Grossmith London

Founded in 1835, Grossmith stands as one of Britain’s most distinguished heritage perfume houses, celebrated for its luxurious fragrances and fine soaps. Renowned for exceptional craftsmanship and the use of high-quality ingredients, Grossmith built its reputation among the elite of the 19th century and has continued to balance tradition with innovation ever since. Revived in the 21st century by descendants of the founding family, the house has successfully reintroduced historic creations while developing new compositions that honor its rich legacy. Today, Grossmith remains a symbol of elegance, artistry, and enduring excellence in perfumery.

Origins:

Founded in London in 1835 by John Grossmith, Grossmith grew from modest rural roots into one of Britain’s most respected perfumery houses. Grossmith descended from farming families in Bishops Waltham and nearby Upham, Hampshire, a background that likely fostered his appreciation for botanicals and natural aromas. His fascination with fragrance eventually led him to establish a thriving business in the City of London, where he became known for refined perfumes, soaps, cosmetics, and luxury toilet goods.

Alongside his perfumery work, Grossmith experimented with distilling peppermint and Mitcham lavender on Banstead Downs in Surrey. These ingredients appeared in products such as “Menthanodyne,” a mint-based restorative introduced in 1850 and marketed for indigestion and general wellness. Lavender also became central to many of the house’s eaux de cologne, soaps, and scented waters, reflecting the Victorian fascination with botanical perfumery and healthful cosmetics.

Grossmith’s showroom on Newgate Street offered far more than fragrance alone. Customers could purchase crystal scent bottles with silver or gold mounts, vanity jars, mirrors, brushes, manicure sets, and portable vinaigrettes and smelling salts designed for chatelaines or evening bags. The company also sold flavoring extracts and culinary products such as “J.G.’s Relish” and “Bon Gout Sauce,” demonstrating the broad scope of Victorian luxury commerce.

By the late 19th century, Grossmith had become internationally admired for its “Blue Label Specialties,” a collection of perfumes, soaps, pomades, and cosmetics celebrated for their superior ingredients and craftsmanship. An 1893 profile in Illustrated London and Its Representatives of Commerce praised the firm’s elegant Newgate Street premises and highlighted fragrances such as the Japanese-inspired “Hasu-no-Hana,” built around the scent of lotus blossom, as well as the “Verus Naturae” line, which sought to capture flowers with exceptional realism. The firm’s exotic “Indian Specialities,” including the theatrical bouquet “Phul-Nana,” reflected the Victorian appetite for globally inspired perfumery.

Research into John Grossmith’s business history also reveals a network of 19th-century partnerships involving figures such as J. Thompson, C.T. Stafford, and E.M. Weston. Contemporary newspaper advertisements frequently referenced the importation of essential oils, underscoring the importance of international sourcing in Victorian perfumery. Although several of these partnerships dissolved over time, they illustrate the evolving structure of the company and Grossmith’s continued role within London’s competitive fragrance trade.

Expansion:

Throughout the 19th century, Grossmith evolved from a respected London perfumery into an internationally recognized luxury brand. The company established depots across Europe, Asia, Africa, and North America, allowing its fragrances, soaps, and toilet goods to reach an increasingly global clientele. These outposts served not only as distribution centers, but also as ambassadors of the house’s reputation for refinement, craftsmanship, and quality.

Grossmith’s products were exported to destinations as distant as Canada, Australia, India, New Zealand, and parts of Africa, reflecting the growing worldwide appetite for fine English perfumery during the Victorian era. Expanding into such diverse markets required sophisticated logistics, reliable trade networks, and an understanding of regional tastes and commercial regulations. The company’s success abroad demonstrated both its adaptability and its ambitious entrepreneurial vision.

This international growth firmly established Grossmith as one of the great British perfume houses of its time. By combining traditional craftsmanship with an increasingly global outlook, the company transformed itself from a local Newgate Street business into a name associated with luxury and elegance around the world.

Bruno Court:

Bruno Court belonged to the influential Court family of Grasse, the legendary center of French perfumery renowned for its cultivation of jasmine, roses, orange blossom, lavender, and other aromatic plants. The family played an important role in the region’s perfume industry through the production and distillation of essential oils and botanical extracts, helping establish Grasse as the world’s leading source for fine fragrance materials. Their expertise in extraction and distillation techniques shaped modern perfumery and influenced fragrance houses throughout Europe.

The relationship between Grossmith and Bruno Court reflected the close ties between perfumers and raw material suppliers during the late 19th and early 20th centuries. Like many prestigious perfume houses, Grossmith relied on Grasse for some of its finest ingredients, sourcing essential oils and absolutes from the Court family’s operations. The partnership also extended beyond materials alone. Grossmith reportedly sent workers to Grasse to study perfumery techniques, allowing them to learn directly from one of the industry’s most respected centers of fragrance production.

Grossmith’s association with Bruno Court demonstrated the company’s commitment to quality and technical refinement. Acting as Bruno Court’s English agent gave the firm access to exceptional raw materials while fostering an exchange of expertise between the two houses. This collaboration helped strengthen Grossmith’s reputation for sophisticated, carefully composed fragrances and connected the London perfumer to the broader international traditions of French haute parfumerie.

When the arrangement ended in 1923, it marked the close of a significant chapter in Grossmith’s history. By then, the company had matured into an established and respected perfume house in its own right, capable of building upon the knowledge and standards it had inherited through its longstanding relationship with Grasse and the Court family..

Fierce Competition:

During the 18th and 19th centuries, Grossmith emerged within a thriving and highly competitive English perfume industry. Established houses such as Floris (est. 1730), Yardley (est. in 1770), Pears (est. 1789), Breidenbach (est. in 1793), Atkinson's (est. in 1799), Rimmel (est. in 1834), Piesse & Lubin (est. in 1855), Penhaligon's (est. in 1860s), and The Crown Perfumery (est. 1872) each helped shape Britain’s growing reputation for luxury perfumery. Within this distinguished landscape, Grossmith distinguished itself through craftsmanship, innovation, and an increasingly international reputation.

One of the company’s earliest milestones came at the Great Exhibition, where founder John Grossmith received a prestigious Prize Medal for his perfumes and artificial flavoring essences. His award-winning creations included unusual aromatic compounds designed for confectionery and spirits, demonstrating both technical skill and creativity. The recognition was especially significant because Grossmith was the only English perfumer to receive such an honor at the exhibition, elevating the firm’s standing both at home and abroad.

Despite the success of British perfume houses, they operated in the shadow of 19th-century France, which dominated the global fragrance industry. French perfumes were regarded as the pinnacle of refinement, forcing English perfumers to compete not only on quality but also on prestige. To rival their continental counterparts, companies like Grossmith invested heavily in superior raw materials, skilled perfumers, and meticulous production standards. At the same time, English houses cultivated their own identity by drawing inspiration from Britain’s landscapes, botanicals, and traditions, creating fragrances that differed from the opulent style associated with French perfumery.

The foundations of British perfumery had been strengthened decades earlier by works such as The British Perfumer by Charles Lillie. Published in 1758, the book offered detailed formulas and practical instruction for perfumes, pomades, powders, and scented products, helping standardize techniques within the trade. Such publications contributed to the development of a sophisticated British perfume industry and provided the technical groundwork upon which later houses, including Grossmith, would build their reputations.

Scentsational:

During the Victorian era, perfume fashion was initially dominated by simple floral and animalic fragrances that focused on a single note or essence. Popular scents included jasmine, heliotrope, violet, lavender, lily of the valley, gardenia, tuberose, sandalwood, patchouli, musk, and ylang-ylang, each intended to capture the pure character of a flower, wood, or aromatic material. These fragrances appealed to consumers who favored recognizable and naturalistic scents.

By the late 19th century, however, perfumery had begun evolving toward more sophisticated “bouquet” compositions, in which multiple essences were blended together to create layered and imaginative fragrances. These perfumes often carried romantic or fanciful names such as Kiss-Me-Quick, Bouquet du Roi, Jockey Club, Spring Flowers, and Peau d’Espagne, reflecting both the creativity of perfumers and the growing public fascination with elaborate scent experiences. This shift marked an important turning point in fragrance history, as perfumers moved beyond simple imitation of nature toward increasingly artistic and complex compositions.

