The perfume emerged at a pivotal moment in history. The year 1918 marked the end of World War I, a period shadowed by immense loss but also brimming with hope and a yearning for renewal. In art, fashion, and culture, a new modern spirit was stirring. This era, bridging the Belle Époque and the dawn of the Art Deco period, was marked by shifts toward luxury, femininity, and self-expression. In fashion, hemlines were rising, corsets were loosening, and women were entering public life with greater visibility. Perfume, too, evolved—it was no longer just a pleasant accessory but an expression of mood, identity, and aspiration.
In this cultural context, a perfume called Émeraude would have held deep appeal. The name suggested mystery and wealth, beauty and resilience. For a woman in 1918, it would have been a sensual escape into a realm of luxury and exoticism—a symbolic expression of strength and femininity after the hardships of war. The emerald, long associated with immortality and emotional clarity, became a metaphor for the inner beauty and rebirth of the modern woman.
In terms of scent, Émeraude was classified as an oriental fragrance—a style known for its warmth, richness, and opulence. It opens with a sparkling citrus top note that provides an immediate sense of freshness and brightness, giving way to a heart of sweet jasmine and florals. This floral center softens into a deep, resinous base composed of balsamic notes, sandalwood, and a complex blend of sensual animalics: ambergris, castoreum, civet, and powdery musk. The result is piquant, spicy, and slightly exotic—an evocative combination that lends Émeraude both character and mystery.
When placed alongside other fragrances of the era, Émeraude stood out for its bold structure and rich complexity. While many perfumes before it had focused on single floral notes or simple cologne-style compositions, Émeraude represented a more modern, abstract approach to perfumery—layered, nuanced, and suggestive. It paved the way for future oriental fragrances, influencing later classics like Shalimar by Guerlain, which owes much of its structure to Émeraude's pioneering composition.
Ultimately, Émeraude was more than just a perfume—it was Coty’s vision of a mood, a myth, and a material world turned into scent. It embodied a rare blend of exoticism and familiarity, of elegance and emotion. Like the emerald itself, Émeraude was—and remains—timeless."EMERAUDE: Mystery of the Emerald in perfume - ever new - differing subtly for each woman - loveliest when mingled with the warmth of flesh."
Emeraude and Its Influence on Modern Oriental Perfumery
In crafting Émeraude, François Coty employed a pioneering accord known as ambreine, which would go on to influence an entire generation of perfumes. This accord—a masterful blend of bergamot, vanillin, coumarin, and civet—created a warm, balsamic richness that became a cornerstone of early oriental perfumery. Coty paired it with vanillin, the synthetic version of vanilla, and coumarin, an ingredient with a soft, sweet hay-like aroma, to lend Émeraude its distinctive softness and sensuality. These innovations not only gave Émeraude its lush, enveloping quality, but also helped standardize the use of synthetics in modern fragrance composition.
One of the most fascinating tributes to Émeraude comes from an unexpected admirer: Jacques Guerlain’s wife, who reportedly wore only two perfumes—L’Aimant and Émeraude, both made by Coty, her husband's chief competitor. According to enduring perfume lore, Guerlain himself attempted to re-create Émeraude in 1921 as a private fragrance for his wife. That experiment ultimately became Shalimar, released to the public in 1925 and now considered one of the most iconic fragrances of all time.
Structurally, Shalimar didn’t depart significantly from the rich style of late 19th- and early 20th-century perfumes, which commonly featured opulent florals like rose, heliotrope, and jasmine, bolstered by resins, woods, potent animalics, and earthy notes such as vetiver and patchouli, along with citrus top notes, especially bergamot. What set Shalimar apart was its exaggerated use of bergamot and vanilla, which lent the fragrance a bold and unforgettable contrast—bright and sharp at the opening, then melting into creamy warmth. Like Émeraude, it employed the ambreine accord—specifically, a composition including bergamot (30%), vanillin or ethyl vanillin (3%), coumarin (9%), civet, along with vetiver, patchouli (4%), sandalwood, and rose (as noted by Calkin and Jellinek in 1994). Despite differences in intensity and nuance, the olfactory resemblance between Émeraude and Shalimar is unmistakable.
Émeraude’s impact extended even further. In 1932, it directly inspired the creation of Tabu by Dana, another classic oriental fragrance that built on Coty's sensual, exotic template. Tabu is classified as a floral woody amber (often labeled simply as an oriental), and it, too, is rich, dramatic, and luxuriously composed. Designed to be a provocative and decadent perfume, Tabu was described as being “the perfume you’re not supposed to wear.” Its composition includes rose, jasmine, and orange blossom absolutes, layered over patchouli and oakmoss, and anchored with musk and amber fixatives of superb quality. Heavier and even more intense than its predecessors, Tabu became a quintessential cold-weather scent, ideal for fall and winter, and continues to be remembered as one of the most compelling orientals of its time.
Taken together, these three fragrances—Émeraude, Shalimar, and Tabu—form a lineage of sensual, amber-laced perfumes that defined the oriental genre in the first half of the 20th century. Each, in its own way, built on Coty’s original structure, echoing the power, depth, and seductiveness that Émeraude first brought to the modern woman's vanity.
Personal Perfumes:
For example, it was commonly believed that blondes were best suited to lighter, more delicate fragrances—florals that matched their supposed softness and delicacy. Recommendations for blondes included Coty’s Paris, L’Aimant, L’Effleurt, La Rose Jacqueminot, and L’Or. In contrast, brunettes were often associated with passion and depth, and therefore were thought to flourish in richer, more dramatic scents. Fragrances like L’Aimant, L’Origan, Emeraude, Chypre, Ambréine, Fougeraie au Crépuscule, and Styx were marketed to them. The mysterious allure of red-haired women was considered rare and exotic—so they, too, were matched with perfumes of character and richness: Emeraude, Paris, L’Origan, L’Ambre Antique, Iris, and Cyclamen. In particular, Emeraude was lauded for its “exotic richness,” with marketers claiming that it "translated the warm, velvety beauty of brunettes" and was “languorous” and “brilliant” enough to complement the “rare type” that redheads represented.
Coty also experimented with astrology-inspired marketing, recommending perfumes based on birth months and the associated traits. A woman born in November, for example, was described as poised, courageous, and artistically inclined—drawn to luxury and deserving of fragrances like Emeraude, La Jacinthe, L’Or, and Paris. Women born in August were seen as emotionally intense and deeply individualistic; for them, Coty suggested Emeraude, L’Effleurt, Violette Pourpre, and Lilas Blanc. March-born women, considered brilliant and independent, were thought to gravitate toward bold, magnetic scents like Emeraude, L’Ambre Antique, Styx, and L’Or. Those born in February were characterized as sensitive and sincere, with deep, often hidden emotional reservoirs. For these introspective souls, Coty recommended Emeraude, Violette Pourpre, Lilas Blanc, and L’Origan.
Other perfumers took a slightly different approach, encouraging women to choose fragrance according to mood or temperament, rather than outward appearance. For the sunny, joyous type, light florals such as L’Effleurt, Muguet, and Violette were thought to enhance their natural cheer. The dreamy, elusive woman—romantic and ephemeral—was best suited to scents like Jasmine de Corse, La Jacinthe, and Lilas Blanc. For the exotic types, Chypre, Violette Pourpre, and Ambre Antique offered sensual depth. The mysterious type was drawn to enigmatic scents such as Ambre Antique, Styx, and Cyclamen, while those with a brilliant, sophisticated temperament gravitated toward the complex elegance of Emeraude, Paris, and L’Origan.
These strategies were more than just gimmicks—they tapped into the emotional and psychological side of fragrance, turning scent into an expression of identity. Whether buying for oneself or as a gift, consumers were enchanted by the idea that a perfume could reflect who they were, or who they wished to become. These early 20th-century marketing tactics were remarkably effective, leading to widespread sales and brand loyalty, while helping to define the enduring relationship between scent and self-image.
Original Fragrance Composition:
So what does it smell like? Emeraude by Coty is classified as an oriental fragrance for women. Piquant, intriguing, spicy, a combination of exotic plants, sandalwood, musk, ambergris and jasmine with just a hint of citrus for surprise. It begins with a citrusy top, followed by a sweet floral heart, layered over a sweet, balsamic base plus a quartet of sensual animalics: ambergris, castoreum, civet, and powdery musk.
- Top notes: Grecian cyclamen, aldehydes, Calabrian bergamot, Amalfi lemon, Guinea orange, Ceylon lemongrass
- Middle notes: Alpine lily of the valley, Moroccan cassie, Grasse jasmine, Comoros ylang ylang, Bulgarian rose, Brazilian rosewood
- Base notes: Malaysian patchouli, aloeswood, spices, resins, Sudanese opoponax, Sumatran styrax, Peru balsam, Mysore sandalwood, Mexican vanilla, Siam benzoin, Maltese labdanum, Venezuelan tonka bean, coumarin, Abyssinian civet, Canadian castoreum, ambergris, Ambrein, Tibetan musk.
