Envol by Lancome c1955

Launched in 1955 in Paris, in US in 1957, Envol by Lancôme is a fragrance whose name alone carries layers of meaning and intention. The word "envol" is French, pronounced roughly as “on-VOHL” in layman's terms. It translates to “takeoff” or “flight,” suggesting a sense of rising, soaring, or lifting off the ground. It is a word often associated with birds taking wing, planes ascending, or even emotions soaring beyond constraint. In a poetic sense, envol evokes liberation, upward movement, dreams taking shape, and the pursuit of something beyond the ordinary.

The choice of this name was no accident. In the post-war decades, France—and the world—was undergoing a rapid transformation. The mid 1950s marked a period of social and cultural evolution. This era, often called Les Trente Glorieuses in France, or The Glorious Thirty (1945–1975), saw an economic boom, modernization of industries, and the flourishing of fashion, beauty, and design. Women were beginning to enjoy more personal freedoms, entering the workforce in greater numbers, and taking a more active role in shaping their identities. A perfume called Envol would have resonated with these women, symbolizing emotional ascent, personal liberation, and the elegance of daring to dream.

In terms of fashion, the mid to late 1950s were still under the sway of Christian Dior’s revolutionary “New Look” introduced a decade earlier in 1947—fitted bodices, nipped-in waists, and voluminous skirts—representing a return to femininity and luxury after wartime austerity. Yet even as women embraced this hyper-feminine silhouette, they were also looking forward. By 1957, the Space Age was dawning. Jet travel was becoming a symbol of the modern world. The idea of flight was both literal and metaphorical. Lancôme’s Envol beautifully tapped into this mood.

Crafted by Armand Petitjean, founder of Lancôme, alongside perfumer Jean Hervelin, Envol is classified as a green floral chypre. It opens with a burst of green freshness that soon gives way to a dominant lily note, delicately blended with subtle fruits. Chypres traditionally offer a contrast between freshness and depth, and Envol plays this duality well—inviting the wearer to imagine walking through a dewy garden at dawn, where green leaves brush against satin skirts and the scent of blooming lilies mingles with ripe fruit on the air.

In the broader context of perfumery in 1955, Envol walked a careful line between tradition and innovation. While the 1950s were rich with aldehydic florals and opulent bouquets (think Chanel No. 5 or Diorama by Dior), there was also a growing appreciation for green notes and the naturalistic elegance they evoked. Fragrances like Vent Vert (1947) by Balmain had already paved the way for the green floral chypre genre, and Envol followed this trajectory while offering its own nuanced interpretation. Its bright green opening and soft, refined floral heart distinguished it from heavier, powdery fragrances still popular at the time.

For the women of 1955, Envol would have represented sophistication with a sense of freedom. It suggested an escape from the mundane, a gesture of elegance and forward momentum. To wear Envol was to feel uplifted—wrapped not just in scent, but in possibility. The name and the fragrance itself aligned perfectly with the aspirations of the modern woman on the brink of the 1960s: elegant, independent, and ready to take flight.

"LANCOME - ENVOL offers the elite a youthful, floral fragrance with delicate notes, imposing itself like spring, light and caressing like a wing, suitable for young women and girls."

Fragrance Composition:

So what does it smell like? Envol by Lancome is classified as a green floral chypre fragrance for women with a dominant madonna lily note mingling with fruits.

• Top notes: aldehyde C-10, aldehyde C-12, Sicilian lemon, Calabrian bergamot, nerolin, green note accord, Swiss lilac, lilial, linalool, benzaldehyde, French carnation, cassie, ethyl phenylacetate
• Middle notes: terpineol, Dutch hyacinth, Algerian narcissus, fruity note accord, aldehyde C-14, lily, styrallyl acetate, Alpine lily of the valley, hydroxycitronellal, Grasse rose, rhodinol, Bourbon geranium, Comoros ylang ylang, Tunisian orange blossom, methyl anthranilate, Portuguese tuberose, Egyptian jasmine, indole, phenylacetaldehyde
• Base notes: Ceylon cardamom, Zanzibar clove, eugenol, leather, isobutyl quinoline, Tyrolean oakmoss, Iranian galbanum, Java vetiver, Indonesian patchouli, ambergris, Indian sandalwood, Madagascar vanilla, vanillin, Venezuelan tonka bean, Ethiopian civet, Tibetan musk, musk ketone, Maltese labdanum