Grossmith embraced both traditions. In 1891, the house introduced its “Verus Naturae Specialties,” a collection of concentrated single-floral perfumes designed to be “true to nature.” The line featured delicate scents such as lily of the valley, white lilac, mimosa, narcissus, mignonette, Parma violet, heliotrope, and orange blossom, showcasing the firm’s dedication to realism, purity, and high-quality raw materials. Their concentrated formulas also reflected the Victorian preference for rich, long-lasting perfumes.

At the same time, perfumers frequently relied on shared formulary books such as The British Perfumer, which meant that many houses sold perfumes with similar names and related formulas. Yet originality still flourished through experimentation. Perfumers altered ingredient proportions, introduced new botanical materials, and refined blending techniques to create distinct signatures. Many also maintained personal notebooks of successful formulas, preserving their own proprietary variations and creative discoveries.

By the turn of the 20th century, Grossmith continued to expand its floral repertoire with fragrances such as Na-i, Orchidor, Odoralis, Trefolia, and the theatrical Florodora. Introduced alongside the hugely popular 1899 London musical Florodora, the perfume became a marketing sensation, with scented samples distributed to theater audiences on opening night. Contemporary descriptions compared its fragrance to a flower-filled English garden in June, while later press accounts praised Grossmith’s perfumes for their exotic inspirations and careful craftsmanship. These creations demonstrated how perfume had become intertwined with fashion, entertainment, and modern advertising at the dawn of the new century.

Classics:

Grossmith became especially well known for its lavender waters and eau de colognes, products that reflected both Victorian tastes and the firm’s emphasis on high-quality botanical ingredients. Among its most celebrated creations were Old Cottage Lavender Water and Old English Lavender Water, distilled from prized Mitcham lavender grown in England. Mitcham lavender was regarded as some of the finest in the world for its exceptionally rich, clean, and soothing aroma, making it highly valued by perfumers and consumers alike. Grossmith’s use of this renowned ingredient reinforced the company’s reputation for quality and authenticity.

Lavender water occupied an important place in Victorian life, valued not only as a fragrance but also for its refreshing and calming qualities. Suitable for both men and women, it was used on the dressing table, in the sickroom, and throughout the home. The enduring popularity of Grossmith’s lavender waters — sold well into the 20th century — demonstrated the timeless appeal of these classic English scents. In 1940, the company even introduced distinctive green glass bottles designed to protect the fragrance from light, with Gothic-inspired lines and decorative lavender displays that reflected the elegance of the brand’s presentation.

Grossmith also produced several eau de colognes, including Crystal Eau de Cologne and Golden Still. Advertisements from the 1850s occasionally styled John Grossmith as “Johann” Grossmith, likely a deliberate reference to Johann Maria Farina and the prestigious heritage of traditional Eau de Cologne. Crystal Eau de Cologne, sold in a long-necked green bottle, may have taken inspiration from the Crystal Palace and the Great Exhibition of 1851, where Grossmith won a prize medal.

Like many Victorian colognes, Golden Still was prized for both its fragrance and its perceived restorative qualities. Eau de Cologne was commonly recommended to refresh sickrooms, ease headaches, and calm “distressed nerves,” making it as practical as it was luxurious. Grossmith’s Golden Still combined bright citrus oils such as neroli, citron, orange zest, and petitgrain with lavender, verbena, rose, cedar, and Mysore sandalwood, creating a crisp and invigorating composition. The fragrance expanded into a full line of soaps, bath crystals, and tooth powder, illustrating how Victorian perfume houses transformed successful scents into complete lifestyle collections.

Oriental Flair:

After the death of John Grossmith in 1867, leadership of Grossmith passed to his son, John Lipscomb Grossmith. Born in 1843, he trained in Grasse with Bruno Court, refining the technical and artistic skills that would shape the next chapter of the company’s history. Under his direction, Grossmith created some of its most celebrated fragrances, particularly a series of richly imagined oriental perfumes that captured the Victorian fascination with distant cultures and exotic luxury.

During the late 19th century, Europe was enthralled by Orientalism — a romanticized fascination with the aesthetics of Japan, India, the Middle East, Egypt, and China. This influence appeared everywhere, from interiors and fashion to literature and theater, and Grossmith embraced the trend with remarkable theatricality. In 1888, the house introduced Hasu-no-Hana, inspired by the scent of the Japanese lotus blossom and promoted as an intoxicating fragrance capable of transporting the wearer to an imagined Eastern world. Advertisements even described Grossmith’s shop as an “Emporium of Oriental Odours,” inviting customers to experience exotic fantasy through perfume.

Grossmith expanded this vision through elaborate marketing spectacles. In 1895, the company created an opulent Eastern-style bazaar at Olympia for the lavish theatrical production The Orient, or An Embassy to the East, designed by Bolossy Kiralfy. Contemporary accounts described richly colored surroundings, attendants dressed in artistic Indian-inspired costumes, and perfumes displayed like treasures from a distant marketplace. Fragrances such as Phul-Nana and Hasu-no-Hana were presented not merely as scents, but as immersive sensory experiences tied to the romance and mystery of the East.

The Oriental Series continued to grow over the following decades. Phul-Nana (1890), inspired by Indian flowers, was marketed as an elegant fragrance for the ballroom and theater. Shem-el-Nessim (1906), the “Scent of Araby,” reportedly required years of research and drew inspiration from Arabian festivals. Later additions included Wana-Ranee (1914), the “Perfume of Ceylon,” along with Geisha, Nu Betsu, and finally Tsang-Ihang (1922), described as the “Sweet Perfume of Tibet.” These fragrances reflected both the era’s fascination with distant cultures and Grossmith’s flair for storytelling and atmosphere.

Like many successful fragrances of the period, these perfumes expanded into complete luxury lines that included soaps, face powders, sachets, bath salts, dentifrices, toilet waters, and even scented cachous — perfumed breath fresheners sold in decorative tins. Sachet powders were recommended for scenting stationery, gloves, and cabinets, allowing customers to surround themselves with fragrance in everyday life. Through these richly marketed creations, Grossmith transformed perfume from a simple cosmetic into an imaginative expression of elegance, travel, and fantasy.

Attention to Detail:

Grossmith understood that luxury perfume was as much about presentation as fragrance itself. The company invested heavily in elegant packaging, using richly colored labels, embossed presentation boxes, silk linings, gilded details, and decorative cases designed to appeal to the eye before the perfume was ever experienced. Bottles were carefully sealed with hermetic membranes covered in silk or kid leather and tied with ribbons, emphasizing both refinement and preservation. Many fragrances were housed in exquisite Baccarat crystal flacons from France, while others appeared in finely made pressed glass bottles produced in England and Germany.

In a 1897 interview with the British Trade Journal, John Lipscomb Grossmith described perfumery as a demanding blend of artistry, innovation, and constant reinvention. He spoke not only of creating new fragrances, but also of developing novel packaging and artistic presentation, while lamenting the widespread imitation of successful perfumes by foreign competitors. Grossmith cited counterfeit versions of Phul-Nana and Hasu-no-Hana as examples of how quickly original ideas could be copied once they achieved popularity.

Grossmith’s presentation cases reflected the opulence expected of luxury perfumery at the turn of the century. Gift sets were produced in morocco leather, silk, plush velvet, and leatherette, often containing multiple perfume bottles alongside matching soaps or powders. One surviving travel casket, covered in red morocco leather with the word “SCENT” in brass lettering, held bottles of White Rose and The Jockey Club nestled within a fitted felt interior. Such objects demonstrate how Grossmith transformed perfume into an elegant personal possession and fashionable gift item.

The company’s association with Baccarat further elevated its prestige. Around 1919, Grossmith commissioned approximately 1,000 crystal flacons believed to be Baccarat model #398, a striking octagonal bottle with truncated corners and a multifaceted “lapidary” stopper designed to catch and reflect light. Each stopper and bottle neck was individually ground and marked with matching numbers to ensure a perfect fit, preserving the fragrance by preventing evaporation. Though the design was not exclusive to Grossmith, its use of such exceptional crystalware underscored the house’s dedication to craftsmanship, luxury, and technical perfection.

These beautifully engineered bottles became far more than simple containers. They embodied the elegance and artistry of the brand itself, turning Grossmith perfumes into complete luxury experiences and, today, highly sought-after collector’s pieces admired for both their fragrance history and decorative beauty.

