Van Cleef by Van Cleef & Arpels (1993)

When Van Cleef & Arpels launched Van Cleef in 1993, the house was already synonymous with refined French luxury, celebrated internationally for its extraordinary jewelry, poetic craftsmanship, and understated aristocratic glamour. Since its founding in Paris in 1906 by Alfred Van Cleef and Estelle Arpels, the maison had built a reputation not simply for creating jewelry, but for transforming precious stones into narrative art. Van Cleef & Arpels became famous for its Mystery Set technique, ethereal ballerina brooches, enchanted floral motifs, and jewels inspired by fairy tales, couture, ballet, and nature. Their creations adorned royalty, Hollywood actresses, heiresses, and women who viewed luxury as something intimate and artistic rather than ostentatious. By the early 1990s, the name “Van Cleef & Arpels” itself had become shorthand for cultivated elegance and timeless Parisian sophistication.

Choosing the name Van Cleef for the fragrance was therefore deeply intentional. Unlike First, which represented introduction and aspiration, Van Cleef functioned as a direct distillation of the house identity itself. To place only the family name on the bottle was a statement of confidence — the perfume did not require a fantasy title or abstract concept because the name alone already conveyed heritage, exclusivity, and luxury. It suggested that the fragrance was meant to embody the essence of the maison itself: polished, graceful, precious, and unmistakably French. The use of the surname also gave the perfume an almost couture-like authority, much like fragrances named simply after legendary fashion houses. It implied lineage, reputation, and permanence.

The name “Van Cleef” carries a very particular emotional atmosphere. Even to those unfamiliar with the details of the jewelry house, the words evoke images of velvet-lined jewel cases, illuminated Place Vendôme boutiques, diamonds catching candlelight, satin opera gowns, and old-world refinement. The name sounds aristocratic and cosmopolitan — elegant without aggression, luxurious without vulgarity. It conjures the quiet confidence of inherited taste rather than fleeting fashion. There is also something intimate and personal about using the family name alone; it feels less like a product title and more like a signature pressed into gold or engraved onto a compact mirror.

In scent, the word Van Cleef would likely be interpreted as polished luxury translated into fragrance form. One imagines silk rather than sequins, warm skin beneath cashmere, soft candlelight reflecting off gemstones, fresh flowers arranged in crystal vases, and subtle sensuality hidden beneath impeccable grooming. The name suggests a fragrance that is rich without heaviness, elegant without austerity, sensual without overt provocation. Unlike the louder “power perfumes” of the 1980s, Van Cleef implies refinement and fluidity — a fragrance that moves gracefully rather than dramatically.

The timing of the launch in 1993 is crucial to understanding the perfume’s identity. The early 1990s represented a major shift in fashion, culture, and perfumery. The excess and overt glamour of the 1980s were fading, replaced by a more restrained and sophisticated aesthetic. This was the era of minimalist luxury, when designers such as Calvin Klein, Jil Sander, Donna Karan, Giorgio Armani, and Prada embraced clean tailoring, monochromatic palettes, sleek silhouettes, and sensual understatement. Women’s fashion moved away from exaggerated shoulder pads and aggressively opulent styling toward fluid slip dresses, soft suiting, minimalist eveningwear, and neutral tones. Luxury became quieter and more introspective.

At the same time, the early 1990s were marked by economic recession in many Western markets, which influenced both fashion and fragrance. Consumers increasingly gravitated toward elegance that felt wearable and modern rather than overtly extravagant. Perfumery responded by softening many of the bombastic trends of the previous decade. The dense, heavily animalic, ultra-projective perfumes of the 1980s gradually gave way to compositions emphasizing transparency, smoothness, clean musks, watery florals, luminous fruits, and polished woods. Yet traces of the earlier era remained, particularly in prestige fragrances that still sought warmth, sensuality, and sophistication.

Van Cleef fits beautifully into this transitional moment. Created by André Girodroux and Pascal Giraux at Haarmann & Reimer, the fragrance embraced the smoother, more refined direction of early-1990s perfumery while retaining the luxurious warmth associated with classic French elegance. Its structure — a crisp fruity floral-oriental with sparkling citrus, soft florals, amber, cedar, vanilla, and musk — reflects the period’s fascination with balancing freshness against sensuality. It was designed to feel luminous and sophisticated rather than overpowering.

The press materials themselves reveal this carefully calibrated aesthetic. Bergamot and neroli create an opening described as “fresh” and “tangy,” while galbanum contributes the crisp green sophistication associated with earlier French perfumery traditions. Raspberry adds a subtle fruity softness, but unlike the loud syrupy fruits that would dominate later in the decade, it appears restrained and elegant. The floral heart of rose, Italian jasmine, and orange blossom reinforces the maison’s cultivated femininity — luxurious but polished. Finally, the warm ambery base of Lebanon cedar, musk, tonka bean, and Bourbon vanilla reflects the early 1990s fascination with smooth sensual textures: creamy woods, soft skin musks, and enveloping warmth rather than the sharp animalics of earlier eras.

Women of the early 1990s would likely have related strongly to a perfume called Van Cleef because the period valued recognizable luxury names associated with authenticity and heritage. Wearing a fragrance named after a prestigious jewelry house conveyed sophistication and social discernment. It suggested an appreciation for craftsmanship, refinement, and understated wealth rather than trend-driven glamour. The fragrance would have appealed especially to women transitioning away from the dramatic glamour of the 1980s toward a more mature, polished form of sensuality — women who still wanted luxury and femininity, but expressed through smooth textures, soft radiance, and elegance rather than excess.