"Émeraude by Coty—floral with jasmine, anchored by civet, castoreum, and ambergris—is a fragrance of hope and luxury. It seems to deepen the flush of carmine lips and lends an irresistible allure to every adornment."
Scent Profile:
As I lift the stopper of Emeraude by Coty, a golden mist seems to rise from the bottle, transporting me across continents in an instant. The opening is bright, vivid, and bracing—a citrus symphony that feels like morning light breaking through lace curtains. The Calabrian bergamot leads with its nuanced bitterness, crisp yet slightly floral, softened by the Amalfi lemon, whose juice-dripping tartness is sun-drenched and aromatic. A thread of Guinea orange lends depth—sweeter and richer than typical orange, it adds a tropical warmth. The presence of Ceylon lemongrass provides a sharp, lemony herbaceousness, a clean green edge that tickles the nose. Interwoven is the delicate freshness of Grecian cyclamen, a cool, watery floral note that tempers the sparkling citrus with something more subdued, almost airy. And then, there’s the unmistakable shimmer of aldehydes—not metallic or soapy, but airy and effervescent, like champagne bubbles rising, giving lift to the entire composition.
As the citrus brightens and begins to fade, the heart reveals a lush, opulent floral bouquet—heady and classical, but in no way demure. Grasse jasmine, with its creamy, almost animalic richness, unfolds beside the velvet-petaled Bulgarian rose, whose full-bodied depth is both honeyed and faintly peppery. The jasmine's intensity is tempered by the gentle, green sweetness of Alpine lily of the valley, which adds brightness and a touch of innocence. Then comes Comoros ylang ylang, rich and narcotic, with its banana-like creaminess and slightly leathery undertone, coaxing out the sensuality of the heart. The Moroccan cassie, a type of mimosa, adds powdery warmth and honeyed pollen. The unexpected guest here is Brazilian rosewood—not rosy at all, but woody, balsamic, and ever-so-faintly spicy, creating a smooth, soft backbone for the florals. The entire heart of Emeraude breathes like a silk organza gown—layered, sweeping, and radiant.
Then the base arrives, deep and languorous, like a shadowed room glowing with incense. There is the unmistakable spiced, sweet tangle of Sumatran styrax and Sudanese opoponax, warm and resinous, their smoky richness softened by the velvety caress of Mexican vanilla and the almost caramelic smoothness of Peru balsam. Siam benzoin adds a crystalline, almost vanilla-like sweetness—clear and radiant. Mysore sandalwood, creamy, milky, and spiritual, ties the base to earth with its grounding presence. Malaysian patchouli—darker, leafier, less musty than its Indonesian cousin—introduces a rich, earthy facet, amplified by the rare and precious aloeswood, smoky, meditative, almost sacred.
The spices are not merely an accent—they glow from within. Cinnamon, clove, perhaps even a touch of nutmeg or cardamom—these spice notes are diffused through the resins like glowing embers in incense. The quartet of animalics is where Emeraude unfurls its full sensuality: Abyssinian civet brings a musky, feline warmth; Canadian castoreum, a leathery, smoky note with rich balsamic nuances; ambergris, earthy and saline, lends a natural radiance and tenacity; and Tibetan musk, a powdery, sweet, clean musk note, softens and harmonizes all.
Of the synthetics, ambreine serves as a vital connector—mimicking the sweet, warm, slightly animalic properties of ambergris while boosting the longevity and depth of the base. Coumarin, one of perfumery’s earliest synthetic darlings, imparts a hay-like, almondy softness—creamy and rich. It works in tandem with vanilla and tonka bean to provide that unmistakable sweet base accord, anchoring the entire fragrance in a nostalgic haze.
Wearing Emeraude is like stepping into a world drenched in gold and shadow—a scent that begins in brightness and evolves into something soft, enveloping, and deeply carnal. It's a journey from sunlit citrus groves through flower-strewn meadows to incense-filled chambers draped in velvet. It remains a true oriental in the classical sense: not simply exotic, but transporting—a reverie in scent.
Bottles:
Some of the earliest and most exquisite Coty bottles were created by the legendary French glassmakers René Lalique and Baccarat, particularly for the Parfum Extrait presentations. These flacons, produced during the early 1910s, featured beautifully molded and frosted glass, often with elaborate bas-relief motifs that echoed the Art Nouveau style of the time. However, while visually stunning, the high cost of commissioning bottles from Lalique and Baccarat soon became unsustainable as Coty’s business expanded.
In response, François Coty made the practical yet visionary decision to adapt these elegant designs for mass production. He established his own glassworks in Pantin, France, where the flacons could be made with the same aesthetic appeal but at a lower cost. These in-house bottles are typically marked "Coty France" on the base, distinguishing them from their Lalique or Baccarat predecessors. By 1920, the majority of Coty's bottles were produced in-house at Pantin, allowing for greater control over production quality and output. To complete the luxurious presentation, the perfume flacons were housed in finely crafted boxes made at Coty’s own boxing factory in Neuilly, ensuring that every aspect of the packaging—from bottle to case—reflected the brand's signature blend of beauty, innovation, and accessibility.
The Moth Stopper Parfum Flacon is one of the most iconic and collectible bottle designs associated with Coty’s early perfume presentations. Originally designed by René Lalique in 1912 for Coty’s Muguet (Lily of the Valley), the flacon features a frosted glass stopper molded with a pair of moths or butterflies in low relief. The wings of the insects are gently spread and patinated in brown, adding a naturalistic depth to the design. The body of the bottle itself is a simple square with slightly convex panels, straight shoulders, a small neck, and an indented base. Measuring just over 3 inches per side, the flacon was understated in form but elevated by the elegance of its finely molded stopper.
Lalique’s original bottles came in two sizes: 3.34 inches and 3.93 inches tall. Authentic Lalique versions are marked on the base with an intaglio-molded long-tail “LALIQUE” signature. This is crucial for identification, as many forgeries exist—some with false “R. Lalique” markings that Lalique himself never used for these Coty bottles. Genuine bottles also feature a distinct elongated oval indentation in the center of the base, a signature detail of the original mold.
In 1914, Coty, ever the pragmatist, turned to Baccarat to reproduce Lalique’s design more economically. This decision resulted in a 13-year estrangement between Lalique and Coty, as the move was seen as a betrayal by the artist. Nevertheless, Baccarat began producing the moth-stopper flacons by 1916, using mold number 307. These bottles featured a slightly modified form with sloping shoulders, rather than the sharper lines of the Lalique version. They retained the elongated oval indentation and are properly marked with an acid-etched “Baccarat” signature on the base (standard practice after 1936). These examples are highly sought after and can be found in reference books such as Baccarat: Les Flacons à Parfum (Addor Press, 1986).
Ultimately, even the Baccarat versions proved too costly for large-scale production. In an effort to control costs and maintain visual continuity, Coty adapted the design once again, and had it produced by his own glassworks in Pantin. The Coty-made versions imitate the sloping shoulder profile of the Baccarat flacons but omit the oval indentation on the base to streamline manufacturing. These are marked with “Coty”, either embossed or acid-etched, and have a flat base. Coty’s bottle held approximately 1.6 ounces of parfum and stood about 3.25 inches tall, housed in a green leather-covered box. A smaller version measuring 2.75 inches was also produced.
The moth-stopper flacon was more than just a container—it became a signature shape for Coty perfumes. Though initially created for Muguet, it was later used for a wide range of Coty fragrances including Emeraude, Ambre Antique, L’Origan, Chypre, and Paris. The form was even adapted for travel use in 1916: Baccarat designed a portable version with an inner glass stopper and gilt brass screw cap, registered as model number 291. These flat square bottles were presented in French leather cases starting in 1928, reflecting Coty’s commitment to making luxury both elegant and practical. Some examples also bear L’Aimant labels, showing the bottle’s versatility across the Coty line.
Production of the moth-stopper bottle continued until 1961, after which the design was retired. Today, authentic Lalique and Baccarat versions remain highly prized by collectors, not only for their exquisite craftsmanship but also for their significance in perfume history—representing Coty’s early collaboration with the decorative arts and his pioneering vision for modern fragrance branding.
In 1927, Coty introduced an elegant new presentation for its signature moth-stoppered flacon, housed in a style now known as the "Roseraie" Package. The term roseraie is French for "rose garden," a word that immediately evokes imagery of refinement, fragrance, and timeless beauty—an apt name for a presentation meant to enchant the eye as much as the nose.
The Roseraie box was covered in a luxurious brown, suede-like material, giving it a soft, tactile appeal that hinted at the richness of the perfume inside. On the front of the box, a delicate dotted circle surrounded the words “Coty Paris,” with a charming arrangement of fanciful ribbons above—an understated yet romantic design that echoed the grace and femininity associated with Coty’s early perfumes. This refined presentation was used for several of Coty’s most beloved fragrances, including Emeraude, L’Origan, Paris, and Chypre. While the bottle remained the classic square-shaped flacon with the frosted moth or butterfly stopper, the Roseraie package elevated its visual presentation, making it an ideal gift or personal indulgence.