 

Marketing:

Grossmith recognized early that successful perfumery depended as much on imagination and presentation as on fragrance itself. The company produced richly detailed advertisements that emphasized artistry, novelty, and luxury, helping each new perfume feel like an event. By regularly introducing new creations through elaborate campaigns, Grossmith kept customers engaged while reinforcing its reputation for sophistication and innovation in an increasingly competitive market.

Many of the firm’s advertisements drew heavily on Orientalist imagery, using exotic motifs and romanticized Eastern themes to evoke mystery, elegance, and exclusivity. This visual language perfectly complemented perfumes such as Phul-Nana, Hasu-no-Hana, and Tsang-Ihang, allowing consumers to associate the fragrances with fantasy, travel, and opulent luxury. The advertisements did more than sell perfume — they invited customers into an imagined world shaped by glamour and escapism.

Grossmith also embraced unusually modern promotional techniques. Trade cards sprayed with perfume allowed potential customers to experience the fragrance directly, transforming advertising into a sensory encounter. Some cards could even be exchanged for perfume samples, encouraging trial and brand loyalty, while others were sold for charitable causes. These tactile marketing methods created memorable impressions long before experiential advertising became commonplace.

Among the company’s most striking promotional pieces were ceramic display figures created by Royal Doulton. For Tsang-Ihang, Royal Doulton produced an elegant figurine of a Chinese woman in brightly colored costume, designed by Leslie Harradine and based on artwork from a 1921 advertisement. Displayed in luxury retailers such as Harrods and Selfridges, these statues functioned as eye-catching conversation pieces that elevated the brand’s visibility and prestige. Today, such advertisements and display objects are prized by collectors as examples of the creativity and theatricality of early perfume marketing.

Grossmith also viewed perfumery as a highly specialized art requiring years of education and sensory training. In a 1897 interview with the British Trade Journal, John Lipscomb Grossmith explained that a skilled perfumer needed not only artistic sensibility but an “educated” nose capable of identifying the individual essences within a fragrance. He noted that his son Stanley was studying in Grasse to master the production of perfume raw materials and develop this refined olfactory expertise, underscoring the company’s enduring commitment to craftsmanship and technical excellence.

Royal Patronage:

Grossmith built its reputation on uncompromising quality, from the sourcing of raw materials to the artistry of its presentation. This dedication earned the house prestigious royal patronage from the late 19th century onward, including warrants from Queen Alexandra and recognition from the royal courts of Greece and Spain. Such endorsements elevated Grossmith’s standing as a symbol of refinement and luxury, while also serving as powerful marketing tools that associated the brand with aristocratic taste and exclusivity.

The company became especially known for creating commemorative perfumes tied to important royal events. One of the most celebrated was Victorian Bouquet, produced for Queen Victoria's Diamond Jubilee in 1897. Described as the “National Perfume,” it blended exotic floral inspirations drawn from across the British Empire and was presented as a fragrant tribute to Queen Victoria’s historic reign. Grossmith paid extraordinary attention to the design: the bottle was shaped like a royal orb, topped with a Maltese cross stopper, and housed in a rose-colored and gold presentation case. Labels featuring the rose, thistle, shamrock, and a portrait of the Queen reinforced its patriotic symbolism and transformed the perfume into both a luxury object and a commemorative keepsake.

Grossmith continued this tradition with perfumes honoring later royal occasions. Regal was created for the accession of Edward VII, while Betrothal commemorated the 1893 engagement of the Duke of York and Princess May, later Queen Mary. Described as a sweet floral bouquet, Betrothal captured the romance and optimism surrounding the royal marriage and quickly became one of the company’s most admired fragrances. Grossmith even secured special permission to dedicate the perfume to Princess May, further strengthening the house’s royal associations.

The connection between Grossmith and the royal family extended beyond perfumery alone. During a visit by Princess May and members of the royal family to the perfume works of Bruno Court in Grasse, Grossmith personally escorted the party through the factory, acting as guide and host. This close relationship helped establish the company within royal circles and added prestige to its fragrances.

The presentation of Betrothal reflected Grossmith’s flair for luxury. Princess May received a specially cut sixteen-ounce bottle with a massive gold top, housed in a silk-lined morocco leather case. She later sent a gracious letter of thanks acknowledging the gift. For the general public, the perfume was offered in several bottle sizes, allowing customers of different means to share in the glamour of a fragrance linked to royalty. Grossmith even trademarked the name Betrothal, hoping loyal consumers would embrace the scent as both a fashionable perfume and a patriotic symbol connected to the monarchy.

 

Awards & Accolades:

The achievements of John Grossmith and Grossmith firmly established the company among the leading perfume houses of the 19th century. Their growing collection of international awards reflected not only the exceptional quality of the fragrances, but also the innovation, artistry, and technical refinement that distinguished the brand from its competitors.

One of the company’s most important milestones came at the Great Exhibition held at London’s Crystal Palace in 1851. There, John Grossmith received a prestigious medal for his perfumery creations and aromatic essences. The honor was especially significant because he was the only English perfumer awarded in his category, setting Grossmith apart at a time when French perfumery dominated international taste and reputation. The recognition elevated the company’s standing and brought widespread attention to the quality of English perfumery craftsmanship.

Grossmith’s success continued at major international exhibitions throughout Europe. The company earned medals in Brussels, Amsterdam, Paris, London, and Milan, reinforcing its reputation across the continent. Awards in Paris were particularly meaningful, as the city was considered the center of luxury fragrance and fashion. These repeated honors demonstrated that Grossmith could compete successfully on an international level against some of the most celebrated perfume houses of the era.

The impact of these accolades extended far beyond prestige alone. Exhibition medals served as powerful endorsements of quality and authenticity, increasing demand for Grossmith products both in Britain and abroad. They also helped support the company’s expanding global trade network, strengthening its presence in Europe, Asia, Africa, and North America. More importantly, the recognition established a lasting legacy of excellence that continued to define the Grossmith name long after the exhibitions themselves had passed into history.

The Factory & Premises:

Grossmith expanded steadily throughout the 19th century, and its evolving premises reflected the company’s remarkable growth from a small London business into an internationally recognized perfume house. Beginning with wholesale premises at Cannon Street in 1841, the firm later relocated to Friday Street in Cheapside before establishing itself at Newgate Street, where it would remain closely associated for decades. Each move corresponded with increasing production demands and a desire for larger, more prominent facilities in the heart of London’s commercial district.

In 1895, Grossmith moved from 85 Newgate Street to larger premises at No. 29 after the expansion of the Central Railway Company forced redevelopment in the area. The relocation proved advantageous, placing the company opposite a major railway station and giving it greater visibility and accessibility. The new building offered substantially more floor space, modern loading facilities, lifts, and dual street frontages ideal for advertising. Architecturally imposing and strategically positioned, the premises reinforced Grossmith’s standing as one of Britain’s leading perfumery firms.

The refitted building at No. 29 Newgate Street was designed specifically for the specialized needs of perfume manufacturing. Considered highly modern for its time, it featured fireproof construction, electric lighting, advanced ventilation systems, and state-of-the-art machinery. John Lipscomb Grossmith emphasized the importance of creating a pleasant environment for employees, famously remarking that those who spent a third of their lives at work deserved more than “bare walls, a cheap desk, and a shabby floor.” Recreation rooms, kitchens, lockers, and elaborate washrooms reflected the company’s unusually progressive concern for worker comfort and welfare.

The building itself functioned as a carefully organized production system. Distillation took place in older premises before products were transferred via aerial tubes to laboratories equipped with the latest appliances for testing and refinement. From there, perfumes moved through bottling, finishing, and packing departments staffed largely by skilled women workers who filled, labeled, wrapped, and decorated the products by hand. The ground floor housed an elegant medieval-style showroom with carved oak interiors, while upper floors were dedicated to laboratories, soap-drying rooms, packaging departments, and stockrooms.

Grossmith’s operations extended beyond Newgate Street. Additional warehouses on Ivy Lane stored bottles, ribbons, presentation boxes, corks, labels, and other packaging materials, while separate bonded premises near the docks managed the export trade. These interconnected facilities allowed the company to coordinate manufacturing, storage, and international distribution with remarkable efficiency. By the early 20th century, Grossmith’s “model factory” had become a symbol of modern perfumery production — a place where craftsmanship, technology, luxury, and organization came together in service of world-renowned fragrances.