In the broader fragrance market, Van Cleef both followed prevailing trends and distinguished itself through its execution. It was not radically avant-garde in the way some conceptual minimalist fragrances of the decade would become, nor was it a loud “power scent” clinging to the excesses of the 1980s. Instead, it occupied a sophisticated middle ground that defined much of prestige perfumery in the early 1990s: polished fruity florals enriched with creamy orientalist warmth. Many fragrances during this period explored freshness paired with sensual ambery-musky bases, but Van Cleef interpreted the trend through the lens of haute joaillerie. The result likely felt more refined and classically French than many competitors.

Its elegance lay not in shock or novelty, but in balance. While the market increasingly leaned toward airy transparency or fruity sweetness, Van Cleef preserved a distinctly luxurious texture — warm woods, floral richness, soft amber, and refined green facets — without feeling heavy or dated. In this sense, it represented an evolution of French luxury perfumery into the new decade: less opulent than the grand perfumes of the past, but still unmistakably sophisticated, graceful, and expensive.

Fragrance Composition:

So what does it smell like? Van Cleef is classified as a crisp fruity floral-oriental fragrance for women. It begins with a fresh top, followed by a floral heart, layered over a sweet ambery base. Press materials read: "The top note sparkles with the fresh, tangy accords of bergamot and neroli, accented with the green crispness of galbanum and a subtle hint of raspberry. The heart of the fragrance entwines the luxuriousness of roses, the tenderness of Italian jasmine and the innocence of orange blossom. The base note is warm and deep, blending amber with hints of Lebanon cedar, sensuous musk, tonka bean and balsamic vanilla from the Bourbon Islands."

• Top notes: bergamot, neroli, galbanum, tagetes, strawberry and raspberry
• Middle notes: orange blossom, geranium, rose, Italian jasmine, lily of the valley, Comoros Island ylang-ylang, heliotrope, carnation and hyacinth
• Base notes: Tonkin musk, Lebanon cedar, Java vetiver, Bourbon Island vanilla, tonka bean, Mysore sandalwood, Ambrein and ambergris

Scent Profile:

Van Cleef opens with the polished brilliance of citrus and greenery illuminated by soft fruits, like morning light passing across gemstones displayed beneath crystal glass. The first sensation is bergamot — almost certainly Calabrian bergamot from southern Italy, the variety long considered the finest in perfumery because of its uniquely elegant balance between freshness and floral softness. Unlike the harsher sharpness of ordinary lemon oils, Calabrian bergamot smells refined and luminous: sparkling citrus peel softened by delicate facets of tea, lavender, and warm petals. It gives the fragrance an immediate impression of expensive cleanliness and cultivated ease. 

Alongside it comes neroli, distilled from the blossoms of the bitter orange tree. True neroli from Tunisia and North Africa is especially prized for its radiance, carrying the scent of fresh white petals washed in golden sunlight, blending honeyed orange blossom sweetness with green bitterness and a cool airy freshness. Together, bergamot and neroli create an opening that feels crisp, tailored, and quietly luxurious rather than aggressively bright.

Galbanum cuts through the citrus with a cool green sharpness that instantly evokes polished sophistication. Harvested primarily from Persian and Iranian resinous plants, galbanum has long been treasured in classic French perfumery for its intensely green profile — crushed stems, snapped branches, bitter sap, damp ivy, and cool forest air. In Van Cleef, it prevents the fruits from becoming sugary, giving the perfume structure and elegance. 

Tagetes follows with an unusual golden-green bitterness. Also known as marigold, tagetes absolute smells simultaneously floral, herbaceous, leathery, and faintly fruity, with hints of green apple peel and dry hay. French and Egyptian tagetes are especially valued in perfumery because warmer climates intensify their aromatic oils. Its presence gives the opening a slightly exotic edge beneath the polished freshness.

Then the fruit begins to glow beneath the greenery. Strawberry appears not as candy sweetness, but as a sheer red blush woven delicately into the composition. Real strawberries yield almost no essential oil usable in perfumery, so the effect must be recreated through sophisticated accords using molecules such as furaneol, ethyl methylphenylglycidate, and berry lactones. These materials create the sensation of ripe berries warmed by sunlight — juicy, soft, and velvety. 

Raspberry deepens this crimson fruit effect with a richer wine-like sweetness. Modern raspberry accords rely heavily on ionones and fruity floral synthetics because true raspberry extraction is impractical. In perfumery, raspberry often smells less like literal fruit and more like stained silk, berry liqueur, or the rosy flush of skin. In Van Cleef, the berries remain restrained and elegant, softened by the surrounding florals and greenery so they shimmer rather than dominate.

As the fragrance opens further, the floral heart unfurls with the smooth grace of silk lining beneath a couture gown. Orange blossom blooms first — fuller and creamier than neroli, with an almost narcotic softness that smells simultaneously innocent and sensual. Orange blossom absolute from Tunisia and Morocco is particularly prized because the intense sunlight deepens the flower’s honeyed indolic richness. Geranium introduces cool rosy greenery, especially the Bourbon geranium traditionally cultivated on Réunion Island and Madagascar. Unlike true rose, geranium carries minty green facets alongside its rosy brightness, creating freshness within the floral bouquet. It sharpens the heart slightly, keeping the composition luminous and modern rather than overly powdery.