 

The New Yorker - Volume 33, 1957

"Lancome, in the same floral mood, Has introduced Envol (lily, jasmine, and rose are a few of the flowers in it) and is pushing a revival of the woodsy Fleches d'Or. An ounce of either is $27.50, a half ounce is $ 15.40. "

Harper's Bazaar, 1957

"ENVOL - lovely, light-hearted beginning for a life of romance! Double a debut for two dramatically different fragrances from LANCOME ... who gave you Magie, and Seul Tresor and Tresor. Have a beautiful Christmas."

 

Scent Profile:

To experience Envol by Lancôme is to be carried—lifted as if by invisible wings—into a carefully orchestrated symphony of scent. It is a green floral chypre at its most nuanced, where nature and the artifice of fine perfumery dance in equilibrium. As the fragrance unfolds, each ingredient reveals itself with clarity, character, and a sense of place, building layer upon layer of emotional and olfactive texture.

The first breath of Envol is bright and airborne. It opens with a glistening shock of aldehyde C-10 and C-12, two luminous synthetics that impart a metallic, waxy radiance—clean yet tinged with the scent of starched linen and cool morning air. These aldehydes do not replace nature but elevate it, allowing the citrus oils to shimmer with unreal brilliance. They refract the light of Sicilian lemon, famed for its intensely zesty peel and oil, high in limonene, lending an immediately mouthwatering tang. Alongside it, Calabrian bergamot—harvested from the sun-drenched groves of Italy’s Ionian coast—adds a bitter-green floral nuance, its citrus peel more rounded, almost tea-like, softening the lemon’s bite.

Intertwined is nerolin, a gentle byproduct of bitter orange oil distillation, offering a sweet, almost watery orange-blossom nuance, delicately floral and dew-kissed. This segues into a cool green accord—not a single material, but an expertly blended impression of broken stems, crushed leaves, and wild growth. Likely constructed with cis-3-hexenol and phenylacetaldehyde dimethyl acetal, this accord makes the perfume feel like a breath drawn from a meadow before bloom. Moments later, a wave of translucent florals begins to bloom. Swiss lilac rises, subtle and watery, interpreted with the help of lilial, a soft, powdery-green molecule that mimics lilac’s tender heart. Linalool, naturally present in many florals but added here for structure, lends a fresh, almost citrus-lavender brightness. Benzaldehyde, with its signature almondy tone, hints at the soft woodiness to come and gives the floral opening a smooth, marzipan-like undertone.

From the south of France, French carnation brings its spicy clove-like profile—powered by eugenol and green facets. It feels vintage in the most charming way. Cassie, derived from the blossoms of the acacia tree, adds a honeyed, powdery greenness that folds into the composition like crushed golden pollen. Ethyl phenylacetate, a synthetic with a light, sweet jasmine and honey note, acts as a bridge between the brighter florals and the deeper heart to come.

As the top notes soften, Envol opens fully into its heart—a lush tapestry of flowers from across the world, carefully woven into harmony. Terpineol, a piney, floral aroma chemical, gives body and buoyancy, enhancing the scent’s greenery and anchoring the florals in a fresh, slightly woody space. Dutch hyacinth, reconstituted with heady, hyacinth-like synthetics, provides waxy floral depth—clean but haunting. Then comes Algerian narcissus, sultry and animalic, with a narcotic edge. The fruity accord now lifts, a blend likely built from aldehyde C-14 (peach-like and creamy) and possibly gamma-undecalactone (apricot/lactonic), bringing a rounded, slightly milky sweetness. It softens and humanizes the green tension still running beneath the surface.

Dominating the heart is lily—interpreted with styrallyl acetate, which smells like green banana with rose and spice nuances, and hydroxycitronellal, the classic molecule that mimics lily of the valley’s luminous, watery sweetness. The imagined lily here is not a single flower but an impression—both regal and fragile, blushing with cool white petals. Alpine lily of the valley, a nod to its mountain-like clarity, rises cleanly, mingling with Grasse rose, renowned for its balance of green and honeyed notes. Rhodinol, a component of rose oil, adds fresh, geranium-like brightness that pairs elegantly with Bourbon geranium, grown in Réunion Island for its rosy, minty scent. Comoros ylang ylang arrives rich and creamy, harvested from tropical blossoms with solar, custard-like depth, subtly spiced. Tunisian orange blossom adds sparkle and radiance—shimmering, slightly waxy, and ethereal.