 

The Death of JL Grossmith:

John Lipscomb Grossmith led Grossmith through a transformative period that bridged the Victorian age and the modern 20th century. His retirement in 1919 marked the close of an important chapter in the company’s history, as the long-established family partnership was reorganized into a private limited company under the name J. Grossmith & Son Ltd. The transition reflected the growing scale and complexity of the business while positioning the firm for continued expansion in an increasingly competitive international market.

The newly incorporated company retained strong family leadership. John Lipscomb Grossmith became chairman, joined by his son Stanley Grossmith and longtime associates Alfred Ridout and Edward J. Marshall. Contemporary trade journals emphasized the continuity of tradition within the business, noting that three generations of the Grossmith family had now been involved in the company since its founding in 1835. Many departmental managers had also spent most of their working lives with the firm, reinforcing the sense of stability and loyalty that characterized the house.

John Lipscomb Grossmith died in 1921 at the age of seventy-eight. Obituaries praised him not only as a master perfumer, but also as an influential London businessman and civic figure. Having trained in Grasse with Bruno Court, he combined technical expertise with exceptional organizational skill, transforming Grossmith from a respected English perfumery into an internationally recognized enterprise. His funeral and memorial services were attended by civic leaders, company employees, and members of London society, reflecting the esteem in which he was held.

After his death, Stanley Grossmith assumed control of the company, continuing the family tradition of perfumery craftsmanship. His leadership, however, was tragically brief, ending with his sudden death in 1924 at only forty-five years old. Although this marked the end of direct day-to-day leadership by the founding family, the company continued under trusted associates and relatives who maintained the standards and identity established by earlier generations.

In the decades that followed, figures such as Alfred Ridout and later Robert Gordon Dyas guided the company through changing markets and international expansion. Dyas, a relative of the Grossmith family who had worked within the firm since youth, eventually became chairman and managing director in 1940, leading the company until his death in 1964. Throughout these transitions, Grossmith remained committed to the craftsmanship, innovation, and elegant presentation that had defined the house since the 19th century. Even into the 1920s through the 1940s, the company continued producing imaginative and beautifully designed perfume bottles that reflected its enduring creativity and prestige.

Second World War and Beyond:

Grossmith faced one of the greatest challenges in its history during the Second World War, when German bombing raids destroyed the company’s Newgate Street premises in 1940. Wartime rationing and severe import restrictions disrupted supplies of essential raw materials, forcing the firm to replace many costly natural ingredients with synthetic substitutes that were considered inferior in quality. Shortages of paper, cardboard, and glass also affected production, limiting the availability of presentation boxes and perfume bottles that had long been part of Grossmith’s luxurious identity.

Rather than suspend operations entirely, Grossmith adapted creatively to wartime conditions. To conserve scarce materials, the company introduced smaller bottles fitted with colorful plastic screw caps, allowing production to continue despite glass rationing. The firm also contributed to the war effort through charitable initiatives, including scented fundraising cards infused with Old Cottage Lavender. Sold to support comfort funds for British naval crews, the cards offered civilians a small reminder of home and comfort during difficult years, while also reflecting Grossmith’s resilience and social engagement during wartime Britain.

The postwar years brought renewed optimism, and Grossmith responded with fragrances that reflected the hopeful spirit of the era. In 1947, the company introduced Sky High, a perfume inspired by aspiration and new beginnings. Additional launches followed, including White Gardenia and English Freesia in 1949, and the more dramatic White Fire in 1954. At the same time, established classics such as Phul-Nana, Shem-el-Nessim, and Old Cottage Lavender continued to be sold throughout the 1950s and 1960s, often with updated packaging designed to appeal to changing postwar tastes.

By the late 1960s, however, the company had begun to decline. Although Grossmith introduced Adventure in 1969, a fragrance inspired by exploration and modernity, the business increasingly shifted its focus toward soaps rather than fine perfumery. Over time, only a small number of perfumes remained in production, including Old Cottage Lavender and White Fire. Eventually, the company ceased trading altogether by around 1980, bringing an apparent end to nearly a century and a half of perfumery history.

Yet even after its closure, Grossmith’s reputation endured among collectors and perfume historians who admired the house for its craftsmanship, elegant presentation, and imaginative fragrances. Its legacy survived through vintage bottles, advertisements, and treasured perfumes that continued to evoke the artistry of one of Britain’s great historic perfume houses — setting the stage for the remarkable revival that would later follow.

List of Fragrances by Grossmith & Son:

Below I have compiled a list of the perfumes of Grossmith that I could find. Many of the dates are generally from advertisements and may have been used earlier such is the case with the single flower or single scents. Please note that this is not a complete list, I will add new entries as I come across them:

• 1851 - White Rose (still sold in 1937)
• 1851 - Ylang Ylang
• 1851 - Stephanotis
• 1851 - Gardenia (still sold in 1937)
• 1851 - New Mown Hay
• 1851 - Wood Violet (still sold in 1912)
• 1851 - White Heliotrope
• 1851 - Jockey Club (still sold in 1937)
• 1851 - Rondeletia
• 1851 - Frangipanni
• 1851 - Opoponax
• 1851 - Ess Bouquet
• 1851 - Spring Flowers
• 1851 - Magnolia
• 1851 - Esprit d'Amour
• 1855 - Mitcham Lavender
• 1860 - Sovereign of Scents (handkerchief perfume)
• 1887 - Hasu-No-Hana, the Perfume of the fragrant Lotus of Japan (still sold in 1951)
• 1890 - Phul-Nana, a Bouquet of India's Choicest Flowers (still sold in 1951)
• 1891 - Verus Naturae Series (White Lilac, English Lilac, Linden Bloom, Lily of the Valley, Musk Rose, Mignonette, Mimosa, Narcissus, May Blossoms, Wallflower, Parma Violet, Cherry Pie, Wild Cherry, Sweet Daphne, Orange Blossom)
• 1891 - Linden Bloom
• 1891 - Violet
• 1891 - May Blossoms
• 1891 - Lily of the Valley (still sold in 1944)
• 1891 - English Lilac
• 1891 - Musk Rose
• 1891 - Mignonette
• 1891 - Wallflower (relaunched in 1937)
• 1891 - Parma Violet (relaunched in 1937)
• 1891 - Cherry Pie
• 1891 - Mimosa (still sold in 1937)
• 1891 - Narcissus (still sold in 1937)
• 1891 - White Lilac (still sold in 1912)
• 1891 - Peau d'Espagne
• 1891 - Chypre
• 1891 - Violette Blanche
• 1891 - Rose Mousse (Moss Rose)
• 1893 - Betrothal Bouquet (still sold in 1916) 
• 1897 - Victorian Bouquet (still sold in 1902)
• 1897 - White Heliotrope (still sold in 1937)
• 1897 - "Enterprise" Series of perfumes
• 1897 - Carnation (relaunched in 1937)
• 1897 - Blush Rose
• 1897 - Mathiola
• 1897 - Jasmin
• 1897 - Verbena
• 1897 - Heliotrope
• 1897 - Rose Geranium
• 1897 - Sweet Briar (relaunched in 1937)
• 1897 - Millefleurs
• 1897 - Orange Blossom (still sold in 1937)
• 1897 - Hyacinth (still sold in 1937)
• 1897 - Patchouli
• 1900 - Primrose
• 1900 - Florodora (still sold in 1923)
• 1902 - English Rose (still sold in 1923)
• 1904 - Heather
• 1904 - Floralia Series (of perfumes & soaps: Parma Violet, Wallflower, Lily of the Valley, Sweet Pea, Rose, Heliotrope) - still sold in 1923
• 1904 - Trefolia Series (of perfumes & soaps) - still sold in 1923
• 1904 - Killarney Violets
• 1904 - Cambrian Bouquet
• 1904 - Caledonian Bouquet
• 1904 - Violets of Scotland
• 1905 - Aida 
• 1907 - Shem-el-Nessim, the Perfume of Araby (still sold in 1951)
• 1909 - Odoralis
• 1911 - English Violet (still sold in 1937)
• 1912 - Wood Violet
• 1912 - Crab Apple
• 1912 - Frangipanni
• 1914 - Wana-Ranee,  the Perfume of Ceylon (still sold in 1951)
• 1914 - Golden Still (sweet, heady, light, refreshing) still sold in 1949
• 1916 - Old Cottage Lavender (A charming and favourite Old English perfume in quaint dark green old- fashioned bottles)
• 1917 - Nu Betsu
• 1917 - Geisha
• 1920 - Charm
• 1920 - Fascination
• 1921 - Florisis
• Lilac (still sold in 1937)
• 1922 - Tsang-Ihang, the  Sweet Perfume of Thibet 
• 1922 - Orchidor
• 1922 - Reve de Jeunesse
• 1922 - Etoile Divine
• 1922 - Rose Pompadour
• 1929 - Parfum Jasmin (still sold in 1944)
• 1930 - Wild Honeysuckle (relaunched in 1937)
• 1937 - Parma Violet (relaunch)
• 1937 - Jasmin
• 1937 - Wallflower (relaunch)
• 1937 - Sweet Pea
• 1937 - Carnation (relaunch)
• 1937 - Lily of the Valley (relaunch)
• 1937 - Sweet Briar (relaunch)
• 1947 - Sky High
• 1948 - Fern (cologne)
• 1948 - Verbena (cologne)
• 1948 - Russian Leather (cologne)
• 1948 - Pink Clover (cologne)
• 1948 - White Gardenia (cologne) 
• 1948 - English Freesia (still sold in 1954)
• 1954 - Old Cottage Lavender Water (Crinoline Lady presentation)
• 1954 - White Fire
• 1969 - Adventure