Rose forms the emotional center of the perfume, but here it is interpreted with restraint and polish rather than dramatic opulence. The rose accord likely blends Turkish and Bulgarian influences — the Turkish rose offering darker fruity warmth, while Bulgarian rose from the Valley of Roses contributes honeyed richness and soft lemony spice. Rose in perfumery is often enhanced with molecules such as phenylethyl alcohol, citronellol, and damascones, which amplify its velvety floralcy and fruity nuances. These synthetic molecules do not replace the natural oil, but extend its radiance and help the flower bloom more fully throughout the fragrance.

Italian jasmine introduces sensuality with unusual refinement. Jasmine from Italy and the Grasse tradition tends to be smoother and more luminous than the heavier Egyptian varieties, carrying nuances of apricot skin, tea, warm petals, and faint skin-like indoles. Natural jasmine absolute contains indole, a molecule that in isolation can smell almost animalic, but within the floral composition gives the illusion of living petals warmed by skin. Lily of the valley floats through the bouquet like cool white light. The flower itself cannot produce a natural extract suitable for perfumery, so perfumers recreate it entirely through synthetic artistry using molecules such as hydroxycitronellal and muguet accords. The effect is airy, dewy, and innocent — tiny white bells trembling in spring air.

Comoros Islands ylang-ylang brings molten golden softness to the composition. Ylang-ylang from the Comoros is especially treasured because the island climate produces oils with remarkable creaminess and floral depth. It smells of banana blossom, custard, warm skin, and exotic nectar, enriched naturally by molecules like benzyl acetate and p-cresyl methyl ether that create its creamy tropical sensuality. Heliotrope drapes the florals in powdery almond sweetness. Since heliotrope flowers themselves yield little usable extract, the note is recreated through heliotropin and anisic materials, producing the scent of almond pastries, vanilla powder, and warm cosmetic creams. 

Carnation introduces a faint spicy warmth, clove-like and velvety, largely built around eugenol, the naturally occurring spicy molecule also found in actual clove buds. Hyacinth finishes the floral heart with cool green transparency — watery petals, crushed stems, and spring rain. Like lily of the valley, true hyacinth is largely recreated synthetically because of the flower’s low extractability, allowing perfumers to exaggerate its luminous watery freshness.

As the fragrance settles, the base reveals the quietly sensual elegance characteristic of refined early-1990s perfumery. Tonkin musk infusion evokes the soft warmth of skin and expensive fabrics. Historically, Tonkin musk referred to deer musk tinctures, among the most prized animalic materials in perfumery, but by the 1990s ethical restrictions meant perfumers recreated the effect through sophisticated synthetic musks such as muscone and galaxolide. These materials smell velvety, clean, warm, and intimately skin-like, giving the perfume its lingering sensual aura without overt animalic harshness.

Lebanon cedar introduces dry aristocratic woods. Cedar from Lebanon has been prized since antiquity, valued not only for its scent but for its historical association with temples, palaces, and sacred architecture. Its aroma is elegant and dry — polished wood, faint incense, and cool pencil shavings softened by warm resin. Java vetiver deepens the woods with smoky earthiness. Compared to the cleaner mineral brightness of Haitian vetiver, Indonesian and Javan vetiver is darker, smokier, and more leathery, carrying nuances of damp roots, charred wood, and shadowed soil. It gives the fragrance quiet sophistication beneath the floral softness.

Bourbon Island vanilla wraps the woods in golden warmth. Vanilla cultivated on Réunion — historically known as Bourbon Island — is considered among the richest and most luxurious varieties because of its creamy, spicy, almost boozy depth. Natural vanilla absolute smells darker and more complex than ordinary confectionary vanilla, carrying facets of tobacco, dried fruit, and warm resin. Tonka bean amplifies this effect through coumarin, the naturally occurring molecule responsible for its aroma of almond, caramelized hay, tobacco, and soft spice. Together they create the sensation of ambered skin beneath cashmere.

Mysore sandalwood forms the creamy soul of the base. Genuine Indian Mysore sandalwood, now exceptionally rare and restricted, is revered because of its uniquely buttery, milky softness. Unlike sharper Australian sandalwoods, Mysore possesses a smooth sacred warmth with subtle spice and an almost meditative creaminess that seems to melt into the skin. 

Finally, ambrein and ambergris give the fragrance its final glow. Ambrein, one of the principal aromatic components historically associated with natural ambergris, contributes warmth, radiance, and extraordinary diffusion. Modern ambergris recreations rely on molecules such as ambroxide and Cetalox, which smell softly mineralic, salty, musky, and sunlit — like warm skin touched by sea air. Rather than announcing themselves directly, these materials create atmosphere: a soft golden aura that makes the entire fragrance feel expansive, polished, and luminous from within.

The overall effect of Van Cleef is one of restrained opulence — a fragrance that captures the early 1990s transition from the theatrical excess of the previous decade toward smoother, more intimate luxury. Its fruits shimmer like rubies beneath emerald greenery, its florals unfold like silk petals beneath candlelight, and its woods and musks settle onto the skin with the quiet assurance of fine jewelry worn effortlessly by someone who no longer needs to prove elegance because she already embodies it.