There was, however, some inconsistency in the way the contents were listed in period advertisements. Various sources from the late 1920s mention differing amounts for the bottle—1 1/3 oz, 1 3/4 oz, and 1 1/2 oz—likely the result of typographical errors or miscommunication between advertisers and retailers. Such discrepancies were not uncommon in early 20th-century print media, where perfume sizes were often rounded or approximated for marketing purposes. Regardless of the precise volume, the Roseraie package remains one of Coty’s most romantic and collectible presentations, a perfect marriage of Art Deco elegance and the poetic branding that helped make Coty a household name in fragrance.
Etui a Cigarette Presentation:
The perfume itself was housed in a 3 1/8" tall glass bottle, filled with 1.5 oz of Parfum. The bottle, molded with "Coty France" on the base, was produced at Coty’s own glassworks in France. It featured clean, modern lines with a modest profile that fit snugly into the specially designed packaging. The bottle format was widely used and held many of Coty’s most celebrated perfumes of the time, including Emeraude, L’Origan, L’Or, Ambre Antique, Chypre, and Paris. This made it not only a practical choice for gifting, but also a collectible format for devoted Coty customers.
The real novelty, however, was in the telescope-style box—a two-piece cardboard and paper-covered structure that slid open and closed with precision. The box, adorned with a distinctive geometric woven pattern, echoed the Art Deco aesthetic that was sweeping Europe and America at the time. Once the perfume bottle was removed, the box could be repurposed as a cigarette case, giving the packaging a stylish second function. This dual-purpose design not only appealed to the resourceful spirit of the modern woman but also aligned with the period’s emphasis on luxury with practicality.
The “Étui à Cigarette” presentation encapsulated Coty’s genius for creating a complete sensory and lifestyle experience around perfume. It was a reflection of both the modern femininity of the 1920s and Coty’s pioneering approach to marketing—one that considered not only how a fragrance smelled, but how it was presented, used, and remembered. Today, these flacons and their clever telescope boxes are prized by collectors for their charm, craftsmanship, and the cultural snapshot they provide of a more glamorous age.
The Roseraie box was covered in a luxurious brown, suede-like material, giving it a soft, tactile appeal that hinted at the richness of the perfume inside. On the front of the box, a delicate dotted circle surrounded the words “Coty Paris,” with a charming arrangement of fanciful ribbons above—an understated yet romantic design that echoed the grace and femininity associated with Coty’s early perfumes. This refined presentation was used for several of Coty’s most beloved fragrances, including Emeraude, L’Origan, Paris, and Chypre. While the bottle remained the classic square-shaped flacon with the frosted moth or butterfly stopper, the Roseraie package elevated its visual presentation, making it an ideal gift or personal indulgence.
There was, however, some inconsistency in the way the contents were listed in period advertisements. Various sources from the late 1920s mention differing amounts for the bottle—1 1/3 oz, 1 3/4 oz, and 1 1/2 oz—likely the result of typographical errors or miscommunication between advertisers and retailers. Such discrepancies were not uncommon in early 20th-century print media, where perfume sizes were often rounded or approximated for marketing purposes. Regardless of the precise volume, the Roseraie package remains one of Coty’s most romantic and collectible presentations, a perfect marriage of Art Deco elegance and the poetic branding that helped make Coty a household name in fragrance.
Heliotrope Flacon:
The “Heliotrope” flacon, also known as “Coty Perfume No. 14,” was originally designed by René Lalique in 1911 for Coty’s fragrance Heliotrope. This distinctive bottle features a roughly triangular shape with elegantly canted corners along the base, giving it a sleek, geometric silhouette that stands out among early 20th-century perfume bottles. The frosted glass stopper is molded as an open flower, adding a delicate floral detail that complements the natural inspiration of the scent.
Interestingly, there are two known models of this bottle with the same triangular container shape but different stoppers. The other version features a conical-shaped frosted stopper instead of the open flower design. To date, neither of these two models bears an authentic R. Lalique signature, though they have occasionally been seen signed with “Coty” markings. This suggests that while Lalique likely created the original design and prototypes, the bottles themselves may not have entered large-scale production under Lalique’s direct craftsmanship. Instead, it is believed that Coty later produced these bottles at his own factory—possibly around 1920 or later—based on Lalique’s initial designs.
At the 2005 dispersal sale of Marie Claude Lalique’s Perfume Bottle Collection, unsigned examples of both Heliotrope versions were documented, underscoring their rarity and the mystery surrounding their production history. The bottles come in three sizes, approximately 6 cm (2.36 inches), 7.4 cm (2.91 inches), and 9.4 cm (3.70 inches) tall, offering versatility for different perfume concentrations or presentations.
This elegant flacon was used for an array of Coty’s most popular fragrances, including Emeraude, L’Aimant, L’Origan, Styx, Chypre, Muguet, Jacinthe, Jasmin de Corse, La Rose Jacqueminot, and Paris. The longevity and adaptability of the Heliotrope bottle design highlight both its aesthetic appeal and its significance in Coty’s legacy of fine perfume packaging. The bottle was used at least until 1934 as evidenced in a newspaper ad shown below.
Briar Stopper Flacon:
The “Briar Stopper Flacon” is a distinguished design created by the renowned glass artist René Lalique in 1911, later adapted and produced by Coty’s own glassworks after 1920. The bottle features a tall, clear glass body with a square base, a classic shape that balances elegance with a sturdy presence. Its most notable element is the frosted glass stopper, intricately molded with a “briar” motif—an artistic representation of thorny briar branches—adding a naturalistic yet refined touch to the design.
Originally, this flacon was crafted to house Coty’s various Eau de Toilette fragrances, with the use of this specific bottle for Emeraude dating from 1918 onward. Over time, the design was adapted to accommodate multiple sizes, including miniature versions created to hold parfum, catering to different customer preferences and usages. The most common miniature size, known as the “Petite Modèle,” debuted in 1936 and held 0.27 ounces of perfume, offering a compact yet luxurious option for collectors and users alike.
In the 1920s, the perfume boxes carrying this flacon often contained a thoughtful message inside, emphasizing the craftsmanship and fragility of the bottle: “These exquisite crystal flacons are hand-cut in the Paris ateliers of COTY - Care must be taken in placing them on the dressing table to avoid breakage of the corners.” This note reflects both the artistry involved in the bottle’s creation and the delicate nature of the crystal, reminding owners to handle their precious flacons with care.
The sizes of the Briar Stopper flacon vary widely, reflecting its adaptability and popularity. These include petite versions at 2 inches tall holding 0.13 ounces, a slightly larger 2.5-inch “Petite Modèle” holding 0.27 ounces, and mid-sized bottles such as the 3-inch flacon with 0.60 ounces. Larger versions range up to 8.75 inches tall, including sizes holding 1.70 ounces, 3 ounces, and beyond. This broad range of sizes demonstrates the versatility of the design, which could serve as a portable miniature or an impressive centerpiece on a vanity.
Overall, the Briar Stopper flacon exemplifies Coty’s dedication to marrying exquisite glass artistry with functional perfume presentation, making it a beloved piece among collectors and perfume aficionados.
Banded Bottles with Frosted Stoppers:
The “Banded Bottles with Frosted Stoppers” are elegant clear glass flacons characterized by a distinctive embossed band encircling the upper portion of the bottle. Complementing this detail is a frosted glass stopper, which is molded with intricate floral motifs and delicate ridge designs, adding a refined, tactile quality to the bottle’s appearance. Despite some common misconceptions, these bottles were not crafted by Lalique or Baccarat, as they do not appear in the catalogs of either famed manufacturer and were never part of their molds. Instead, these bottles were produced at Coty’s own glassworks in Suresnes, France, reflecting the company’s movement toward in-house production of luxury perfume containers.
These banded bottles were versatile and housed a variety of Coty’s perfumes over the years. They were offered in three parfum sizes: a petite 1/4 ounce, a mid-sized 1/2 ounce, and a standard 1-ounce bottle. The parfum bottles were eventually discontinued in 1932, although the smallest 1/4-ounce bottle continued production slightly longer, until 1934.
In terms of dimensions, the bottles vary in height according to their size: the 1/4-ounce bottle stands approximately 2.25 inches tall, the 1/2-ounce is 2.75 inches tall, and the 1-ounce bottle measures 3.75 inches tall. In addition to these smaller parfum versions, larger flacons were crafted to serve as boudoir bottles, designed for holding Eau de Toilette. These grander versions ranged from 6 inches to 8 inches tall, offering an imposing and decorative presence on the dressing table.
These larger Eau de Toilette bottles, holding around 3 ounces, were also used for several of Coty’s popular fragrances, including Emeraude, Eau de Coty, L’Origan, Chypre, Paris, La Rose Jacqueminot, and L’Aimant. Together, this line of banded bottles combines understated decorative elegance with practical functionality, embodying Coty’s commitment to quality and style in every aspect of its perfume presentation.