A Life Renewed:

After nearly four decades of dormancy, Grossmith experienced an extraordinary revival beginning in 2006 through the efforts of Simon Brooke, the great-great-grandson of founder John Grossmith. A collector of antique perfume bottles and an amateur genealogist, Brooke unknowingly purchased a vintage bottle of Phul-Nana through an online auction from a seller in Tasmania. While researching his family history, he realized the perfume bottle he treasured was directly connected to his own ancestry and to one of Britain’s great forgotten perfume houses.

Further investigation revealed that the Grossmith name and company rights still existed, although the business itself had long ceased trading. Intrigued by the possibility of restoring the family legacy, Simon Brooke and his wife Amanda immersed themselves in the study of perfumery for more than eighteen months. Their determination eventually led them to renowned British perfumer Roja Dove, who encouraged the couple to pursue the revival seriously. Acting on his advice, they collaborated with the French fragrance house Robertet to analyze the remaining contents of the antique Phul-Nana bottle in hopes of identifying elements of the original composition.

Reviving the company required not only passion, but considerable personal sacrifice. Simon and Amanda Brooke sold their holiday home and invested their life savings to raise the capital necessary to purchase the brand in 2007. Their commitment reflected a deep belief in the historical and artistic value of Grossmith and a desire to restore it with authenticity and respect for its heritage.

The rebirth of Grossmith marked far more than the relaunch of a dormant perfume label. It represented the restoration of a lost chapter of British perfumery history, guided by descendants who approached the project with scholarship, enthusiasm, and reverence for the original house. Through their efforts, Grossmith returned to the world of fine fragrance with renewed vitality, reconnecting modern perfume lovers with one of the great historic names of English perfumery.

History Preserved:

During the revival of Grossmith, Simon Brooke made a remarkable discovery that would become central to restoring the house’s authenticity. A distant cousin revealed that two original formulary books, along with ledger books and the company’s historic prize medals, had survived the destruction of the Newgate Street premises during the Blitz in 1940. Rescued from the rubble and preserved by family members for decades, these artifacts provided a direct and invaluable link to Grossmith’s perfumery heritage.

The formulary books, handwritten by John Lipscomb Grossmith himself, contained formulas for more than 300 products, including dozens of perfumes, eaux de toilette, colognes, soaps, and essential oil blends. These worn leather-bound notebooks documented not only recipes, but also the creative evolution of the house — recording experiments, ingredient combinations, blending techniques, and trade secrets developed over generations. For the revived company, they became both historical treasures and practical working documents, preserving the original spirit and craftsmanship of the brand.

The surviving ledgers added another dimension to the archive, offering insight into the commercial life of the business through records of sales, expenses, and clientele. Together with the prize medals awarded at international exhibitions, the collection reinforced the scale and prestige of Grossmith’s achievements during its golden age. These artifacts transformed the revival project from a nostalgic idea into a historically grounded restoration of one of Britain’s great perfume houses.

To announce the rebirth of the brand, the Brooke family chose to revive three of Grossmith’s most celebrated oriental floral perfumes: Hasu-no-Hana, Phul-Nana, and Shem-el-Nessim. Relaunched in 2009, the fragrances were recreated in collaboration with Robertet under the guidance of Roja Dove. Using photo chromatography, Robertet analyzed surviving samples of the antique perfumes and compared them with the original formulas preserved in the notebooks. The fragrances were then carefully re-orchestrated using the finest modern materials available while remaining faithful to the character of the originals.

The relaunch reflected a broader resurgence of interest in classic perfumery and traditional craftsmanship. Although certain historic ingredients such as natural civet could no longer be ethically reproduced, the Brooke family remained committed to recreating the perfumes with exceptional quality and historical integrity. By bringing these legendary scents back to life, Grossmith successfully bridged the worlds of Victorian perfumery and modern niche fragrance, restoring a historic British perfume house to contemporary relevance.

Brand Identity:

Grossmith approached its modern revival with the same attention to detail that had once defined its historic perfumes and presentation. Determined to create a visual identity worthy of the house’s legacy, Simon Brooke and his wife Amanda partnered in 2008 with the branding and design agency Holmes & Marchant to reimagine the look of Grossmith for the contemporary luxury market.

The redesign carefully balanced historical authenticity with modern refinement. Rather than creating an entirely new aesthetic, Holmes & Marchant drew inspiration directly from Grossmith’s archival materials and surviving antique bottles. Central to the project was the iconic Baccarat crystal flacon historically used by the company. Creative director Nick Hanson described the bottle as the starting point for the revival, calling it “a reverential nod” to Grossmith’s heritage.

The geometric form of the original Baccarat bottle — square with truncated corners creating an octagonal silhouette — became the visual foundation for the entire collection. Its shape influenced not only the bottle design itself, but also the labels, presentation boxes, blotters, and even the perfume caps, creating a cohesive and instantly recognizable identity across the range.

Holmes & Marchant also developed a refined logo and typography inspired by historical Grossmith materials. Traditional typefaces were subtly modernized for clarity and elegance, while the color palette drew upon the rich, luxurious tones associated with 19th-century perfumery. The result was a brand identity that honored Grossmith’s Victorian and Edwardian heritage while presenting it with the sophistication expected of a modern niche fragrance house.

Bottles:

As part of the revival of Grossmith, the company sought to develop a signature bottle design capable of housing both parfum and eau de parfum concentrations while maintaining a consistent and recognizable identity across the range. The challenge was to create a bottle that balanced practicality with the elegance historically associated with the house.

The design drew inspiration from Grossmith’s original perfume bottles, which were notable for their unusual ovoid forms rather than the standard cylindrical shapes favored by many other perfume houses. These antique bottles often featured “Grossmith & Son London” molded directly into the glass, giving them a distinctive visual identity and reinforcing the prestige of the brand. Their graceful silhouettes became an important reference point for the relaunch.

The modern bottles reinterpret these historic forms with subtle contemporary refinements. Designed with elegant reeded detailing and chamfered label cartouches, the new flacons evoke the sophistication of the original Grossmith presentations while remaining functional for modern use. The caps were also carefully designed to reflect the craftsmanship and decorative richness of the past, but with improved ergonomics and durability suitable for contemporary luxury packaging.

Produced in 100ml, 50ml, and 10ml sizes, the bottles were manufactured by Stölzle Glass Group through STO-Flaconnage, with caps supplied by Plusimage and pumps by Emsar. According to Mark Devonald Smith of Stölzle Glass Group, recreating the spirit of the historic Grossmith bottle in relatively small production runs posed significant technical challenges. Advances at the company’s West Yorkshire factory, however, allowed the team to produce a bottle that captured the elegance and refinement associated with the original House of Grossmith and its royal heritage, while meeting modern standards of quality and production.