Bottle:

Presented in an asymmetric crystal diamond-like faceted bottle designed by Serge Mansau, produced by Pochet et du Courval. Packaging in jewel tones of ivory, gold and lapis blue clothe the precious fragrance.

Fate of the Fragrance:

Discontinued, date unknown.

Gem by Van Cleef & Arpels (1987)

Gem, launched in 1987, was a natural extension of the world of Van Cleef & Arpels, a Parisian maison founded in 1906 and celebrated for its exceptional gemstones, refined craftsmanship, and poetic approach to jewelry design. Renowned for transforming precious stones into objects of lightness and fantasy—often inspired by flowers, ballet, and nature—Van Cleef & Arpels built its reputation on the idea that luxury should feel intimate and emotionally resonant, not merely opulent. Perfume, like jewelry, rests directly on the skin and becomes part of personal identity, making fragrance an especially fitting medium through which the house could translate its aesthetic into an invisible yet sensual form.

The choice of the name “Gem” was both literal and evocative. A gem is a precious stone—rare, luminous, and valued for its beauty and inner fire—but the word also carries metaphorical meaning: something treasured, radiant, and singular. Emotionally, “Gem” suggests warmth, richness, and sensuality, as well as self-worth and adornment. It evokes images of polished facets catching the light, smooth surfaces warmed by skin, and the quiet confidence of wearing something precious that does not need explanation. Interpreted in scent, “Gem” implies depth, glow, and multi-faceted composition—notes that shimmer, darken, and reappear, much like a jewel viewed from different angles.

The fragrance emerged in the late 1980s, a period defined by confidence, glamour, and excess—a moment often associated with the height of power dressing and unapologetic luxury. Fashion embraced bold silhouettes, structured tailoring, dramatic eveningwear, and rich materials. In perfumery, this translated into lush, full-bodied compositions: florals layered with spice, fruit, woods, and resins, designed to project presence and sensuality. Women of the era were increasingly visible in positions of authority and cultural influence, and fragrance became a form of self-expression that communicated confidence, passion, and individuality. A perfume called Gem would have resonated strongly—suggesting both adornment and inner strength, a scent worn not to disappear, but to be remembered.

Created by Roger Pellegrino of Firmenich, Gem was conceived as a warm, sumptuous floral-oriental with depth and complexity. It opens into a rich floral heart built around jasmine, tuberose, ylang-ylang, rose, and iris—flowers chosen not for delicacy, but for their creamy, opulent presence. These are deepened with spice notes of clove, sage, cardamom, and coriander, adding warmth and intrigue, while lush fruit accents of plum and peach lend a velvety, almost jewel-like ripeness. Herbal and woody elements—artemisia, cypress, myrtle, and patchouli—anchor the composition, giving it shadow, structure, and longevity. The result is a fragrance that feels polished yet passionate, smooth yet complex, unfolding slowly like facets of a stone revealed in light.

In the context of the fragrance market of the time, Gem aligned with prevailing trends toward richness and sensuality, yet distinguished itself through refinement and thematic coherence. While many late-1980s perfumes leaned toward excess for its own sake, Gem retained a sense of elegance and craftsmanship consistent with its jewelry-house origins. It did not simply follow fashion; it translated the idea of preciousness into scent. Like the iconic bottle—cut to resemble a jewel—Gem offered women an experience of luxury that felt personal and tactile, a fragrance designed for the modern woman who understood that true glamour, like a gemstone, shines most powerfully when worn with confidence.

Fragrance Composition:

So what does it smell like? It is classified as a rich fruity chypre fragrance for women. It begins with a fruity, spicy top, followed by an exotic floral heart, resting on a warm, woody base. "A spicy floral merged with blended fruits, amber and chypre. Sweet peach and ripe plum blend with cypress, Tunisian myrtle and patchouli for vibrant diversity in the top notes. Middle notes of Italian jasmine, Indian tuberose, ylang ylang from the Comoros Islands, rose, iris, and the inclusion of spices clove, cardamom and coriander for added richness. Sensuous base notes of patchouli, amber, vanilla and civet."

• Top notes: Egyptian armoise, karo karounde, cypress, cardamom, coriander, rosewood, peach, plum, marigold and chamomile
• Middle notes: wallflower, carnation, Italian jasmine, rose, orris, Indian tuberose, Comoros ylang-ylang, sage and cloves
• Base notes: Tunisian myrtle, oakmoss, ambergris, civet, Java vetiver, cypress, patchouli and vanilla

Scent Profile:

Gem unfolds like a faceted jewel warming against the skin—its richness revealed slowly, angle by angle—beginning with a top that is vivid, spiced, and fruit-lush, yet unmistakably chypre in spirit. Myrtle introduces itself first with a cool, aromatic greenness, gently camphoraceous and slightly resinous; when sourced from the Mediterranean, it carries a clean herbal clarity that feels sunlit rather than sharp.

Egyptian armoise (wormwood), prized for its dry, bitter-herbal elegance, adds a silvery greenness that cuts through sweetness and immediately signals sophistication. Karo karounde, an exotic floral from Africa rarely used, brings a creamy, slightly animalic floral warmth—lush but restrained—while cypress adds a dark green, resinous verticality, evoking polished wood and shaded groves.

Spice glimmers through the fruit like light through stone. Cardamom is cool, lemony, and softly sweet, lending lift rather than heat, while coriander adds a dry, aromatic warmth with citrusy undertones. Rosewood contributes a smooth, woody-floral softness, bridging spice and bloom. Then the fruits appear—not syrupy, but ripe and tactile. 