More narcotic tones follow. Methyl anthranilate, with its grape-like floralcy, tucks sweet shadows into the folds of Portuguese tuberose, which here leans green and lush. Egyptian jasmine, rich in indoles, softens the heart with sultry warmth, blending into indole itself—a key component of many white florals that smells both floral and faintly animalic. Phenylacetaldehyde contributes a sharp green-honey tone, nudging the entire bouquet toward realism and contrast.

As Envol settles into its base, the full character of the chypre emerges—complex, wooded, mossy, and richly animalic. Ceylon cardamom and Zanzibar clove create a spicy spark at the base of the florals. The clove is dark and warm, and its natural content of eugenol adds a medicinal, spicy depth that links the floral carnation in the top to the woods below. Leather, interpreted here with isobutyl quinoline, lends a bitter-green leathery nuance—almost smoky and stark—that creates a firm edge in contrast to the soft florals. The Tyrolean oakmoss is lush, forest-like, and damp—more textured and balsamic than its Balkan counterpart. Iranian galbanum, with its piercing green resin character, adds a bracing, bitter freshness that hovers over the base like a veil.

The woods are grounding and sensual. Java vetiver, dry and smoky, mingles with Indonesian patchouli, earthy and faintly camphorous. Indian sandalwood, still available in perfumery in the 1950s, contributes its buttery, meditative warmth. Madagascar vanilla and vanillin provide sweetness, but never gourmand—it’s more a textural creaminess, silky and wrapping the mosses in softness. The animalic touches are profound: ambergris, marine and musky, adds a salty-skin warmth that seems to melt into the wearer. Venezuelan tonka bean brings powdery, coumarin-rich depth. Ethiopian civet, once derived from the glandular secretions of the civet cat, adds a leathery, fecal undertone—just enough to make the floral heart feel alive. Tibetan musk, also of animal origin, enhances the aura and longevity, while musk ketone, a synthetic, smooths the base into a soft, powdery skin-scent.

Maltese labdanum is the final whisper—a resinous, leathery-amber note with a honeyed, solar richness, uniting the chypre structure with warmth and fixative power. It lingers, binding the greenness, the flowers, and the mosses in a timeless embrace.

Envol doesn’t just mean “flight”—it enacts it. From the high, crystalline aldehydic lift to the floral bloom and shadowed descent into moss, spice, and musk, this perfume is a journey from air to earth, from elegance to intimacy. It captures the emotional and physical liberation of the 1950s woman—poised between tradition and transformation. Each note, natural or synthetic, plays its part with purpose and poetry. It is not simply a perfume; it is a beautifully orchestrated ascent.

Product Line:

Envol by Lancôme was offered in multiple concentrations, providing a range of olfactory experiences to suit different preferences and occasions. The original Parfum was the most concentrated and luxurious form, composed to deliver the full intensity and complexity of the fragrance. This version was typically housed in the elegant tulip-stopper bottle designed by Georges Delhomme, emphasizing its exclusivity and refined character.

In addition to the Parfum, Lancôme released Eau d’Envol, an Eau de Toilette concentration. While less intense than the parfum, this version retained the essential green floral chypre structure of the original but was lighter and more suitable for daytime wear. The earliest evidence of Eau d’Envol dates to 1959, just two years after the parfum’s introduction, suggesting it was quickly developed to broaden the fragrance’s accessibility and appeal. Documentation confirms that Eau d’Envol remained available at least through 1963, indicating that it maintained a consistent presence in Lancôme’s fragrance portfolio during the early 1960s.

Though less frequently encountered today, both versions reflect the artistry and elegance characteristic of Lancôme’s postwar perfume production.

Bottles:

In 1957, Lancôme introduced a special flacon to house its fragrance Envol. The bottle was distinctive and refined, made from thick, colorless molded pressed glass. Its silhouette followed an elegant oval cross-section, shaped like a flat flask—a form that lent it both a modern and timeless feel. The most striking feature of the design is its stopper, rendered in pink-stained glass and delicately formed to resemble a blooming tulip, an imaginative and graceful touch that echoed the floral character of the fragrance inside.