Boxes:

The presentation boxes created for the revived Grossmith were designed to complement the elegance of the bottles and reinforce the house’s identity as a luxury fragrance brand. Every element — from the proportions and textures to the placement of logos and decorative details — was carefully coordinated to create a refined and cohesive presentation. The packaging was intended not merely as protection for the perfume, but as an integral part of the overall sensory experience.

Unlike the vividly colored Victorian packaging once used by the company, the modern presentation adopted a more restrained and sophisticated palette centered around gold, blue, and white. This cleaner aesthetic allowed the craftsmanship of the bottles and materials to take precedence while still conveying a sense of richness and heritage. The parfum collection was presented in luxurious white boxes, while the eau de parfum line appeared in deep regal blue packaging, subtly distinguishing the different concentrations while maintaining a unified visual identity.

High-quality materials played a central role in the redesign. Smooth finishes, carefully chosen textures, and precise detailing gave the boxes a tactile richness that reflected the exclusivity of the fragrances within. The result was packaging that felt elegant and substantial in the hand, reinforcing Grossmith’s long-standing tradition of combining fine perfumery with exceptional presentation and luxury craftsmanship.

A Return to Baccarat:

To appeal to serious collectors and honor the company’s historic legacy, Grossmith introduced an extraordinary limited-edition Baccarat crystal collection known as the “Série de Luxe.” During research into the company archives, Simon Brooke uncovered the original 1919 order sheet for Grossmith’s Baccarat bottles and learned, after consulting with Baccarat, that the original moulds still survived. This remarkable discovery allowed the revived house to recreate one of the most iconic elements of its historic presentation with exceptional authenticity.

The reborn Baccarat flacons were based on the elegant 1919 model #398, distinguished by its octagonal silhouette, truncated corners, and multifaceted lapidary stopper. Holmes & Marchant refined the historic design with intricate gold etching inspired by Victorian decorative motifs, giving the bottles a contemporary interpretation while preserving their period elegance. Creative director Nick Hanson described the project as a “reverential nod” to Grossmith’s heritage, with the original Baccarat bottle serving as the foundation for the revived flagship collection.

The bottles themselves embodied extraordinary craftsmanship and luxury. Each held 85ml of parfum in one of Grossmith’s revived classics — Phul-Nana, Shem-el-Nessim, or Hasu-no-Hana — and was presented in a handcrafted oak case finished with six layers of white piano lacquer. The interiors were lined in deep midnight-blue velvet and secured with a gilded key, transforming the perfumes into museum-worthy presentation objects rather than ordinary fragrance bottles.

Released in 2010 with a three-month delivery time, the Série de Luxe presentations were priced at £6,000 for a single bottle and £18,000 for a triple set. These lavish editions underscored Grossmith’s dedication to preserving the artistry and grandeur of traditional luxury perfumery. By reviving the historic Baccarat bottles with such precision and care, the company not only celebrated its own heritage, but also reaffirmed its place among the great names of classic perfumery and decorative design.

Made in England:

Proud of its English heritage, Grossmith has remained deeply committed to keeping every stage of production rooted in England. This approach reflects more than simple manufacturing preference; it represents a deliberate effort to preserve the traditions of British luxury craftsmanship while supporting specialist industries and artisans across the country.

The perfumes themselves are produced at the UK operation of Robertet in Haslemere, while the signature oval reeded glass bottles are manufactured in Knottingley. Their elegant ovoid forms and ribbed detailing echo the historic Grossmith bottles of the past, combining classic refinement with modern functionality. The clear glass design allows the color and beauty of the perfume itself to remain the visual focus.

Other elements of the presentation are produced throughout England by specialist craftspeople. The presentation boxes are made in Sheffield, paper labels are printed in Loughborough, and the final assembly of the fragrances takes place in Tiverton. This network of regional manufacturers reflects both the diversity of British craftsmanship and Grossmith’s commitment to maintaining authenticity at every stage of production.

The revived collection quickly regained a place within Britain’s luxury retail landscape, with fragrances carried by prestigious retailers such as Fortnum & Mason, Harrods, and Les Senteurs. Through this careful balance of heritage, craftsmanship, and modern luxury, Grossmith successfully reestablished itself as one of Britain’s great historic perfume houses.

May 2024:

Recently, while revisiting my blog archives, I realized that I had never completed my article on Grossmith. Knowing that the historic perfume house had been revived in 2009, I decided to visit their website to see how the brand had evolved. I was delighted to discover that Grossmith was still actively producing fragrances, so I reached out directly to inquire about press materials and, if possible, fragrance samples.

After a warm correspondence with Amanda Brooke, I received an exquisite press kit shipped from London. Inside were samples of all eleven fragrances in the current collection, six glossy postcards reproducing antique Grossmith advertisements, and a beautifully illustrated booklet detailing the company’s history and revival. Even the presentation reflected the house’s attention to detail: each item was carefully wrapped in tissue paper printed with the elegant “GL” monogram for Grossmith London.

Exploring the collection became a remarkable olfactory journey. The generous 2ml spray samples were mounted on thick cardstock and accompanied by matching blotters, making them especially practical for testing and comparison. I sampled each fragrance both on paper and on skin, applying them to my forearm to better observe how the compositions developed over time and interacted with skin chemistry. As I wore them, I found myself noticing subtle transitions, unexpected accords, and layers of richness that revealed the craftsmanship behind each composition.

Having experienced fragrances from several revived heritage perfume houses, I approached the Grossmith collection with cautious expectations. Too often, modern reinterpretations of historic perfumes can feel overly sheer or aggressively contemporary, lacking the depth, warmth, and character associated with vintage perfumery. Many seem disconnected from their historical inspirations, trading richness and texture for a minimalist modern style.

What impressed me about Grossmith was that the fragrances retained a genuine sense of classical structure and atmosphere while still feeling wearable today. Rather than reducing the originals into faint modern abstractions, the house succeeded in preserving the fullness, elegance, and emotional resonance that make historic perfumery so compelling. The result feels less like a nostalgic imitation and more like a respectful continuation of the Grossmith tradition.

Formulations:

Reviving a historic perfume house is rarely straightforward. Many heritage brands face the loss of original formulas, incomplete archives, changing manufacturing methods, and modern ingredient restrictions that can dramatically alter how a fragrance smells compared to its vintage predecessor. Contemporary market trends also tend to favor lighter, fresher compositions, leading some revived houses to modernize their perfumes so heavily that little of the original character remains.

Because of this, I approached Grossmith with cautious optimism. Yet from the moment I sampled the fragrances, it was obvious that the Brooke family had approached the revival with extraordinary seriousness and respect for the house’s history. The perfumes felt remarkably full-bodied, layered, and authentic — rich in texture and atmosphere in a way that instantly recalled classical perfumery rather than simplified modern interpretations. The fact that the family had access to the original formulary books clearly gave them a rare advantage in preserving the spirit of the historic compositions.

What impressed me most was the unmistakable quality of the raw materials. Each fragrance possessed depth, richness, and complexity, unfolding gradually on the skin in a way that felt luxurious and carefully composed. Rather than seeming nostalgic in a superficial sense, the perfumes conveyed a genuine continuity with the past — elegant, refined, and evocative of an earlier era of perfumery. At times, wearing them felt almost like opening perfectly preserved antique bottles from the house’s golden age.

The experience left a profound impression on me. I found myself enthusiastically sharing the story of Grossmith’s history and revival with friends and family, describing both the fragrances and the remarkable journey that brought the house back to life. Among revived heritage perfume brands, very few have achieved this level of authenticity and emotional resonance in my view; only houses such as Volnay and Cherigan evoke a similar respect for the richness and structure of classical perfumery.

Beyond the fragrances themselves, the entire presentation reflected Grossmith’s commitment to craftsmanship and heritage. The beautifully assembled press kit, complete with illustrated booklets, antique advertisement reproductions, elegant samples, and monogrammed tissue paper, reinforced the sense that every detail had been thoughtfully considered. Together, the perfumes and their presentation created more than a sampling experience — they offered a vivid immersion into the history, artistry, and enduring elegance of one of Britain’s great perfume houses.

The Classic Collection:

The Classics Collection by Grossmith was created directly from the company’s surviving formulary books, allowing the house to revive some of its most celebrated historical fragrances with remarkable authenticity. Drawing heavily upon natural raw materials and guided by the original formulas, the collection represents an impressive fusion of historical research and modern craftsmanship. Rather than merely imitating vintage perfumes, these compositions preserve the richness, depth, and complexity associated with classical perfumery traditions.