In 1926, Coty introduced two specially designed Eau de Toilette bottles—one holding 1 1/5 oz and the other 3 oz—that featured patented metal sprinkler tops. These tops allowed the user to gently shake out only a few drops of fragrance at a time, offering a refined and controlled application experience without the risk of spilling or overpouring. These bottles were part of Coty’s banded bottle line, easily identified by their clear glass bodies with an embossed band encircling the upper portion and frosted stoppers molded with floral and ridge details. Designed with travel in mind, these versions were non-refillable, a deliberate choice to maintain product integrity and prevent contamination. Their compact, sturdy construction made them ideal for packing in luggage or handbags, while the sprinkler mechanism ensured that the precious scent could be used sparingly and efficiently on the go. These practical yet elegant bottles reflected Coty’s forward-thinking approach to both fragrance design and everyday usability.
Etui a Cigarette Presentation:
Introduced in 1927, the “Étui à Cigarette” presentation was one of Coty’s most charming and multifunctional perfume packaging concepts—a clever marriage of utility and elegance that reflected the glamour and ingenuity of the interwar period. At the time, cigarettes were both fashionable and socially acceptable accessories for the modern woman, and Coty—ever attuned to contemporary trends—capitalized on this cultural shift by designing a perfume box that could enjoy a second life as a cigarette case once the perfume was used up.
The perfume itself was housed in a 3 1/8" tall glass bottle, filled with 1.5 oz of Parfum. The bottle, molded with "Coty France" on the base, was produced at Coty’s own glassworks in France. It featured clean, modern lines with a modest profile that fit snugly into the specially designed packaging. The bottle format was widely used and held many of Coty’s most celebrated perfumes of the time, including Emeraude, L’Origan, L’Or, Ambre Antique, Chypre, and Paris. This made it not only a practical choice for gifting, but also a collectible format for devoted Coty customers.
The real novelty, however, was in the telescope-style box—a two-piece cardboard and paper-covered structure that slid open and closed with precision. The box, adorned with a distinctive geometric woven pattern, echoed the Art Deco aesthetic that was sweeping Europe and America at the time. Once the perfume bottle was removed, the box could be repurposed as a cigarette case, giving the packaging a stylish second function. This dual-purpose design not only appealed to the resourceful spirit of the modern woman but also aligned with the period’s emphasis on luxury with practicality.
The “Étui à Cigarette” presentation encapsulated Coty’s genius for creating a complete sensory and lifestyle experience around perfume. It was a reflection of both the modern femininity of the 1920s and Coty’s pioneering approach to marketing—one that considered not only how a fragrance smelled, but how it was presented, used, and remembered. Today, these flacons and their clever telescope boxes are prized by collectors for their charm, craftsmanship, and the cultural snapshot they provide of a more glamorous age.
Metal Case Parfum Bottles:
A nice purse size bottle set was created and presented in your choice of a crackle finished or a platinum tone nickel hinged metal case around 1928. The bottle used was the banded bottle with the frosted glass stopper. The case stands 2 3/4" tall. It was invented by Philip A. Reutter and manufactured by Scoville Manufacturing Co. These containers were discontinued in 1933.
A nice purse size bottle set was created and presented in your choice of a crackle finished or a platinum tone nickel hinged metal case around 1928. The bottle used was the banded bottle with the frosted glass stopper. The case stands 2 3/4" tall. It was invented by Philip A. Reutter and manufactured by Scoville Manufacturing Co. These containers were discontinued in 1933.
The Lilas Pourpre flacon, originally designed by René Lalique in 1911, was first introduced for Coty’s Lilas Pourpre perfume. The bottle’s form is both graceful and architectural, featuring a distinctive arched silhouette with gently sloping shoulders—a shape that suggests refinement and serenity. It was topped with a frosted glass stopper, molded with a stylized stepped or scale motif, which added texture and a sense of stylized movement to the otherwise clean-lined design. The flacon was a harmonious blend of form and function, made all the more luxurious by the brilliance of its early craftsmanship.
This bottle was versatile and enduring—it was later adopted across Coty’s perfume line throughout the 1910s to the 1930s. While the earliest versions were produced by Lalique himself, most examples after 1920 were made in-house at Coty’s glassworks in Pantin, as François Coty moved toward cost-effective self-manufacture. The presentation cases that housed these flacons were just as carefully considered, produced at Coty’s boxing factory in Neuilly, where a range of decorative and durable designs were created to match the glamour of the bottle within.
Of particular note is the flacon’s association with Emeraude in the context of Coty’s “Louvre” presentation of 1929. While not originally designed for Emeraude, the Lilas Pourpre flacon was selected for this marketing relaunch and was advertised as a “new flacon” in newspapers of the time. The Louvre name itself was a nod to Coty’s earliest triumph, evoking the Louvre department store, where he famously launched La Rose Jacqueminot in 1904—an important symbolic gesture connecting Coty’s past to his evolving legacy.
In this Louvre edition, the flacon was used to hold 1 2/3 oz of Parfum and came beautifully presented in a faux reptile skin-covered box, which added tactile appeal and a nod to exotic luxury trends of the late 1920s. According to period advertising, this version was still being used as late as 1930 to package not just Emeraude, but also L’Origan, Chypre, Paris, and La Jacée. Though originally created for a different fragrance, the Lilas Pourpre flacon's inclusion in the Louvre line cements its place in Coty’s broader design history and its role in preserving elegance through reinterpretation.
The “Emeraude Deluxe Crystal Flacon” from the early 1920s is one of the more refined and glamorous presentations Coty offered for its beloved fragrance, Emeraude. The flacon itself is a slim, yet wide square-shaped bottle made of clear, finely-cut crystal, showcasing the sophistication of Coty’s in-house glassworks. Designed to hold parfum extrait, the bottle was fitted with an inner ground glass stopper—a hallmark of luxury—topped with an ornate gilded brass cap. Early examples of this cap were elaborately decorated with green enameled dots, a rich and delicate touch that evoked the emerald hue of the fragrance’s namesake and conveyed a sense of preciousness and Art Deco-era refinement.
The perfume bottle was presented in an equally elegant drawer-style presentation box, complete with a small silken tassel for easy access, underlining the theatricality and sensorial delight of the perfume experience. This attention to tactile and visual detail enhanced the bottle’s desirability as a cherished object, not merely a utilitarian vessel. The flacon was available in two known sizes, measuring approximately 3.5 inches and 3.75 inches tall, making it ideal for vanity display.
By the 1930s, it appears the bottle’s decorative cap was updated to feature horizontal banding rather than enameled dots—perhaps a reflection of changing design sensibilities as Art Deco motifs evolved into sleeker, more linear forms. Yet even with this change, the flacon maintained its aura of luxury, and remained in use throughout the decade. This deluxe presentation of Emeraude captures the spirit of Coty’s golden age, where high design met accessibility, and every detail—from bottle to box—was imbued with elegance.
The design itself was an opulent tapestry of interwoven color and detail, featuring intricate geometric and floral forms in a lush palette of deep red, jade green, turquoise, saffron yellow, and creamy ivory, all accented with metallic gold ink to enhance their vibrancy and luxury. The gold glimmered subtly in the light, lending an impression of embroidery or fine brocade, reminiscent of antique Persian textiles and decorative arts.
This packaging was not merely beautiful; it was strategic. By associating Emeraude with an aesthetic of Eastern splendor and fantasy, Coty reinforced the sensual, mysterious identity of the fragrance itself. In doing so, he catered to the growing fascination of the Western public with Orientalist themes during the Art Deco period.
In 1924, the packaging for Coty’s celebrated fragrance Emeraude was described with particular admiration, reflecting the brand’s mastery of luxurious presentation. At the time, the design was heralded as “one of the distinctive Coty boxes,” a statement that underscored both its visual impact and its place within Coty’s tradition of refined artistry.
The Emeraude gift box was produced in a trio of rich, harmonious colors—gold, olive green, and brown—a palette chosen to evoke depth, elegance, and the opulent green glow associated with the fragrance’s name. These tones worked together to create a sense of jewel-like prestige, setting the box apart from more conventional packaging of the era.
A gold cord was used to fasten the box, adding a tactile element of luxury and ceremony, as though untying it were the start of a special occasion. Completing the presentation was a green tassel, a charming decorative flourish that heightened the impression of craftsmanship and attention to detail. This tassel not only echoed the fragrance’s emerald theme but also lent the box the air of a cherished keepsake.
Altogether, the 1924 Emeraude packaging was considered “a gift box fit for the most discerning”—a testament to Coty’s ability to elevate a perfume into a complete aesthetic experience, where scent, color, and design worked in harmony to convey glamour and exclusivity.
A 1926 advertisement for Emeraude prominently featured one of these beautifully adorned boxes, complete with a silken tassel, hinting at the tactile pleasures awaiting within. The box’s drawer-like construction and ornate design transformed the act of unboxing into a ritual—making it more than a perfume, but a luxurious gift to oneself or others. This elaborate Persian motif remained exclusive to Emeraude, further elevating the fragrance’s position in Coty’s portfolio and underscoring its enduring appeal as the house’s most exotic and treasured scent.