A narrow, metallic gold label ran asymmetrically across the front of the bottle, bearing the inscription Envol Lancôme, in fine, understated lettering. The overall effect was both feminine and sculptural, a testament to the refined sensibilities of its designer, Georges Delhomme, who created many of Lancôme’s most memorable presentations.

Standing 16 cm tall (approximately 6.3 inches), the Envol flacon was never reused for any other Lancôme fragrance, making it unique to this scent. Its rarity today—both as a design and as a surviving collectible—has elevated it to the status of a sought-after piece among collectors of mid-century French perfumery.

Long-Necked Envol Bottle:

1955 Georges Delhomme design for Lancome Envol (Flight) clear/frost perfume bottle as a vase, frost pink glass tulip stopper, label. *Limited edition of 50 pieces. 12 1/2 in.

Amphore Flacon:

Read more about this bottle here.

Standard Bottles:

Borne Carrée (Jasmine Stopper_:

Lancôme’s first standard perfume bottle, designed to hold a variety of fragrances, is known today as the Borne Carrée—an elegant and historic creation introduced at the very beginning of the brand’s story. It was designed by Georges Delhomme and unveiled on July 14, 1934, aligning with the launch of Lancôme’s original five perfumes. This bottle, also known as the "jasmine stoppered bottle," represents not only the visual identity of early Lancôme but also one of the foundational cornerstones of the house’s aesthetic philosophy: timelessness, refinement, and the seamless merging of scent and form.

The Flacon Jasmin is crafted from colorless crystal glass that is both cut and polished. Its square, flat body features softly curved sides and rounded edges, which add a feminine softness to its otherwise geometric silhouette. This gentle curving gives the bottle a refined presence—neither strictly angular nor overtly ornate—making it adaptable across various fragrances in the Lancôme range. The flacon is topped with a matching clear glass stopper, whose surface is finely molded on both sides with delicate jasmine flowers rendered in intaglio. The design is understated, yet it carries a poetic symbolism: jasmine being not only a beloved floral note in perfumery, but also a motif that embodies beauty, grace, and tradition.

These stoppers have often been mistakenly attributed to Lalique due to their fine artistry, floral motif, and frosted finish. However, they are the original work of Georges Delhomme, Lancôme’s first artistic director and bottle designer, who played a major role in shaping the house’s visual language. Most of the Flacon Jasmin bottles were produced by Verreries Le Bresle, a respected French glassworks that supplied many of Lancôme’s early and mid-century flacons.

Though simple in structure, this bottle was considered luxurious for its time and formed the backbone of Lancôme’s perfume packaging throughout the 1930s to 1960s. In addition to being used for original fragrances like Tendres Nuits and Kypre, the Flacon Jasmin also housed Magie, particularly when not presented in the more elaborate Torsade editions. The design was so versatile that it came in two key versions: the well-known standard square form, and a less common tall, narrow variant. While the latter is sometimes mistaken for an entirely different model, both share the same fundamental styling and design language.

The Flacon Jasmin was available in three sizes to suit different price points and gifting occasions:

• 2 oz Parfum, stands 4" tall.
• 1 oz Parfum, stands 3.5" tall 
• 0.5 oz Parfum, stands 3" tall 
• 0.25 oz Parfum, stands 2.75" tall 

This was the very first flacon in what would become a lineage of “standard” bottles used by Lancôme. The Pagode bottle followed as the second, and in 1963, a third form—the so-called Flacon Classique—was created specifically for the reimagined Magie. Each bottle, while distinct, continued to reflect Lancôme’s deep commitment to elegant design, practical luxury, and visual continuity across its fragrance lines.

"Pagode" Standard Bottle:

The Pagode (pagoda) flacon is one of Lancôme’s most elegant and enduring bottle designs—used across several of the brand’s fragrances, including the celebrated Magie. Made from clear, colorless glass, the bottle features a gently curved silhouette that subtly softens the linearity of its rectangular shape. This curvature imparts a refined, tactile quality that distinguishes it from the stark geometric forms of modernist design. The harmonious proportions and soft edges suggest an understated luxury. The flacon was topped with a concave, rectangular glass stopper, mirroring the gentle curve of the bottle’s body while adding a sleek, modern symmetry. This attention to shape and texture elevated the bottle from simple container to decorative object. It held parfum, indicating that it was used for Lancôme’s most concentrated and prestigious fragrance offerings.