Each fragrance in the collection evokes the atmosphere of a different era while remaining refined and wearable for contemporary audiences. The perfumes are characterized by their full-bodied structures, luxurious materials, and intricate layering of floral, oriental, and exotic notes — qualities that once defined Grossmith during its Victorian and Edwardian height. Together, the trio offers a vivid glimpse into the artistry and imagination of historic British perfumery.

The Classics Collection consists of three revived signature fragrances: Hasu-no-Hana, Shem-el-Nessim, and Phul-Nana. The perfumes are offered in multiple formats, including 10ml, 50ml, and 100ml parfum concentrations, alongside 50ml and 100ml eaux de parfum. Elegant gift sets are also available, allowing the fragrances to be experienced as a curated collection that celebrates the heritage and enduring legacy of Grossmith.

Hasu-No-Hana:

Hasu-no-Hana, said to recreate the elusive scent of the Japanese lotus lily, is a radiant composition that exudes timeless elegance and sophistication. With its pronounced mossy chypre and resinous amber facets, this fragrance captivates the senses with its bright and uplifting aura, evoking the beauty of a blooming lotus in full splendor.

Originally created in 1888, Hasu-no-Hana heralded the dawn of modern creative perfumery, setting a standard for innovation and excellence that endures to this day. Its trailblazing spirit and perennial quality make it a true masterpiece, cherished by fragrance connoisseurs for generations.

It begins with the brightness of bergamot and bitter orange. At its heart, Hasu-no-Hana reveals the exquisite beauty of the Japanese lotus lily, a symbol of purity and renewal. Its delicate floral notes of iris and ylang ylang are complemented by hints of chypre, adding depth and complexity to the composition. As the fragrance unfolds, warm and sensual amber facets emerge, enveloping the wearer in a luxurious embrace.

The dry, woody base of vetiver, sandalwood, patchouli, and cedar anchors the scent, providing a solid foundation for the opulent floral accords of jasmine and rose to shine. With its irresistible allure and enduring appeal, the newest version of Hasu-no-Hana will remain a timeless classic, especially beloved by those who appreciate the artistry and craftsmanship of fine perfumery.

• Top notes: bergamot, bitter orange
• Middle notes: rose, jasmine, ylang ylang, iris
• Base notes: vetiver, patchouli, oakmoss, cedarwood, sandalwood, tonka bean

Phul-Nana:

The fragrance named "Phul-Nana" is Hindi for "lovely flower," and it absolutely embodies the essence of its name with a fresh and sweet floral composition. With aromatic fougère overtones and a soft, warm, woody base, Phul-Nana captivates the senses with its unique blend of herbal and floral notes. Its opening is bursting with the freshness of citrus, while its heart reveals narcotic tuberose, banana-like ylang ylang and the pungency of geranium. The base is a classic fougere accord, combining earthy woods underscored with balsamic notes of Siamese benzoin and vanilla from the tropical Bourbon isles.

Originally created in 1891, Grossmith notes that "Phul-Nana represents a rare marriage of the herb garden with the flower garden, a concept uncommon in feminine fragrances of its time." This innovative approach cleared the way for the "modern" fragrances that would follow," establishing Phul-Nana as a trailblazer in the world of perfumery.

With its timeless appeal and harmonious blend of aromatic and floral elements, Phul-Nana continues to enchant fragrance enthusiasts with its exquisite complexity and allure. As a celebration of nature's beauty and the artistry of perfumery, the newest version of Phul-Nana will remain a cherished classic, beloved by those who appreciate its timeless elegance.

The appearance of Phul-Nana in the popular television series Downton Abbey further adds to the brand's cultural significance and recognition, highlighting its timeless appeal and enduring legacy.

• Top notes: bergamot, orange, neroli
• Middle notes: geranium, tuberose, ylang ylang
• Base notes: patchouli, Siam benzoin, cedarwood, sandalwood, opoponax, tonka bean, Bourbon vanilla 

Shem-el-Nessim:

"Shem-el-Nessim," derived from Arabic for "smelling the breeze," embodies luxury through its exquisite Florentine Iris essence. Originating in 1906, this lavish fragrance captures the refined charm of the Edwardian era, characterized by its warm, floral, and soft powdery notes, evoking a sense of sophistication and opulence.

The fragrance opens with refreshing citrus notes of bergamot and neroli, imparting a bright and uplifting aroma that sets the stage for the floral and woody accords to follow. The heart features a harmonious blend of geranium, rose, jasmine, ylang ylang, and orris, adding a floral richness and depth to the scent profile. The foundation consists of musk, patchouli, cedarwood, sandalwood, heliotrope, and vanilla, contributing to the fragrance's longevity and providing a warm, creamy, and slightly sweet undertone.

• Top notes: bergamot, neroli
• Middle notes: geranium, rose, jasmine, ylang ylang, orris
• Base notes: musk, patchouli, cedarwood, sandalwood, heliotrope, vanilla

The Royal Collection:

Betrothal:

Betrothal is a captivating fragrance that unfolds like a love story, beginning with a vibrant burst of sparkling citrus notes that invigorate the senses. As the scent develops, it blossoms into a luxurious floral bouquet, where the exquisite rose de Mai and precious jasmine from Grasse intertwine in a mesmerizing dance of elegance and romance. These delicate floral notes lend a timeless beauty to the composition, evoking the essence of a twenty-first century fairy tale.

In the dry down, Betrothal reveals a rich musky base, adding sensual allure to the fragrance. The classic blend of jasmine and rose creates a captivating olfactory experience that exudes sophistication and refinement. The addition of tropical ylang ylang rounds out the floral accord and adds a sweet powdery note not unlike banana custard. The harmonious combination of tart vetiver and patchouli serves to temper the floral notes, preventing them from becoming overly sweet or overpowering. Instead, these earthy and aromatic elements provide depth and complexity to the fragrance, creating a well-rounded composition that is both captivating and balanced.

Crafted with the finest materials, Betrothal, representative of the "contemporary love story", is perfectly suited for the bride who wants something traditional. The fragrance embodies the essence of modern luxury, offering a fragrance that charms the senses and leaves a lasting impression. It is a scent that resonates with elegance and grace, destined to enchant and inspire those who wear it.

• Top notes: bergamot, neroli
• Middle notes: rose de Mai, jasmine, ylang ylang
• Base notes: vetiver, patchouli, cedar, sandalwood, vanilla , musk

Diamond Jubilee Bouquet:

Originally crafted for Queen Victoria in 1897 and known as the Victorian Bouquet, the latest iteration pays homage to the late Queen Elizabeth II with the name Diamond Jubilee Bouquet. This fragrance serves as a majestic tribute to Queen Elizabeth II, who celebrated her Diamond Jubilee in 2012. The renaming reflects both the historical significance of the perfume's origins and its enduring relevance in commemorating significant moments in British history. It is considered a floral masterpiece that manages to capture the essence of a modern-day celebration. The fragrance unfolds like a vibrant tapestry, weaving together an array of exquisite floral notes with warm, sensual accords.

At the outset, bright citrus notes of orange and lemon dance upon the senses, infusing the composition with a burst of freshness and sparkling vitality. Tender nuances of lily of the valley and gentle narcissus add a delicate touch, enhancing the floral bouquet with their ethereal beauty.

In the heart of the fragrance, a refined floral symphony unfolds, showcasing the timeless allure of rose, iris, jasmine, violet, and heliotrope with its almond-like scent. These precious blooms intertwine harmoniously, creating a captivating olfactory experience that is both sophisticated and enchanting.

As the scent evolves, a subtle hint of smoky vetiver adds depth and complexity, underscoring the floral notes with a touch of earthy richness. The fragrance then settles into a warm and sensual base, where notes of vanilla, tonka bean, hawthorn, amber, and powdery musks envelop the senses in a gauzy veil of luxurious warmth.

Diamond Jubilee Bouquet is a fragrance fit for royalty, a floral mosaic that pays homage to the beloved Queen's remarkable reign with grace, elegance, and timeless beauty.

