lancôme as a house willing to embrace opulence and artistic expression in perfumery, setting it apart from contemporary trends.
Over the years, Lancôme has collaborated with some of the most renowned perfumers in the industry, a testament to its commitment to innovation and excellence. Notable names associated with the brand include Alain Astori, Annick Menardo, Daniela Roche-Andrier, Christian Biecher, Jacques Cavallier, Calice Becker, Pauline Zanoni, Maurice Roucel, Thierry Wasser, Christine Nagel, Armand Petitjean, Gérard Goupy, Olivier Cresp, Harry Fremont, Alberto Morillas, Dominique Ropion, Olivier Polge, Francis Kurkdjian, Robert Gonnon, Nathalie Lorson, Sophia Grojsman, and Alienor Massenet. This diverse and talented roster of perfumers has contributed to the creation of iconic fragrances that span a wide olfactory spectrum, helping Lancôme maintain its status as a leading name in luxury perfumery.
Lancôme’s success, however, extends beyond perfume alone. The brand has developed strong lines in makeup and skincare, reflecting the vision of its founder, Armand Petitjean, who famously remarked, “Perfume is prestige, the flower in your buttonhole. But beauty products are our daily bread.” This pragmatic understanding of the cosmetics market enabled Lancôme to build a broad and loyal customer base. Today, Lancôme is the premier French brand in selective perfumery, with a presence in 163 countries worldwide. The strategic support and marketing expertise provided by L’Oréal have strengthened Lancôme’s global reach and financial stability, allowing the brand to thrive while upholding the core values that define “the Lancôme spirit.”
At its heart, Lancôme remains deeply rooted in French cultural values, especially the French ideals of elegance and beauty. This identity fuels the brand’s global success and dynamic spirit of conquest and adventure. Scientific innovation is a key pillar, bolstered by L’Oréal’s advanced research laboratories, which often reserve their most remarkable discoveries for Lancôme as the group’s flagship brand. As a result, many of the recent breakthroughs in skincare are products of this integrated effort. Meanwhile, the brand’s vibrant makeup division channels creativity and joie de vivre into every new collection, continuously infusing energy and imagination. Above all, the original vision of Lancôme as a great perfume house endures, with celebrated fragrances such as Trésor, Poême, and Ô Oui! exemplifying the brand’s subtlety and sophistication in scent.
Today, Lancôme’s image is embodied by internationally acclaimed actresses like Juliette Binoche, Inès Sastre, Cristiana Reali, and Marie Gillain, who follow in the footsteps of Isabella Rossellini, all lending their multifaceted appeal to the brand. Their presence on billboards and in advertising campaigns around the world reinforces the timeless message: “France has a word for beauty: Lancôme.” This phrase encapsulates the brand’s enduring commitment to embodying the essence of French elegance and beauty for women everywhere.
Lancôme’s fragrant journey is extensive, and many more perfumes have been launched over the decades. These will be explored further in other sections of this blog, continuing to illuminate the brand’s rich and evolving olfactory heritage.
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