The Pagode flacon is perhaps most closely associated with Lancôme’s “Série des Émaux”, or “Enamel Collection,” a limited series of parfum presentations that were as visually enchanting as they were olfactively luxurious. While the scents varied, the presentation remained consistent: refined, feminine, and evocative of antique French enamel work. The name of the collection derived not from the bottle, but from the elaborate presentation box, which was a central part of the design.

This box was constructed in a drop-top style, with the lid hinged to open downward, revealing the perfume inside like a precious object in a jewel box. The exterior was adorned with embossed motifs, imitating the glossy, multi-colored look of polychrome enamel. These decorative flourishes often included romantic scenes, floral garlands, and natural elements, echoing the aesthetic of 18th-century French decorative arts, particularly those seen on Limoges enamel plaques or painted snuff boxes. The box interior was lined in a luxurious white moiré fabric, further enhancing the sense of preciousness and craftsmanship.

Though the Pagode flacons were primarily used for the “Série des Émaux,” they were also paired with other types of presentation boxes, suggesting their versatility and appeal across multiple perfume lines. The bottles were offered in two sizes: the smaller measuring approximately 3.25 inches tall by 1.25 inches at the base, and the larger about 4 inches tall by 1.5 inches at the base.

Despite their modest dimensions, these flacons and their ornate boxes deliver a rich sensory experience—visual, tactile, and aromatic. They stand as a testament to Lancôme’s dedication to artistic packaging, particularly under the creative direction of Georges Delhomme, who played a pivotal role in elevating the brand’s fragrance presentations. The Pagode flacon, especially in its “Série des Émaux” editions, exemplifies the marriage of French elegance, perfumery, and craftsmanship that defined Lancôme’s golden era.

Flacon Classique:

 

In 1963, Lancôme unveiled a newly modernized version of its standard perfume bottle, aptly named the Flacon Classique. This design was introduced to replace the earlier Flacon Jasmin, which had featured a soft floral aesthetic characterized by its delicate intaglio stopper molded with a jasmine flower—an emblematic detail of Lancôme’s early house style. While the Flacon Classique retained the overall silhouette of its predecessor—with a square, flat body and softly rounded contours—the update marked a clear departure from romantic ornamentation in favor of a sleeker, more streamlined appearance.

The most notable change came in the design of the stopper. Instead of the sculpted floral motif of the earlier version, the new stopper was a square-cut crystal that subtly suggested a trapezoidal form, a detail that gently modernized the shape without disrupting the bottle’s elegant symmetry. This geometric stopper echoed the growing influence of mid-century modern design, with its preference for clarity of form, minimal embellishment, and architectural balance. The refined proportions and polished surfaces gave the bottle a sophisticated, minimalist appeal, aligning with the contemporary aesthetic sensibilities of the 1960s.

Originally created for Magie, this updated flacon soon became the standard for other Lancôme fragrances as well, underscoring its versatility and timeless elegance. One especially refined detail was the addition of a cigaline scarf tied around the neck of the bottle—a soft, ethereal embellishment that brought a whisper of couture to the presentation. The word “cigaline” refers to a nearly transparent silk fabric woven with a fine honeycomb texture, often used in luxury fashion for its airy lightness and understated shimmer. This accessory elevated the bottle’s presentation, lending a graceful touch that softened the modern lines and connected it to the world of high style and femininity.

With its blend of subtle modernity and classic elegance, the Flacon Classique of 1963 stands as a thoughtful evolution in Lancôme’s bottle design—a move away from the ornamental past and toward a new era of refined simplicity, while still maintaining the brand’s signature sense of luxury and grace.

This updated bottle was not exclusive to Magie, but became the standard presentation for multiple Lancôme perfumes during the late 1960s and beyond. While it preserved the elegant proportions of its predecessor, the new stopper brought a bolder and more architectural character to the design. Unlike the romantic, nature-inspired details of the earlier bottle, this flacon emphasized clarity and structure, aligning with the decade's move toward modernism in packaging and presentation.