Peach, constructed through lactonic aroma-chemicals since the fruit yields no essential oil, feels velvety and skin-like rather than juicy. Plum adds depth and shadow—dark, winey, and slightly leathery—giving the opening its sensual weight. Marigold (tagetes) brings a green-fruity bitterness with hints of apple peel and leather, while chamomile softens the entire accord with its apple-like warmth and herbal calm.

As the fragrance settles, the heart blooms into an exotic, textured floral tapestry. Wallflower adds a honeyed, slightly spicy floral nuance, while carnation contributes its unmistakable clove-laced warmth—floral yet peppered, elegant and vintage in tone. Italian jasmine, long esteemed for its luminous balance of sweetness and indolic depth, feels creamy and alive, while Indian tuberose brings a narcotic, milky richness that is unmistakably sensual, its intensity cushioned by surrounding notes. 

Ylang-ylang, sourced from the Comoros Islands, adds a lush, banana-cream floral warmth, prized for its complexity and smoothness compared to harsher varieties. Rose lends structure and classic femininity, while orris, distilled from aged iris rhizomes—most valued when cured in Italy—adds a cool, powdery, root-like elegance that feels cosmetic and refined. Sage introduces a dry, aromatic clarity, and cloves deepen the floral heart with warmth and spice, amplifying richness without tipping into heaviness.

The base of Gem is dark, sensual, and unmistakably chypre, grounding all that lushness in shadow and warmth. Tunisian myrtle returns here in a deeper register—resinous, aromatic, and slightly smoky—while oakmoss provides the inky, forest-floor depth that defines the chypre tradition, cool and mineral, anchoring fruit and flower alike. 

Ambergris, whether natural or carefully reconstructed, lends a subtle saline warmth and extraordinary smoothness, enhancing diffusion and skin affinity. Civet, used in trace amounts, adds an intimate animal warmth—a low hum beneath the composition rather than a roar. Java vetiver, prized for its smoky, earthy richness compared to cleaner Haitian varieties, adds rooty darkness and vertical depth. Patchouli brings damp earth and shadowed sweetness, while vanilla softens the edges with a restrained, resin-tinged warmth rather than overt sweetness.

Taken as a whole, Gem is a study in opulent contrast: ripe fruit against bitter greens, creamy florals against dry woods, animal warmth against cool moss. Natural materials provide texture, gravity, and emotional depth, while synthetics—particularly in the fruit and floral reconstructions—enhance smoothness, radiance, and continuity. The result is a rich fruity chypre that feels sumptuous and confident, its sensuality polished rather than indulgent, lingering on the skin like the memory of warmth held within a precious stone.

Bottle:

Gem was presented with the same theatrical confidence and jeweler’s precision that define Van Cleef & Arpels. The fragrance was housed in a striking octangular bottle—its many facets echoing a cut gemstone—designed by Joel Desgrippes and crafted by Verrières Brosse, a glassmaker known for architectural clarity and refinement. The shape felt weighty, deliberate, and collectible, while the dramatic red-and-black outer packaging heightened the sense of luxury and mystery, aligning the perfume visually with the world of precious stones and evening glamour.

As part of the 1988 launch, Van Cleef & Arpels elevated the idea of rarity into an actual event. Every Gem package sold nationally was individually numbered, and one bore the coveted “Gem diamond number.” The purchaser of that singular box became the owner of a magnificent $50,000 diamond—an audacious and perfectly on-brand gesture that transformed the fragrance into a tangible extension of the maison’s jewelry heritage. It reinforced the idea that Gem was not merely inspired by precious stones; it was conceived as an experience of chance, desire, and reward—luxury in its most literal form.

The pricing further positioned Gem at the pinnacle of prestige perfumery. In 1988, one ounce of parfum retailed for $195, with the half-ounce at $140—figures that placed it squarely among the most expensive fragrances of its time. The Eau de Toilette offered a more accessible entry point without diminishing status: $49 for 50 ml and $72 for 100 ml. These prices underscored Gem’s identity as a fragrance intended to compete not with trend-driven launches, but with enduring symbols of luxury.

In 1996, Van Cleef & Arpels reaffirmed its commitment to both elegance and longevity by introducing a refillable canister designed to hold Eau de Toilette spray bottles for Gem, First, and Van Cleef. This move echoed the maison’s tradition of valuing craftsmanship and permanence over disposability. The refillable system transformed fragrance into a lasting object—something to be kept, replenished, and returned to—much like fine jewelry itself. Taken together, Gem’s bottle design, promotional audacity, and pricing strategy reveal a fragrance conceived not as an accessory, but as a jewel in its own right: faceted, rare, and unapologetically luxurious.

Fate of the Fragrance:

Discontinued, date unknown.

First by Van Cleef & Arpels (1976)

When Van Cleef & Arpels introduced First in 1976, the house was already legendary in the world of fine jewelry, revered for creations that embodied Parisian refinement, technical mastery, and aristocratic glamour. Founded in 1906 by Alfred Van Cleef and Estelle Arpels, the maison became famous for its exquisite gem-setting techniques, transformable jewelry, ballerina brooches, Minaudières, and fantastical designs inspired by nature, couture, and fairy tales. Their clientele included royalty, film stars, socialites, and women who viewed jewelry not merely as adornment, but as identity. By the 1970s, Van Cleef & Arpels represented a world of cultivated luxury — understated yet unmistakably elite. Entering perfumery was therefore not simply a commercial expansion; it was an attempt to translate the aura of high jewelry into scent.