Cathedral Flacon for Parfum:
The “Cathedral” bottle is notable for its modernistic, slope-shouldered design and was initially available in two sizes: 1 ounce and 1 2/3 ounces. Originally, the bottle featured a glass stopper, lending it a refined and elegant finish. By 1934, however, the design evolved to include a practical plastic screw cap, and the bottle was produced in various sizes to accommodate different product formats.
The slope-shouldered shape of the Cathedral bottle proved versatile and was later adapted beyond perfume to packaging for other Coty products, such as bath salts. One notable application was in the “Neptune Green” line, where this signature bottle shape complemented the luxurious and cohesive aesthetic of Coty’s broader product range during that era.
Arched Crystal Flacon:
In 1930, a newspaper advertisement by Gimbel’s touted a distinctive bottle called the “Cathedral,” claiming it was designed exclusively for their store to house Coty’s extrait fragrances such as L'Aimant, Emeraude, Styx, L'Origan, La Jacee, Chypre, Muguet, L'Or, L'Effleurt, Lilas, La Rose Jacqueminot, and Paris. However, this claim was not accurate. Similar advertisements from other retailers, including LS Ayres, used the exact same bottle design while also asserting it was their exclusive “special” bottle. This indicates that the “Cathedral” was not custom-made for any single store but was instead a special edition bottle offered broadly across different outlets.
The “Cathedral” bottle is notable for its modernistic, slope-shouldered design and was initially available in two sizes: 1 ounce and 1 2/3 ounces. Originally, the bottle featured a glass stopper, lending it a refined and elegant finish. By 1934, however, the design evolved to include a practical plastic screw cap, and the bottle was produced in various sizes to accommodate different product formats.
The slope-shouldered shape of the Cathedral bottle proved versatile and was later adapted beyond perfume to packaging for other Coty products, such as bath salts. One notable application was in the “Neptune Green” line, where this signature bottle shape complemented the luxurious and cohesive aesthetic of Coty’s broader product range during that era.
Arched Crystal Flacon:
In 1930, Coty introduced the elegant "Arched Crystal Flacon," a flat, arched-shaped perfume bottle that perfectly captured the streamlined sophistication of the Art Deco era. This bottle featured clean lines and a subtle curve that gave it a graceful silhouette, while the stepped glass stopper added a geometric detail that enhanced its modern appeal. The design balanced simplicity with refinement, making it a striking yet understated presentation for Coty’s fragrances.
The Arched Crystal Flacon was produced in two sizes—1 ounce and 1 5/8 ounces—offering options for different preferences and occasions. It housed a variety of Coty perfumes, including some of the house’s most beloved scents: Emeraude, L'Aimant, L'Origan, Rose, La Jacee, L'Effleurt, Chypre, Paris, Styx, and L'Or. Despite its beauty and functional design, this bottle is quite rare today; collectors and historians have noted its scarcity, with only a few known examples appearing in private collections or auctions. Its rarity, combined with its distinctive Art Deco style, makes the Arched Crystal Flacon a coveted piece for aficionados of vintage perfume bottles.
Metal Flip Top Case Purse Flacon:
In 1934, Coty introduced a stylish new purse flacon housed in a sleek gold-tone metal case, marking a significant design update from the coffin-shaped cases popular in the 1920s and early 1930s. This new case featured a rectangular form, with a strip of black bakelite adorning the flip-top lid for added contrast and sophistication. The case was thoughtfully engineered with a hinge on the left side and a deep red tab on the right, which, when pressed, elegantly flipped open the lid to reveal the perfume bottle inside. The front of the case was engraved with the iconic Coty logo, subtly reinforcing the brand’s identity. Measuring approximately 2.5 inches tall, 1 3/8 inches wide, and 5/8 inches thick, the case was both compact and convenient for carrying. This design was invented by August Mitchell and manufactured by the Scovill Manufacturing Company, known for quality craftsmanship.
The perfume bottle inside was simple yet functional, crafted from clear glass that resembled the earlier banded style flacons. It featured a molded stopper decorated with a stylized floral motif, adding a delicate decorative touch to the otherwise understated bottle. The base of the bottle was embossed with “Coty,” confirming its manufacture at Coty’s own glassworks, a testament to the company’s commitment to in-house quality control. The bottle contained 1/4 ounce of parfum, a perfect size for a purse flacon. This design was primarily used for Emeraude, L’Aimant, L’Origan, and possibly other Coty fragrances, combining practicality with elegance for the discerning customer on the go.
In 1934, Coty introduced a stylish new purse flacon housed in a sleek gold-tone metal case, marking a significant design update from the coffin-shaped cases popular in the 1920s and early 1930s. This new case featured a rectangular form, with a strip of black bakelite adorning the flip-top lid for added contrast and sophistication. The case was thoughtfully engineered with a hinge on the left side and a deep red tab on the right, which, when pressed, elegantly flipped open the lid to reveal the perfume bottle inside. The front of the case was engraved with the iconic Coty logo, subtly reinforcing the brand’s identity. Measuring approximately 2.5 inches tall, 1 3/8 inches wide, and 5/8 inches thick, the case was both compact and convenient for carrying. This design was invented by August Mitchell and manufactured by the Scovill Manufacturing Company, known for quality craftsmanship.
The perfume bottle inside was simple yet functional, crafted from clear glass that resembled the earlier banded style flacons. It featured a molded stopper decorated with a stylized floral motif, adding a delicate decorative touch to the otherwise understated bottle. The base of the bottle was embossed with “Coty,” confirming its manufacture at Coty’s own glassworks, a testament to the company’s commitment to in-house quality control. The bottle contained 1/4 ounce of parfum, a perfect size for a purse flacon. This design was primarily used for Emeraude, L’Aimant, L’Origan, and possibly other Coty fragrances, combining practicality with elegance for the discerning customer on the go.
Other packaging:
Peacock Presentation:
Debuting in 1935, the “Peacock Presentation” introduced a striking new aesthetic to Coty’s perfume line, characterized by its elegant peacock feather motif adorning the packaging. This luxurious design element captured the exotic allure and opulence associated with the peacock, a symbol of beauty and sophistication. The bottles themselves were equally distinctive, featuring stylized peacock eye motifs that added a graceful and artistic touch to the overall presentation. This collection was thoughtfully offered in three different sizes—purse, travel, and boudoir—catering to the various needs and lifestyles of fragrance enthusiasts.
The “Peacock Presentation” encompassed some of Coty’s most beloved fragrances at the time, including Chypre, L’Aimant, L’Origan, Paris, Emeraude, and Ambreine. Each scent was showcased in this exquisite packaging, enhancing their appeal and making the perfumes desirable collector’s items as well as everyday luxuries. However, by 1937, changes in the lineup were evident. Emeraude and Ambreine were discontinued from the “Peacock Presentation” series, as reflected in the 1937/1938 Coty catalog. Despite their removal from this particular line, the peacock-themed bottles remain a notable example of Coty’s dedication to combining artistic design with perfume presentation during the mid-1930s.
The “Peacock Presentation” encompassed some of Coty’s most beloved fragrances at the time, including Chypre, L’Aimant, L’Origan, Paris, Emeraude, and Ambreine. Each scent was showcased in this exquisite packaging, enhancing their appeal and making the perfumes desirable collector’s items as well as everyday luxuries. However, by 1937, changes in the lineup were evident. Emeraude and Ambreine were discontinued from the “Peacock Presentation” series, as reflected in the 1937/1938 Coty catalog. Despite their removal from this particular line, the peacock-themed bottles remain a notable example of Coty’s dedication to combining artistic design with perfume presentation during the mid-1930s.
Yellow Mimosa Print Packaging:
In 1935, Coty introduced a fresh and exuberant new presentation for many of its floral perfumes—an ensemble of limited edition packaging adorned with vibrant yellow mimosa prints. This striking visual update infused Coty’s classic offerings with the cheerful radiance of spring and brought a contemporary energy to some of the house’s most beloved fragrances. The packaging featured clusters of mimosa blossoms, rendered in rich golden tones against sunny yellow backgrounds, creating a feeling of warmth, optimism, and brightness. The design not only evoked the color and texture of the mimosa flower but also symbolized renewal, femininity, and elegance—qualities that aligned beautifully with the spirit of Coty’s floral creations.
This limited edition mimosa-print series encompassed an impressive array of Coty perfumes, both long-standing favorites and more recent additions. Included were such classics as Muguet, La Fougeraie au Crépuscule, Oeillet France, Lilas Blanc, L'Or, Le Cyclamen, and La Rose Jacqueminot—each one centered on a specific floral theme, now echoed by the sunny floral motifs on the box. Even deeper and more resinous scents such as Ambre Antique, Chypre, and Styx were included, their rich interiors balanced by the light-hearted, flower-filled exterior. Coty’s more exotic florals—Jasmin de Corse, La Jacée, Le Nouveau Gardenia, and Le Nouveau Cyclamen—also found their place in the mimosa ensemble, highlighting the range and diversity of Coty’s floral perfume portfolio.