The flacon was produced in three primary sizes, each carefully proportioned:

• The 2 fluid ounce bottle stood approximately 4.5 inches tall
• The 1 fluid ounce bottle measured 3.75 inches tall
• The 0.5 fluid ounce bottle was 3 inches tall

These bottles were often housed in simple but refined boxes, reflecting the understated elegance of the time. Today, collectors appreciate these post-1966 flacons for their clarity of form and the subtle evolution they represent in Lancôme's design history—from romanticism to modern refinement.

Other Bottles:

Eau d'Envol:

Eau d'Envol, an Eau de Toilette concentration. 

• 1 oz
• 2 oz 
• 8 oz bottle stands 5.25" tall.

The Fate of the Fragrance:

Envol by Lancôme, though now long discontinued, had a lingering presence on the market well into the 1970s. Exact dates surrounding its discontinuation remain unclear, but records confirm that the fragrance was still available for purchase in 1974. Like many perfumes of its era, Envol gradually faded from counters as trends shifted and newer launches took center stage, but its elegant green floral chypre composition left a lasting impression on those who experienced it.

In a surprising twist of perfume licensing history, the name Envol was briefly revived in the early 1980s when fashion designer Ted Lapidus acquired the rights to produce the fragrance. Under this new arrangement, Lapidus reintroduced Envol not only under his own brand name but also as a perfumed deodorant spray carrying the Lancôme name. This transitional period marked a divergence from the original 1957 composition. The formula was reimagined by perfumer Roger Pellegrino, a well-known name in the industry during the late 20th century, who reworked the fragrance to suit the evolving tastes of the early 1980s—likely lightening the mossy base, softening the aldehydes, and enhancing freshness, as was fashionable at the time.

The packaging for both the Ted Lapidus Envol perfume and the Lancôme-branded Envol deodorant spray shared a cohesive design language, featuring modernized graphics and updated aesthetics that departed from the classic elegance of the original Lancôme release. This visual continuity suggests a deliberate attempt to link the heritage of the original with the more contemporary identity of the Lapidus brand. However, the revival was short-lived, and both the fragrance and deodorant quickly disappeared from the market, making them rare finds today. For collectors and vintage perfume enthusiasts, these reformulated versions—though distinct from the 1957 original—represent a curious chapter in the life of Envol and a rare example of cross-brand fragrance licensing in the modern era.

Fragrance Composition:

So what does the reformulated version smell like? Envol by Ted Lapidus is classified as a sharp, floral chypre fragrance for women with a more pronounced ozonic aldehyde note with fruity and woody notes.

• Top notes: aldehydes, ozone accord, citrus notes, narcissus, hyacinth
• Middle notes: rose, jasmine, carnation, tuberose, fruits, galbanum
• Base notes: myrrh, patchouli, musk, leather, ambergris, sandalwood, oakmoss

Scent Profile:

To inhale Envol by Ted Lapidus is to encounter a reinterpretation of a classic—one that echoes the structure of the original Lancôme fragrance, but with a distinctly modernized attitude. Reformulated by Roger Pellegrino in the early 1980s, this version shifts the balance away from the lush green florals and vintage warmth of its predecessor and leans into a sharper, airier, and more ozonic profile, reflecting the olfactive trends of the time. It retains the skeleton of a floral chypre, but dresses it in cool, brisk fabric instead of soft, mossy silk.

The first spray is immediately striking: a crisp and shimmering explosion of aldehydes—less creamy and powdery than the 1950s-style aldehydes of the original Envol, and far more ozonic, sharp, and cool. These aldehydes, likely of the C-11 and C-12 range, bring a glinting metallic edge that smells of clean linen in the wind, or the faintly mineral scent of fresh snow. They're paired here with a constructed ozone accord, a relatively new concept in the 1980s that uses synthetic materials like Calone or aquatic aldehydes to evoke the scent of air itself—cool, dewy, and wide open. This ozonic freshness wasn’t present in the original Lancôme version and marks a clear shift in tone: where the original lifted, this version cuts through.

The citrus notes in this formulation are less warm and sunlit than their Sicilian or Calabrian cousins used in older perfumes. Instead, they feel sharper, more astringent—likely a combination of cold-pressed lemon and grapefruit, with perhaps a dash of synthetic citral to keep the edges crisp and dry. This brightness isn’t about Mediterranean softness but about clarity and sparkle.