• Top notes: orange, lemon, lily of the valley, narcissus
• Middle notes: rose, iris, jasmine, violet, vetiver, carnation
• Base notes: vanilla, tonka bean, hawthorn, amber, musk

King's Salute:

King’s Salute, the latest addition to Grossmith’s esteemed Royal Collection, pays homage to the King Charles' deep-rooted passion for plants and gardening, a passion that echoes Grossmith’s historic connections to lavender. The fragrance captures the aromatic essence of the King's beloved Highgrove garden, where beds of Mitcham lavender and thyme flourish abundantly.

Launched on Coronation Day, the King's Salute fragrance embodies a significant occasion in British history, capturing the spirit of celebration and tradition associated with royal events. This carefully timed release further emphasizes the connection between the perfume and significant milestones in the monarchy, enriching its narrative and appeal to enthusiasts of both perfumery and royal history.

The scent opens with a burst of bright citrus notes and robust lavenders, setting a celebratory tone that embodies the spirit of the occasion. As the fragrance evolves, it reveals a heart of valuable green iris and savory thyme, accented by bracing hints of black pepper and camphoraceous cardamom, adding depth and complexity to the composition. Throughout the wear, the herbal lavender note remains prominent, serving as a nod to Grossmith's heritage and the King's botanical interests.

In the base, subtly sweet tonka, velvety cashmeran, powdery musks and balsamic amber provide a warm and inviting foundation, rounding out the scent with a touch of elegance and sophistication. The distinctive purple label of King’s Salute is a fitting tribute to its royal inspiration, complemented by the Royal Mail First Class postage stamp, a symbol of continuity and tradition chosen by King Charles himself.

With King’s Salute, Grossmith continues its legacy of crafting exquisite fragrances that reflect both history and modernity, offering an invigorating sensory journey that honors the royal heritage and celebrates the beauty of nature.

• Top notes: bergamot, elemodor, blackcurrant, black pepper
• Middle notes: lavender, lavandin, thyme, iris, cardamom
• Base notes: oakmoss, amber, cashmeran accord, musk, coumarin

The Black Label Collection:

The introduction of the Black Label Collection in 2012 marked a significant evolution for Grossmith. Unlike the Classics Collection, which revived historical formulas from the company archives, the Black Label series focused on entirely original creations that combined modern creativity with the house’s longstanding dedication to richness, elegance, and craftsmanship. The collection demonstrated that Grossmith was not only capable of preserving its heritage, but also of creating new fragrances with a distinct contemporary identity.

Adding a deeply personal element to the launch, the packaging for the collection was designed with the involvement of the Brooke family’s daughter, Eleanor Brooke. The sleek black-and-gold presentation introduced a more modern and dramatic aesthetic while still maintaining the refinement associated with the brand. The luxurious emballage gave the collection a sophisticated, contemporary presence that contrasted beautifully with the more historically inspired designs of the Classics range.

The Black Label fragrances were released as 50ml and 100ml eaux de parfum, with an additional gift set featuring four 10ml sprays. The collection consists of Floral Veil, Amelia, Golden Chypre, and Saffron Rose — fragrances that explore floral, chypre, and oriental themes through a modern lens while remaining unmistakably rooted in the opulent style and quality that define Grossmith.

Floral Veil:

Launched in 2012, this fragrance presents a captivating blend of exuberant citrus and green notes, juxtaposed with a rich floral heart. The initial burst of citrus and green accords provides a refreshing and invigorating opening, while the lush floral bouquet of fresh geranium, rose, ylang ylang, sultry tuberose, and the creaminess of vanilla orchid adds depth and complexity to the composition. Finally, the warm and smooth base notes of cashmeran, amber, and musk create a luxurious and enveloping finish, balancing the coolness of the top notes with a sense of warmth and sophistication.

Floral Veil promises to envelop wearers in a delicate and ethereal aura, reminiscent of a gossamer mist of the soft distillation of flower petals. The description alone evokes a sense of lightness and femininity, offering a captivating olfactory experience. As for the name, Amanda Brooke said she was inspired by a nostalgic recollection, a diaphanous veil attached to her beloved mother's hat.

• Top notes: citrus, lemon, green notes, cassis
• Middle notes: geranium, rose, ylang ylang, tuberose, vanilla orchid
• Base notes: musk, cashmeran, amber

Amelia:

 Amelia is a tribute to Simon Brooke's great grandmother, who played a crucial role in his rediscovery of the lost perfume house. Amelia, adds a layer of familial connection to the collection, infusing it with a sense of heritage and tradition. This feminine fragrance exudes softness and elegance, beginning with alluring top notes of green neroli and creamy osmanthus. As it unfolds, an exquisite floral heart emerges, characterized by a torrent of rose, peony, and costly jasmine blossoms, scattered abundantly over the balsamic warmth of resinous amber. The fragrance evolves into a rich and voluptuous base, featuring notes of patchouli, honeyed sandalwood, dry vetiver, and diaphanous cashmere musks, ensuring a lasting and captivating olfactory experience. 

• Top notes: neroli, osmanthus
• Middle notes: rose, peony, jasmine, amber
• Base notes: patchouli, sandalwood, vetiver, cashmere musks 

Golden Chypre:

Golden Chypre offers a modern take on the timeless chypre fragrance family, Grossmith describes it as evoking the imagery of autumn sunlight dancing on golden leaves The scent opens with a burst of piquant spice from cardamom and nutmeg, interwoven with effervescent citrus notes. An appealing blend of rose, herbaceous geranium, and a wild cherry note from heliotrope adds depth and balance to the lively opening, while patchouli contributes a warm and earthy element. The fragrance gradually transitions into a smoky drydown of vetiver and leathery labdanum, seamlessly merging into a sensual base of woods, amber, and soft powdery musks.

Golden Chypre perfectly encapsulates the vibrant warmth and fleeting beauty of the season. With its rich and evocative composition, it paints a sensory picture of crisp air, earthy forests, and the soft glow of sunlight filtering through the crinkling foliage. Each scent captures the essence of fall, inviting wearers to immerse themselves in a golden-hued world of nostalgia and tranquility.

• Top notes: bergamot, orange, cardamom, nutmeg
• Middle notes: rose, geranium, heliotrope, patchouli, vetiver
• Base notes: woods, amber, labdanum, musk

Saffron Rose:

Saffron Rose is a sophisticated woody amber fragrance, weaving together the luxurious aroma of costly saffron and the captivating essence of velvety roses to craft an opulent olfactory experience. The tapestry unfolds, sprinkling a blend of spicy saffron and warm cinnamon, complemented by the delicate sweetness of a lush rose garden. At its heart, a smouldering brazier of myrrh, amber, labdanum, oud wood, and tobacco, infuses the composition with a mesmerizing smokiness and balsamic tracery. As the scent evolves, it settles into a complex, musky aroma of castoreum, a raw energy imparting a deeper, more primal element, adding depth and richness to the long-lasting sumptuous base of creamy precious woods.

• Top notes: saffron, rose, cinnamon
• Middle notes: myrrh, oud wood, tobacco
• Base notes: castoreum, sandalwood, labdanum, amber

Exclusive Creations:

Sylvan Song:

"Sylvan Song," made exclusively for Fortnum & Mason, legendary purveyors of high quality goods. It  celebrates the shared heritage and values between Grossmith and Fortnum & Mason. Reflecting the essence of verdant woodland, this fragrance is a balanced blend of tradition, quality, and veritable Englishness. Just as Grossmith's use of rare and natural materials evokes distant shores, Fortnum & Mason's sourcing of teas and coffees attracts customers from around the globe. With "Sylvan Song," Grossmith pays homage to these connections, creating a scent that captures the timeless beauty of the flourishing English countryside.

The opening is brightened by a vivacious accent of bergamot, which adds an effervescent touch to the overall scent. A sumptuous cascade of fresh jasmine, rose, and ylang ylang petals contribute to the fragrance's rich and luxurious bouquet. Incense adds a smoky and mystical quality to the fragrance, while earthy patchouli and guaiac wood enhancing its depth and complexity, evokes the dappled shade under rustic evergreens. Musk adds a soft and sensual touch, tonka bean brings a creamy sweetness with hints of vanilla, and benzoin offers a warm and balsamic aroma. Together, they create a cozy and inviting base for the perfume, leaving an echo of warmth and dulcet tones.

• Top notes: bergamot
• Middle notes: jasmine, rose, ylang ylang
• Base notes: patchouli, vetiver, guaiac wood, benzoin, musk, incense, tonka bean