Notably, other enduring Coty favorites such as Emeraude, Paris, Violette Pourpre, Lilas Pourpre, L’Aimant, L’Origan, L’Effleurt, Heliotrope, Iris, La Jacinthe, Le Vertige, and A’Suma were also included, many of which had been in the Coty line for over a decade by the time this new packaging debuted. The choice to repackage such a broad array of fragrances under one cohesive visual theme not only refreshed their appeal but also created an opportunity for collectors and customers to explore a wider range of scents with the same joyful, modern presentation.
The yellow mimosa packaging was emblematic of Coty’s continued commitment to visual storytelling in perfumery. At a time when shelf competition was growing and presentation was just as important as the perfume itself, Coty used packaging to convey mood, occasion, and emotion. The 1935 mimosa print boxes stood out for their cheerfulness, charm, and graphic sophistication—an ideal way to celebrate the timeless appeal of Coty’s floral masterpieces.
Obelisque Flacon:
The "Obelisque" flacon, introduced in 1935, is a striking example of Coty’s Art Deco elegance. This tall and slender bottle commands attention with its clean, geometric lines, culminating in a flat, square frosted glass stopper. The stopper is delicately molded with stylized foliate motifs, adding a refined natural element to its architectural form. Each corner of the stopper features the name "COTY" molded in relief, emphasizing both brand identity and craftsmanship.
This sophisticated flacon was used to present some of Coty’s most popular fragrances of the era, including Styx, Paris, Chypre, Emeraude, L'Aimant, and L'Origan. The design’s versatility extended to a miniature version as well, which held just 0.34 ounces. This smaller bottle maintained the same attention to detail and featured a scale-motif stopper reminiscent of those used in the Lilas Pourpre and Louvre packaging styles, linking these collections through shared design language. The "Obelisque" flacon reflects Coty’s commitment to marrying timeless style with functional elegance, offering both visual appeal and practical luxury.
Neptune Green Packaging:
In 1935, Coty unveiled a fresh and captivating packaging concept known as "Neptune Green." This new design theme embraced a soothing seafoam green palette, evoking the tranquil beauty of the ocean. The boxes, along with accompanying bath products such as talcum powder, bath salts, and dusting powder canisters, were adorned with delicate motifs of air bubbles and starfish. These marine-inspired details created a whimsical undersea ambiance that set this line apart from others of the time.
The "Neptune Green" collection featured some of Coty’s most beloved fragrances, including Styx, L'Aimant, Emeraude, L'Origan, Paris, and Chypre. The range was comprehensive, offering toilet water, bath salts, dusting powder, and talcum powder, allowing customers to immerse themselves fully in the scented experience. The bottles themselves were crafted from satin-finished glass and were molded with subtle bubbles, reinforcing the aquatic theme while adding tactile elegance. This imaginative packaging demonstrated Coty’s flair for marrying visual artistry with product luxury, making the "Neptune Green" line a distinctive and memorable chapter in the brand’s history.
In 1935, Coty unveiled a fresh and captivating packaging concept known as "Neptune Green." This new design theme embraced a soothing seafoam green palette, evoking the tranquil beauty of the ocean. The boxes, along with accompanying bath products such as talcum powder, bath salts, and dusting powder canisters, were adorned with delicate motifs of air bubbles and starfish. These marine-inspired details created a whimsical undersea ambiance that set this line apart from others of the time.
The "Neptune Green" collection featured some of Coty’s most beloved fragrances, including Styx, L'Aimant, Emeraude, L'Origan, Paris, and Chypre. The range was comprehensive, offering toilet water, bath salts, dusting powder, and talcum powder, allowing customers to immerse themselves fully in the scented experience. The bottles themselves were crafted from satin-finished glass and were molded with subtle bubbles, reinforcing the aquatic theme while adding tactile elegance. This imaginative packaging demonstrated Coty’s flair for marrying visual artistry with product luxury, making the "Neptune Green" line a distinctive and memorable chapter in the brand’s history.
In 1936, Baccarat introduced a new flacon for Emeraude, catalogued as model number 765, continuing Coty’s tradition of offering elegant and collectible presentations for one of its most iconic fragrances. This bottle closely mirrors the earlier Emeraude Deluxe Crystal Flacon that had been in use since the mid-1920s, featuring the same slim yet wide, square-shaped profile—a refined silhouette that exudes understated luxury.
Like its predecessor, the 1936 Baccarat version was crafted of fine crystal, with a carefully ground inner glass stopper to preserve the integrity of the perfume. The bottle was finished with a gilded brass cap, which in this version is distinguished by its horizontal bands of green enamel, rather than the earlier version’s dotted design. The switch from dots to bands subtly modernized the look while maintaining the rich emerald-green accent color that aligned with the fragrance’s name and theme.
Another distinguishing feature of this later Baccarat bottle is the use of a paper label affixed to the front, in contrast to the earlier etched glass titling seen on the Emeraude Deluxe Crystal Flacon. This practical change simplified production while still allowing for elegant branding. The bottle stands 3.75 inches tall and holds 1.86 oz of extrait de parfum—an ample and luxurious amount for a signature scent.
Authentic examples of this bottle are acid-stamped with the Baccarat logo on the base, ensuring their provenance and collectible value. With its harmonious blend of luxurious materials, modernized cap design, and timeless silhouette, Baccarat’s model 765 stands as a graceful evolution of Coty’s Emeraude presentation—retaining the glamour of its earlier incarnation while reflecting the streamlined tastes of the mid-1930s.
In 1936, alongside the full-size Baccarat flacon for Emeraude, Coty introduced a smaller version known as the "demi-modèle", or half-size model. This scaled-down presentation retained the elegant silhouette and design of the full-size bottle—including the square crystal shape, inner ground glass stopper, and gilded brass cap with enamel detailing—but was more modest in size and volume. The demi-modèle allowed more consumers to access the luxury of Emeraude at a lower price point, while still preserving the sophistication of the original packaging. Like its larger counterpart, the bottle was acid-stamped on the base to indicate Baccarat manufacture, and it was typically fitted into a beautifully finished presentation box, mirroring Coty's commitment to making even his smaller offerings feel sumptuous and refined.
In 1937, Coty introduced a refreshed and expanded line of Emeraude-scented products, unified under a visually striking presentation that highlighted the perfume’s exotic allure. This reissue was marked by the return of Coty’s lavish Persian motif packaging, a richly colored and intricately patterned design that had previously been reserved for Emeraude beginning in the mid-1920s. The packaging featured an opulent palette of deep reds, jade green, turquoise, ivory, yellow, and metallic gold accents, evoking the luxury and romance of the East—fitting for a fragrance whose name translates to emerald and whose scent was considered one of the quintessential orientals of its time.
This coordinated line included the Parfum (Extrait), Eau de Toilette, Soap, Sachet Powder, Bath Powder, Talcum Powder, and Air-Spun Face Powder, allowing women to layer the scent across various aspects of their grooming and beauty rituals. Each product was housed in containers that reflected the Persian aesthetic, from boxes and labels to canisters and jars, giving a consistent and elegant appearance whether displayed on a vanity or gifted as a set.
The 1937 launch not only reinforced Emeraude's position as a luxurious and desirable fragrance but also exemplified Coty’s strategy of creating immersive, themed packaging experiences. The Persian-inspired collection stood out in stores, drawing attention with its jewel-toned richness and refined presentation—an effective fusion of olfactory and visual branding that enhanced the perfume's exotic narrative.
The Purser consisted of a gold-tone metal case that housed a small glass perfume vial, offering both protection and portability. Its most eye-catching feature was the pierced front panel, intricately worked in a geometric Art Deco motif evocative of the decorative speaker grilles found on cathedral-style radios from the same era. This architectural resemblance gave the case a charming blend of modern design and nostalgic detail. The top and bottom of the case were finished in green galalith, a type of early plastic derived from milk protein that was prized for its rich, opaque color and smooth finish. The use of galalith not only added a splash of vibrant color but also provided a tactile contrast to the polished metal casing.
Listed in Coty’s 1937/1938 catalog, the Purser was available filled with some of Coty’s most beloved fragrances: Chypre, L’Aimant, L’Origan, Paris, and Emeraude. Compact enough to slip into a handbag, yet ornate enough to display on a vanity, the Purser exemplified Coty’s dedication to marrying fragrance with thoughtful design. It served not only as a perfume holder but also as a fashionable accessory—one that perfectly captured the spirit of late 1930s elegance.
Amphorae:
In 1940, Coty introduced a charming and practical new packaging concept for their Eau de Toilette concentration, dubbed the “Informal Fragrances.” These were designed to offer women a more relaxed, versatile way to enjoy Coty’s most beloved scents. The fragrances were housed in amphora-shaped stoneware bottles—an inspired choice that blended classical form with a down-to-earth functionality. These distinctive vessels were produced by the Zanesville Stoneware Company of Ohio, a firm known for its high-quality ceramic production.