The choice of the name First was deliberate and unusually intelligent. On the surface, it marked Van Cleef & Arpels’ first fragrance release, but the word carries layers of meaning that immediately elevate it beyond a literal title. “First” suggests primacy, exclusivity, distinction, and precedence — to be first is to lead, to be chosen before others, to occupy the highest rank. It evokes the language of first-class travel, first editions, first loves, first performances, first jewels worn to a gala. The word has a polished, aspirational elegance that perfectly suited the image Van Cleef & Arpels wished to project. It was a name that implied not novelty, but importance.

Emotionally, the word “First” evokes anticipation and memory simultaneously. There is excitement in first experiences: the first grand romance, the first couture gown, the first diamond bracelet, the first moment a woman fully recognizes her own sophistication and power. Yet there is also prestige embedded within it. The name sounds ceremonial and accomplished, almost like a title earned rather than simply purchased. For women in the late 1970s, this would have resonated deeply. The era saw increasing female independence, professional ambition, and social visibility. Women were entering executive spaces in greater numbers, redefining glamour on their own terms, and seeking luxuries that symbolized both femininity and authority. A perfume called First implied not innocence, but arrival.

The timing of the launch was especially significant. First emerged during the latter half of the 1970s, a transitional period between the free-spirited bohemian softness of the early decade and the polished, assertive glamour that would dominate the 1980s. Fashion was becoming more opulent again after the earthy naturalism of the hippie era. Yves Saint Laurent had popularized sophisticated ready-to-wear luxury, Halston embodied sleek sensuality, and designers embraced fluid satins, metallic fabrics, dramatic eveningwear, and sharply tailored silhouettes. Women moved between disco nightlife, cosmopolitan careers, and international travel with increasing confidence. Luxury brands responded by creating fragrances that projected elegance with presence — perfumes that announced themselves rather than whispering apologetically.

In perfumery, the 1970s were a fascinating bridge between eras. The grand aldehydic florals of earlier decades, inspired by fragrances like Chanel No. 5 and Arpège, still represented sophistication and high femininity, but perfumers were beginning to reinterpret them with greater luminosity, abstraction, and modernity. Rich chypres, green florals, and dramatic orientals dominated the market, while advances in aroma chemicals allowed perfumers to create increasingly diffusive and textured compositions. Consumers wanted fragrances that felt luxurious and noticeable, yet contemporary rather than old-fashioned.

This is where First distinguished itself. Created by Jean-Claude Ellena during his tenure at Givaudan, the fragrance drew upon the structure of the classic aldehydic floral tradition, yet softened and modernized it for the late 1970s woman. Rather than recreating the dense powderiness of earlier aldehydic perfumes, First interpreted the genre through the lens of jewelry-like radiance. Even its concept — “a floral aldehyde” enriched with precious absolutes and sensual woods — mirrors the craftsmanship of haute joaillerie. The aldehydes function almost like diamonds catching light: sparkling, faceted, and luminous against velvety florals and warm precious materials beneath.

The press description emphasized Turkish rose, jasmine, lavender, blackcurrant, mandarin, sandalwood, oakmoss, amber, and tonka bean, all wrapped in an aldehydic shimmer. Even without exploring the full scent profile yet, one can already sense the intent behind the composition. This was not meant to smell youthful in the carefree, fruity sense becoming popular in parts of the market. Nor was it aggressively avant-garde. Instead, First sought to embody cultivated femininity — polished, elegant, sensual, and expensive. The fragrance translated the sensation of diamonds against skin, silk under evening light, and the confidence of a woman entering a room fully aware of her presence.

Compared to many fragrances of its era, First both aligned with trends and stood apart from them. It participated in the revival of luxurious, statement-making femininity that characterized late-1970s perfumery, yet its execution was unusually refined. While some contemporaries leaned heavily into green sharpness, overt sensuality, or bold animalic drama, First retained an aristocratic composure. It felt less overtly provocative than many emerging powerhouse perfumes, and less earthy than the naturalistic florals of the early 1970s. Its elegance was smoother, more jewel-like, almost architectural in balance. In many ways, it anticipated the polished sophistication that would become synonymous with prestige perfumery in the 1980s.

For women of the time, wearing First could easily feel symbolic. The name alone suggested aspiration fulfilled — a fragrance for a woman who wished to be remembered, prioritized, admired, and perhaps even envied. In scent, the word “First” would likely be interpreted not as something innocent or introductory, but as something elevated and definitive: the fragrance equivalent of being seated in the front row, receiving the first invitation, or wearing the first diamond necklace that truly changes how one sees oneself.

Fragrance Composition:

So what does it smell like? First is classified as a floral aldehyde fragrance for women. It begins with a fruity aldehydic top, followed by a elegant precious floral heart, resting on a sensual, feminine base. Press materials read: "An aldehydic floral fragrance with floral absolute top notes of Turkish rose, jasmine and lavender. Middle notes are aldehydic with blackcurrant and mandarin and woody base notes include sandalwood, tonka bean, oakmoss and amber."