As the sharp air begins to soften, narcissus and hyacinth emerge—two springtime flowers that, while natural in character, are here rendered in a more transparent, stylized way. The narcissus, often deep and almost hay-like, is toned down; it's more green-stemmed and freshly cut than earthy. The hyacinth is cooler, waxier, and bright, leaning on floral ozonic synthetics like cyclamen aldehyde or lilial to give it that water-saturated, crystalline texture. This cool floral quality distances it from the heady, indolic bloom of the original Envol, giving this version a more "modern-chic" identity.

The heart of Envol by Lapidus reveals a bouquet of rose, jasmine, carnation, and tuberose—florals familiar from the original but interpreted with more restraint and abstraction. The rose, likely Turkish or Bulgarian in source, is dew-kissed and sheer, enhanced with phenylethyl alcohol and citronellol to heighten its rosy-fresh profile rather than its jammy warmth. Jasmine, which once bloomed rich and indolic in the Lancôme version, is now softened with hedione—a luminous aroma chemical that extends the floral diffusion and adds a subtle citrus-tea freshness.

Carnation and tuberose provide a gentle spice and creaminess respectively, but they are less commanding here—more whispered than sung. Any clove-like heat from the carnation is likely tempered with eugenol in careful balance, and the tuberose, rather than narcotic, feels pastel, as if thinned by light.

A touch of fruity sweetness emerges—abstract rather than photorealistic. Possibly built with aldehyde C-14 (peachy-cream) and lactonic musks, the fruit accord doesn’t aim to dominate but to add smoothness and lift. It supports the florals rather than announcing itself. Woven into the green bouquet is a restrained use of Iranian galbanum—that sharply resinous, green, almost chewy note. Here, it no longer commands with bitterness, but quietly reminds us that this is still a chypre—there is structure beneath the softness.

As the florals fade into skin, the composition reveals a warmer, more textured foundation. Myrrh comes first—resinous and faintly balsamic. Not smoky or ecclesiastical, but rather a translucent amber-gold note, linking gently to ambergris, which adds a smooth, salty skin warmth. The ambergris—likely synthetic in the form of ambroxan or amberlyn—contributes longevity and a soft radiance that wasn't as emphasized in the earlier formulation.

Patchouli and sandalwood form the woody backbone. The patchouli, from Indonesia, feels filtered and clean, without the raw, musty earthiness of its 1970s interpretations. The Indian sandalwood, if present in its natural form, would add a creamy, velvety warmth, though likely here it is augmented or replaced in part by sandalwood lactones or synthetic sandalwood bases such as polysantol to maintain affordability and regulatory compliance.

The leather accord in the base is soft—not the bracing, green-leather of the original’s isobutyl quinoline, but something more sueded and smooth, possibly created with a mix of castoreum-like bases and soft musks. The oakmoss, once heavy and anchoring, is now cleaner, less earthy—likely low-atranol oakmoss extract, altered to comply with IFRA regulations but still offering a mossy, forest-floor effect. It adds the necessary chypre identity, even if in a modern, refined form.

Finally, musk closes the composition—not the feral animalic of the original’s civet or deer musk, but rather musk ketone or galaxolide, those clean, cottony musks that leave a long-lasting, skin-hugging impression.

While Envol by Ted Lapidus bears the name and rough olfactory framework of the original Lancôme classic, it is not a replica. It is a reinterpretation—a sharper, cooler, and more radiant fragrance, shaped by 1980s sensibilities and the era’s fascination with cleanliness, freshness, and ozone. Where the original was dense with vintage elegance, rich natural florals, and mossy animalics, the Lapidus version offers transparency, brisk florals, and restrained warmth.

The chypre structure remains, but the textures have changed: green has become silvery-blue, moss has been airbrushed, and the lilies have turned into morning air. Envol under Ted Lapidus becomes a fragrance not of nostalgic femininity, but of confident modernity—still taking flight, but with different winds beneath its wings.

Product Line:

Envol by Ted Lapidus was available in the following:

• Perfume
• 1.7 oz Eau de Toilette Spray
• 3.4 oz Eau de Toilette Spray
• 6.8 oz Eau de Toilette Splash
• Eau de Parfum

Bottles:

Fate of the Fragrance:

Envol by Ted Lapidus was discontinued by 1991.