Each amphora flacon stands approximately 5.5 inches tall at the lip of its elegant, curved spout and holds five ounces of Eau de Toilette. The bottles feature a pleasingly rounded belly, tapering gracefully into a flared neck, evoking the silhouette of ancient Greco-Roman amphorae. This design choice not only gave the bottles a tactile appeal and sculptural presence, but also reinforced the idea of timeless beauty in fragrance presentation.
To secure the contents, Coty employed a unique bronze-colored metal cap fitted over a cork stopper—a practical yet visually distinctive solution that added an element of rustic refinement. Many of these amphorae still retain their original paper labels, either affixed to the belly or the base, lending valuable historical insight. The bottom label offers a gentle, promotional instruction:
"Coty New York Paris Informal Fragrance. Use this lovely Eau de Toilette as lavishly as you choose. A generous sprinkle in your bath—a dash in your hand basin—in your final shampoo rinse—on your lingerie or 'kerchief. Impart a touch of fragrance to your accessories or your furs. Take it with you to 'freshen up' while traveling. Cont. 5 oz. Compounded in U.S.A."
One of the most delightful features of the amphorae was their color-coding, which made each fragrance instantly recognizable. Each flacon’s glaze was matched to the perfume inside:
- Emeraude came in a light green glaze, echoing its namesake gemstone.
- Chypre was presented in a paler green, cool and serene.
- L’Aimant appeared in a soft pink, reflecting its romantic, floral character.
- L’Origan was housed in a rich brown, earthy and warm.
- Paris stood out in a vivid blue, evoking elegance and city sophistication.
These amphorae flacons exemplified Coty’s ability to merge artistry, practicality, and marketing ingenuity. More than mere perfume bottles, they offered an invitation to weave fragrance into everyday rituals—a spritz here, a dab there—making scent an intimate, accessible luxury.
Other Informal Fragrance Bottles:
Coty also introduced their Informal Fragrances in glass bottles similar to those from the 1930s. These bottles were packaged with a plastic atomizer head.
Pearls of Fragrance Presentation:
The Coty "Pearls of Fragrance" presentation was introduced in 1958. Boxes were covered in gold paper printed with lustrous illustrations of pearls. This presentation was available in Emeraude, L'Aimant, L'Origan and Paris.
Parfum de Toilette was Coty’s answer to a fragrance strength that bridged the gap between eau de toilette and parfum. First introduced in 1960, it offered a more concentrated, longer-lasting scent than an eau de toilette but without the intensity or price tag of a full parfum. In modern terms, Coty's Parfum de Toilette would be considered roughly equivalent to today’s Eau de Parfum. This strength made it ideal for daily wear—elegant and enduring, yet approachable.
For Emeraude, the Parfum de Toilette appeared in a range of bottles throughout the years. Among the most commonly encountered were clear glass bottles fitted with spiky golden screw caps, which became a recognizable hallmark of mid-20th-century Coty design. These bottles were practical and stylish, offering a touch of glamour without compromising on usability.
In 1975, Coty released the Imperial Decanter—a limited-edition presentation of the Parfum de Toilette that held a generous 6 ounces. This elegant flacon featured a special tight-sealing stopper designed to preserve the fragrance’s integrity. The instructions provided with the decanter were unusually specific: users were told to place the bottle on a flat surface and gently rock the stopper back and forth while gradually lifting, rather than pulling directly upward. To close the bottle, the same rocking motion was recommended to ensure a proper seal without risk of breakage.
Though the Imperial Decanter initially retailed for $10, by 1977, remaining stock was being deeply discounted, with some retailers selling it for as little as $3.59—an incredible value for a product that has since become a nostalgic collectible among vintage perfume enthusiasts.
Limited Edition Spray Flacons:
Product Line:
The Emeraude product line, like many of Coty's most beloved fragrances, evolved over time to meet the changing tastes and expectations of consumers. Its enduring popularity meant that the scent was offered in multiple concentrations and housed in a variety of flacons, each reflecting the strength and luxury of the product within. From the richest Parfum to the lightest Cologne, each concentration of Emeraude offered a slightly different experience—an interpretation of the same golden warmth tailored to different occasions, preferences, and times of day.
At the heart of the range was the Parfum (also called Extrait de Parfum), the most concentrated and luxurious form of Emeraude. This formulation contained the highest percentage of aromatic compounds—often upwards of 20–30%—blended into a minimal amount of alcohol, resulting in a dense, opulent scent with tremendous longevity and depth. Housed in some of Coty’s most exquisite bottles, often created in collaboration with renowned glassmakers like Lalique or produced at Coty’s own glassworks, Emeraude in Parfum form was usually sold in stoppered crystal flacons and designed for dab application, emphasizing elegance and restraint. A mere drop of the Parfum would cling to the skin for hours, revealing its rich oriental layers slowly, like silk unfolding.
Moving one step down in concentration was the Parfum de Toilette, an early 20th-century designation that functioned much like what we now call Eau de Parfum. This strength offered a more accessible version of Emeraude—still rich and lasting, but slightly more diffusive, allowing the wearer to experience the full arc of the composition with a bit more lift in the top and heart notes. This format was popular for its balance between luxury and practicality and became a favorite among women who wanted a bolder daytime fragrance without the full intensity of the Parfum. The Parfum de Toilette was often presented in elegant, atomizer-equipped bottles or tall glass flacons suitable for spraying, a growing trend in the 1940s and 1950s.
Eau de Toilette, a lighter concentration still, generally containing around 5–12% aromatic compounds, offered a brighter, fresher expression of Emeraude. This version emphasized the sparkling citrus top notes and delicate floral heart more than the dense resinous base, making it an ideal choice for warm weather or daytime wear. Bottled in simpler glass containers, often with plastic or metal caps by mid-century, Eau de Toilette versions of Emeraude were mass-produced and widely distributed, reflecting Coty’s pioneering vision to bring fine fragrance to the modern woman at every price point.
The Cologne, or Eau de Cologne, was the lightest version—often as low as 2–5% concentration. Typically sold in tall splash bottles or larger refillable formats, this variant of Emeraude offered a refreshing, almost tonic-like experience. Ideal for layering or for generous application after a bath, the Cologne was more fleeting, with less complexity in its drydown, but still retained the recognizable signature of Emeraude’s ambery, floral warmth.
In later decades, particularly during the fragrance revivals of the 1980s and beyond, Coty introduced an official Eau de Parfum, distinct from the earlier Parfum de Toilette. This modern version mirrored contemporary industry standards for strength and projection, falling somewhere between the old Parfum de Toilette and Eau de Toilette in feel. It was marketed in sleek atomizers and packaged for wide appeal, ensuring that the scent could adapt to the changing preferences of modern consumers without losing its identity.
Across these concentrations, Emeraude maintained its rich, recognizable character: the citrusy brightness, the creamy florals, the opulent base of amber, musk, and resins. But depending on the format, each version offered a different perspective on the same olfactory theme—whether worn as a whisper, a memory, or a golden embrace. The variety in packaging and strength allowed Emeraude to be everything from an everyday indulgence to an evening ritual—an enduring classic, endlessly refracted through time.
Emeraude by Coty extended far beyond the boundaries of perfume. For decades, it flourished as a complete personal fragrance line, with bath and body products crafted to enhance, layer, and prolong the scent’s luxurious presence on the skin. These offerings allowed women not only to wear Emeraude but to immerse themselves in it—surrounding themselves with the warmth, depth, and glamour of the fragrance from morning rituals to evening dressing. It wasn't just a perfume—it was a scented experience.
Among the most sought-after products was the Bath & Body Parfum, a richer, oil-infused formula designed to linger on the skin long after bathing. The Cream Perfume, also called Solid Perfume, offered a convenient, portable way to apply fragrance—housed in small compacts, often with mirrored lids or artful motifs. These were perfect for on-the-go touch-ups or discreet applications. The Roll-On Parfum Concentrate, which gained popularity in the 1970s and 1980s, provided targeted application with long-lasting intensity thanks to its high concentration of aromatic compounds.
Complementary body products helped build the Emeraude aura. Coty released Perfumed Bath Soap, Bath Salts, and Bath Oil, each designed to infuse bathwater with the scent’s soft florals and ambery base. For daily moisture, Coty introduced a variety of lotions over the years—from Softwear Conditioning Body Lotion and Really Rich Body Cream to Luxuriously Fragranced Body Lotion, Creamy Lotion Bath, and Conditioning Body Lotion. These came in differing formulas and packaging styles, often shifting with changing trends, textures, and consumer preferences. The richer Body Creme Cologne and Creamy Skin Parfum were particularly suited for those who preferred a more emollient application, combining skin care with fragrance in one indulgent gesture.