• Top notes: aldehydes, bergamot, green mandarin, blackcurrant buds, peach, raspberry, hyacinth, galbanum, lavender absolute
• Middle notes: carnation, cloves, lily of the valley, orchid, tuberose absolute, Italian jasmine  absolute, narcissus absolute, Bulgarian rose essence, Turkish rose absolute, rose de Mai absolute, Comoros Islands ylang-ylang, orris 
• Base notes: castoreum, patchouli, civet, honey, oakmoss, vetiver, vetiver acetate, Mysore sandalwood, vanilla, Tonkin musk infusion, tonka bean absolute and ambergris infusion

 

Scent Profile:

First opens with the unmistakable shimmer of aldehydes, the great jeweled illusion of classical perfumery. In First, the aldehydes feel like light striking the facets of a diamond necklace beneath the chandeliers of a Paris salon — icy, sparkling, champagne-like, and almost metallic in their brilliance. These materials are entirely synthetic; aldehydes do not exist in nature in the form used for perfumery. The most famous among them, materials such as aldehyde C-10, C-11 undecylenic, and C-12 MNA, smell abstractly waxy, citrusy, soapy, and effervescent, creating the sensation of air, radiance, and luxurious cleanliness rather than a literal identifiable scent. Jean-Claude Ellena uses them not harshly, but as a veil of illumination draped over the composition. Their brightness amplifies the florals beneath them the way polished platinum enhances gemstones, giving the fragrance its aristocratic glow.

Beneath this sparkling haze, bergamot unfurls with cool elegance. True bergamot from Calabria in southern Italy possesses a softer, more floral complexity than ordinary citrus oils, combining the brightness of lemon with delicate hints of tea, lavender, and bitter orange peel. It smells refined rather than sharp, immediately setting a tone of cultivated luxury. Green mandarin introduces a fresher, greener citrus nuance — less sweet than ripe mandarin, carrying the aroma of crushed leaves and tart peel. Together they create a vivid opening that feels tailored and luminous. 

Blackcurrant buds deepen the effect with their famously paradoxical aroma: green, fruity, catty, wine-like, and almost metallic. Natural blackcurrant bud absolute from Burgundy is one of perfumery’s most complex materials, containing sulfurous facets that smell almost like crushed tomato leaves or damp greenery. Modern recreations often rely on molecules like cassis base materials and sulfur-containing aroma chemicals to enhance the effect, adding diffusion and vibrancy while softening the rougher edges of the natural extract.

Then comes the fruit — peach and raspberry — glowing softly beneath the aldehydes like silk lining beneath couture embroidery. Peach in vintage perfumery is rarely literal fresh fruit; instead it is often built around lactonic molecules such as gamma-undecalactone and gamma-decalactone, which smell creamy, velvety, and golden, evoking peach skin warmed by skin itself. Raspberry introduces a richer crimson sweetness, often recreated through ionones and berry accords because true raspberry yields almost no extractable essence suitable for perfumery. The effect is plush rather than sugary, giving the perfume its luxurious cosmetic softness. 

Hyacinth follows with its cool, watery green floralcy — dewy petals and snapped stems in spring rain. Since true hyacinth extraction is prohibitively difficult and yields little usable oil, perfumers construct hyacinth accords synthetically using green and floral molecules such as phenylacetaldehyde, hydroxycitronellal, and traces of anisic nuances. Here, the synthetic recreation gives the fragrance its haunting springlike translucency.

Galbanum cuts through the softness like an emerald blade. Iranian and Persian galbanum resin is treasured for its intensely green aroma — bitter sap, crushed ivy, snapped branches, wet earth, and raw vegetation. In the 1970s, galbanum became emblematic of sophisticated green perfumes, lending First a chic severity beneath its glamour. Lavender absolute softens the sharpness with velvety herbal warmth. Unlike standard lavender oil, lavender absolute is darker, richer, and more floral, carrying honeyed tobacco-like undertones. French lavender from Provence remains especially prized because the dry mountain climate creates oils with exceptional balance between freshness and softness. In First, it quietly bridges the sparkling aldehydes and the sumptuous floral heart.

The heart of the fragrance unfolds like entering a grand ballroom overflowing with flowers flown in from every corner of the world. Carnation appears first, spicy and velvety, its clove-like warmth enriched by eugenol — the naturally occurring aroma molecule also found in actual clove buds. Carnation in perfumery is often partly reconstructed because the flower itself produces little extractable oil; synthetic floral spice accords allow perfumers to exaggerate its peppery warmth and powdery elegance. Cloves intensify this sensation with their dark medicinal heat, giving the florals depth and shadow. Lily of the valley introduces cool innocence, but this flower cannot be extracted naturally at all. Its scent exists only through perfumery’s artistry, recreated through molecules such as hydroxycitronellal and Lilial-like accords, producing the illusion of tiny white bells drenched in morning dew.

The orchid note contributes an abstract creamy floral softness rather than the scent of a real orchid blossom, since orchids themselves yield almost no usable aromatic oil. Perfumers instead build orchid accords from vanilla, heliotropin, soft white florals, and creamy balsamic materials to create a silky impression of exotic petals. Tuberose absolute emerges next — narcotic, buttery, and voluptuous. Indian tuberose harvested at night is especially prized because the flowers release their richest perfume after sunset. Its scent is simultaneously creamy and mentholated, lush with hints of coconut, banana skin, and warm skin. Tuberose absolute contains natural methyl salicylate and indolic compounds that give it its intoxicating, almost dangerous sensuality.

Italian jasmine absolute glows with animalic richness. Jasmine from Grasse and Italy differs from Egyptian jasmine by being softer and more luminous, less overtly indolic but intensely floral, with facets of apricot, tea, and warm skin. Natural jasmine contains indole, a molecule that in isolation can smell almost dirty or moth-like, but in trace amounts creates the illusion of living petals and erotic warmth. Narcissus absolute deepens the floral heart into something darker and more autumnal — honeyed hay, damp earth, tobacco, and pollen. True narcissus absolute from France is among the most expensive floral materials in perfumery because of its low yield and haunting complexity.

The rose accord is extraordinarily lavish, layered from several of perfumery’s most revered rose materials. Bulgarian rose essence from the Valley of Roses possesses a deep, honeyed richness with lemony spice and velvety warmth, while Turkish rose absolute is darker, fruitier, and more wine-like, with hints of plum and crimson velvet. Rose de Mai absolute from Grasse is the crown jewel: softer, more delicate, with nuances of honey, violets, and warm skin touched by morning air. By blending these different roses, First creates a multidimensional floral tapestry that feels impossibly luxurious, as though every shade of rose imaginable has been woven together into silk brocade.

Comoros Islands ylang-ylang adds molten golden sensuality. Ylang from the Comoros is prized for its creamy richness and balanced floral spice, softer and more refined than some harsher tropical varieties. It smells of banana blossom, custard, and warm floral nectar, amplified naturally by molecules such as benzyl acetate and p-cresyl methyl ether. Orris drapes the florals in powdered suede. True orris butter, derived from aged iris rhizomes cultivated largely in Florence, requires years of curing before its scent develops. The result is breathtakingly expensive: cool violet powder, carrot-like earthiness, buttercream, and pale cosmetic elegance. Its irones — the aroma molecules responsible for the scent — create the unmistakable illusion of aristocratic face powder and antique makeup compacts.

As First settles onto the skin, the base reveals the grandeur of vintage perfumery in full. Castoreum introduces a smoky leather warmth once derived from the castor sacs of beavers, though modern perfumery now uses synthetic recreations for ethical reasons. Civet, historically animal-derived as well, contributes a sensual warmth recreated today through civetone and related musks that smell soft, radiant, and faintly intimate. Tonkin musk infusion would originally have referenced deer musk tinctures, now universally replaced with synthetic musks that recreate its velvety skin-like aura. These animalic notes are not overtly dirty here; instead they create the illusion of warmth beneath jewels and silk — living skin beneath elegance.

Patchouli lends dark earthy richness, especially the aged Indonesian patchouli prized for its smoother chocolate-like depth. Oakmoss spreads across the base like green velvet and forest shadows, smelling of damp bark, moss-covered stones, and cool earth after rain. Vintage oakmoss was essential to the sophistication of classic French perfumery, though modern restrictions have required reformulation using low-atranol oakmoss and synthetic moss accords. Vetiver adds dry elegance — smoky roots, cool earth, and bitter woods. Haitian vetiver is often prized for its clean mineral clarity, while Java vetiver is darker and smokier. Vetiver acetate, a refined synthetic derivative, smooths and polishes natural vetiver’s roughness, adding silky diffusion and extending its woody elegance.

Mysore sandalwood forms the creamy heart of the base. Genuine Indian Mysore sandalwood, now extremely rare and heavily restricted, is revered because of its uniquely buttery, milky softness and meditative warmth. Unlike sharper Australian sandalwood, Mysore possesses an almost spiritual creaminess with subtle spice and skin-like radiance. Vanilla and tonka bean absolute wrap the woods in golden sweetness. Tonka bean from Venezuela and Brazil smells richer and darker than vanilla alone because of coumarin, the molecule responsible for its aroma of almond, hay, tobacco, and caramelized warmth. 

Ambergris infusion — once derived from aged whale ambergris and now recreated synthetically through ambroxide and related molecules — contributes an almost mystical softness: salty skin, warm air, sunlit resin, and an expansive glow that seems to radiate from within the perfume itself. The result is not merely a floral aldehyde, but the olfactory equivalent of haute joaillerie. Every material feels polished, faceted, and carefully set into place like diamonds within platinum. First captures the final years of grand French perfumery before minimalism began reshaping luxury scent — a fragrance where florals, aldehydes, woods, mosses, and animalics still moved together in lavish orchestration, creating the impression not simply of perfume, but of prestige itself made tangible.

Bottle:

Presented in a diamond shaped bottle with a pendant stopper designed by Jacques Llorente.

First is available in the following products:

• Parfum
• Eau de Parfum
• Eau de Toilette
• Summer Body Oil
• Milky Body Mist
• Solid Perfumed Stick
• Light Essence Natural Spray (Alcohol Free)
• Soap
• Body Lotion
• Shower Gel
• Body Cream
• Bath Salts

In 1984/1985, First was available in:

• Parfum Presentations: Splash bottles (0.5 oz, 1 oz, 2 oz); Refillable spray (1 oz); Refillable purse spray.
• Related Products: Eau de Toilette splash bottles (4 oz, 8 oz); Refillable EDT sprays (3 oz)
• Ancillary products: Body lotion; Shower gel; Foaming bath; Perfumed powder; Perfumed soap (100g); Deodorant (125ml)