In 1970, Coty introduced Emeraude Bath Oil Parfait, a striking and innovative take on the traditional bath oil—elevating it into a visually captivating, sensorial experience. This triphase formulation came layered in three distinct bands of color, each with its own purpose and personality, mirroring the rich complexity of the Emeraude fragrance itself. The pale yellow top layer acted as a gentle skin softener, preparing the skin to better absorb moisture and fragrance while imparting a delicate, silky texture. The middle amber layer, inspired directly by the golden heart of the Emeraude perfume, served as the “scenter”—the concentrated aromatic phase. This portion released the signature spicy, floral, and oriental notes of Emeraude into the bath water, blooming with warmth and richness as it mingled with steam and heat. Finally, the dark green base layer functioned as the moisturizer, rich in emollients designed to nourish the skin and lock in hydration long after the bath. To use, one simply shook the bottle, blending the three layers into a harmonious elixir before pouring it into warm, running bath water. The resulting bath was a multi-sensory immersion—a visual marvel, a fragrant cloud, and a skin-conditioning ritual all in one. The Bath Oil Parfait was a perfect example of Coty’s ability to combine cosmetic science with luxury, offering not just functionality but indulgence. It allowed women to step into the world of Emeraude completely—cocooned in its deep, velvety fragrance while treating their skin to a spa-like softness. This product, much like the scent it extended, evoked a timeless glamour with every use.
For finishing touches, Dusting Powder and Talcum Powder in coordinating scents allowed for a dry, velvety application after bathing. Sachet Powder, typically packaged in ornate boxes or soft pouches, could be tucked into drawers or applied with powder puffs—lending both fragrance and a touch of vintage elegance. These powders were especially popular in mid-century vanities, evoking an era of meticulous grooming and coordinated scent layering.
Not to be overlooked, Coty also offered cosmetics under the Emeraude name. The most iconic was Air Spun Face Powder, a finely milled setting powder known for its long-lasting wear and gentle fragrance. Air Spun Cream Powder, a unique hybrid formula, provided a dewy, creamy finish, while lipsticks in complementary shades allowed wearers to complete their beauty routine with color that matched their favorite perfume.
Over the years, many of these products were discontinued, only to be reintroduced in new formats or packaging. Packaging clues—such as fonts, color schemes, material (metal tins vs. plastic containers), and branding changes—can often help in dating specific editions. Early 20th-century packaging was often richly detailed and glass-heavy, while mid-century designs introduced plastic components and bold Art Deco-inspired graphics. Later, in the 1970s and 1980s, streamlined plastic bottles and creams with metallic caps became more common.
In its full array of formats, Emeraude became more than a scent—it became a part of daily ritual, a fragrant extension of the woman who wore it. Whether dusted on after a bath or carried in a lipstick case, it was a signature of elegance, comfort, and sensual memory.
Fate of the Fragrance:
After a brief absence during the Second World War, Emeraude by Coty made its triumphant return to American cosmetic counters—an event that was met with enthusiastic reception from American women who had long cherished the spicy, velvety richness of this beloved fragrance. The hiatus was not due to lack of demand, but rather a complex intersection of wartime restrictions, economic priorities, and global trade disruptions brought on by the conflict.
During World War II, transatlantic trade routes were severely impacted by wartime conditions. France, where Coty was headquartered, fell under occupation from 1940 to 1944. This occupation affected all aspects of French industry, including perfumery. The production and export of non-essential luxury goods—such as perfume—was drastically curtailed, either by German authorities controlling the economy or by the scarcity of raw materials, labor, and manufacturing capacity. Essential war efforts took precedence, and industries not vital to national defense were deprioritized or repurposed.
Additionally, the United States, although neutral until 1941, had enacted strict import and export controls during the wartime period. Once the U.S. entered the war, direct trade with occupied Europe became increasingly difficult and eventually impossible. Even when shipping lanes remained open, many of the natural materials used in fine perfumery—such as Mysore sandalwood, benzoin from Siam, civet from Abyssinia, and patchouli from Java—were either in short supply or deemed non-essential, as supply chains were rerouted to serve the military. Synthetic aroma chemicals also faced scarcity due to chemical factories being repurposed for explosives, medicines, and other critical supplies.
Thus, Coty was effectively cut off from its largest and most lucrative overseas market. American consumers who had once been able to walk into a department store and buy a flacon of Emeraude found themselves facing empty shelves. Some may have turned to domestic alternatives, but the longing for the iconic Coty fragrances never waned.
When the war ended and global trade began to stabilize, Coty resumed export operations. As reported in Glass Packer in 1947, Emeraude returned in a new flacon designed to echo the appearance of a square-cut emerald—an aesthetic nod to the name of the perfume itself. The flacon was simple yet elegant, adorned with a spot label and presented in a green simulated leather box embossed with a Persian motif, subtly recalling the exotic inspirations behind the scent.
1970s Reformulation:
By the 1970s, tastes had begun to shift, favoring lighter and more modern interpretations of classic fragrances. In a 1971 issue of The Illustrated London News, the revival of Emeraude was noted to be "lighter and less heady than it used to be but remains both sweet and tangy." This suggests a reformulation, likely intended to align Emeraude with evolving preferences for fresher, more transparent scents, and to accommodate the growing use of synthetics over increasingly restricted animal-derived materials.
Despite these changes, the heart of Emeraude—its luxurious blend of oriental warmth, delicate florals, and spicy-sweet base—remained intact. Its revival after wartime absence was not just a return of a perfume, but a return to beauty, indulgence, and emotional memory in a postwar world eager for comfort and glamour.
2004 Limited Edition:
In 2004, to honor the centenary of the Coty brand, Henri Coty—the son of legendary perfumer François Coty—sought to pay tribute to his father's legacy by reviving one of his most beloved creations: Emeraude. As a tribute to Coty’s innovation and artistry, Henri commissioned a re-creation of the original Emeraude perfume, faithfully interpreted and reimagined for the modern era by perfumer Daphné Bugey. The resulting fragrance was a respectful nod to the past, yet imbued with a contemporary sensibility, carefully balanced to reflect both tradition and timeless allure.
This exclusive anniversary edition was produced in a strictly limited quantity of just 200 bottles, reserved solely for the French market, making it a true collector’s item. Each bottle was housed in a handcrafted French crystal flacon, a fitting homage to the luxurious and artistic standards set by Coty in the early 20th century. Measuring 2 inches tall and 1 1/4 inches square, the flacon was marked on its base in raised letters with the phrase "Bottle Made In France," underscoring both its authenticity and its refined origin. The design, while compact, evoked the elegance and weight of historical Coty bottles—jewel-like objects as beautiful as the scent they contained.
The commemorative release did not stop at Emeraude. It was part of a limited edition collection that also featured re-creations of other historic Coty perfumes including Jasmin de Corse, L'Origan, and La Rose Jacqueminot. Each was presented in its own crystal bottle, together forming a fragrant tribute to Coty’s artistic and commercial genius.
To celebrate the launch of this special edition, the brand collaborated with Editions Assouline, who published a deluxe book titled Coty: The Brand of a Visionary. The book chronicled François Coty’s groundbreaking contributions to perfumery, design, and marketing, capturing his legacy as a man who reshaped the modern fragrance industry. In this way, the 2004 Emeraude release was not only a perfume—it was a cultural artifact, a symbol of revival, memory, and enduring influence, released quietly and exclusively to a market that had once been the epicenter of Coty's original triumphs.
Over the decades, Emeraude continued to hold its place as a beloved classic, passed down from generation to generation. Its rich, ambery warmth and spicy, velvety heart remained etched in the memories of countless wearers. However, like many heritage perfumes, Emeraude was not immune to the evolving landscape of modern perfumery regulations and changing industry standards. Around 2010, the fragrance underwent noticeable reformulation, a result of increasing restrictions imposed by the International Fragrance Association (IFRA).
The IFRA was established to promote the safe use of fragrance ingredients. As scientific research into allergens and skin sensitizers expanded, certain natural materials—and even some synthetic aroma chemicals—came under scrutiny. Materials traditionally used in compositions like Emeraude, such as oakmoss, coumarin, civet, eugenol (from clove), and various resins and balsams, were now subject to strict limitations or outright bans depending on concentration levels. These ingredients had been vital in creating the full-bodied depth and tenacity of oriental fragrances such as Emeraude. Their reduction or substitution inevitably affected not just the aromatic profile, but the overall texture, richness, and longevity of the scent.
Reformulation often involved replacing restricted ingredients with modern synthetics or altering proportions to comply with the new standards. While skilled perfumers strive to maintain the spirit of the original, many long-time devotees noticed that the post-2010 version of Emeraude felt lighter, less layered, and lacked the haunting complexity that once made it so distinctive.
Then, in 2024, Coty officially discontinued Emeraude. Though not unexpected given its niche presence in recent years and the difficulty of maintaining its historic formula within regulatory constraints, the news was met with disappointment and nostalgia by perfume collectors and vintage fragrance lovers alike. For many, Emeraude was more than just a perfume—it was a sensory link to another time, a scent that conjured velvet evening gowns, candlelit vanities, and the opulence of the Belle Époque.
With its discontinuation, Emeraude has now joined the ranks of perfume legends, no longer found on store shelves but lovingly preserved in vintage bottles, heirloom atomizers, and the olfactory memories of those who wore it during its many incarnations. Its absence serves as a poignant reminder of how artistry, regulation, and commercial realities continually reshape the fragrance landscape.
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