Sharra by Sharra Pagano was launched in 1979, created in association with Comprof. Italie, as an extension of the Milan-based luxury jewelry brand’s identity. The choice of the name Sharra is intriguing. Though it does not have a direct, universal meaning in Italian, the word carries an exotic, almost mysterious resonance. Phonetically, in layman’s terms, it would be pronounced “SHAH-rah”, with a soft, flowing quality. The repetition of the “r” sounds gives it strength and rhythm, while the open vowels make it feel sensual and lyrical. As a word, “Sharra” evokes images of fire, passion, and drama, perhaps conjuring visions of a woman with bold presence and magnetic allure. It feels both modern and timeless, an invented name that conveys luxury, individuality, and theatricality—qualities that align with Sharra Pagano’s avant-garde jewelry designs.
The year 1979 places this perfume at the very end of the 1970s, a decade known for its cultural shifts, flamboyant fashions, and boundary-pushing creativity. This was the disco era, marked by Studio 54 glamour, sequined dresses, big hair, and an unapologetic embrace of hedonism. Yet it was also the beginning of the 1980s—an era of power dressing, bold statements, and a rising emphasis on branded luxury. In perfumery, the late 1970s to early 1980s gave rise to big, dramatic fragrances, often opulent orientals and chypres with assertive personalities—scents like Yves Saint Laurent’s Opium (1977), Lancôme’s Magie Noire (1978), and Calvin Klein’s Obsession (1985) shortly after. Women of the time related to these perfumes as extensions of their identity; they were armor, seduction, and statements of independence in scent form. A perfume named Sharra would have carried an air of exotic mystery, appealing to women who wanted to be noticed, who embraced glamour, and who were unafraid of boldness.
Interpreted in scent, the name Sharra suggests something fiery, passionate, and dramatic—likely a rich oriental or an opulent floral with spices, resins, or amber at its core. Such a name implies heat and intensity, rather than a light, delicate bouquet. Within the context of its contemporaries, Sharra would not have been out of place; rather, it was in perfect step with the prevailing trend toward larger-than-life, commanding fragrances that matched the maximalist mood of fashion and culture at the time.
As for Sharra Pagano itself, the house was founded in Milan in 1969 by Lino Raggio and Gianfranco Signori, quickly becoming known for its dramatic, statement-making jewelry. Their pieces often blurred the line between fashion and art—oversized, sculptural, and imbued with theatrical flair, they embodied the glamour and individuality that defined the 1970s Italian fashion scene. Launching a fragrance in 1979 was a natural extension of the brand’s identity. Many fashion houses were using perfumes to broaden their cultural influence, transforming their aesthetic into an olfactory signature. For Sharra Pagano, whose jewelry was already a symbol of bold femininity and luxury, perfume offered another medium of self-expression—allowing women to not only wear the brand on their bodies but to embody it in scent.
Fragrance Composition:
So what does it smell like? Sharra by Sharra Pagano is classified as a fruity floral chypre fragrance for women.
- Top notes: aldehyde C-11, aldehyde C-12, Calabrian bergamot, Amalfi lemon, Sicilian orange, Moroccan orange blossom, mango, papaya, plum, Persian galbanum, Russian coriander
- Middle notes: Algerian narcissus, Chinese gardenia, Portuguese tuberose, Nossi-Be ylang ylang, Zanzibar carnation, Egyptian jasmine, Turkish rose, lily of the valley, Florentine orris, ionones
- Base notes: Brazilian rosewood, Malaysian patchouli, Haitian vetiver, Balkans oakmoss, Tonkin musk, Mysore sandalwood, Madagascar vanilla, Siam benzoin, Venezuelan tonka bean, Maltese labdanum, Sumatran styrax, ambergris, Ethiopian civet, Canadian castoreum
Scent Profile:
The very first impression of Sharra is a shimmering, dazzling rush of aldehydes. Aldehyde C-11 (undecylenic) and C-12 (lauric) burst forth with their fizzy, soapy sparkle, reminiscent of champagne bubbles fizzing over fine glassware. These synthetic molecules lend a sense of effervescence and radiance, diffusing the natural materials so they shine more brightly. Just beneath that brilliance comes a sunlit wave of citrus: Calabrian bergamot, with its uniquely nuanced bitterness and delicate floral undertone, the finest in the world; Amalfi lemon, bright and crystalline, capturing the salty Mediterranean air; and Sicilian orange, a sweet, honeyed brightness with a tangy zest.
Twined through this citrus symphony is the delicate sensuality of Moroccan orange blossom, whose honeyed white-petal aroma carries both purity and a whisper of animalic warmth. Immediately softening the sparkle, lush tropical fruits emerge—ripe mango with its juicy, resinous richness, golden papaya with creamy, melon-like sweetness, and dark plum, velvety and winey, shading the top with deep purple tones. Cutting through the lushness is sharp, resinous Persian galbanum, adding a bitter green snap that grounds the fruits, while Russian coriander seed introduces a warm, aromatic spice with faint citrusy edges, hinting at what is to come.
The heart of Sharra unfolds like stepping into an exotic hothouse of blooms, opulent and heady. Algerian narcissus fills the air with its narcotic green-floral bite, both sweet and hay-like, a little dangerous in its intensity. Side by side blooms Chinese gardenia, creamy and voluptuous, with a rich, slightly leathery nuance that deepens the bouquet. Portuguese tuberose joins in, grand and unapologetically sultry, its coconut-like creaminess laced with spicy undertones. The tropical allure intensifies with Nossi-Bé ylang ylang from Madagascar’s famed perfumery island, which is prized for its fullness and balanced profile—sweet, custard-like, yet peppery and radiant.
A fiery thread of Zanzibar carnation introduces clove-like spice and warmth, adding texture and bite to the florals. From Egypt, the most exquisite jasmine glows with indolic intensity, sultry and animalic, while the celebrated Turkish rose unfurls its deep, velvety crimson petals, complex and honeyed. Lily of the valley cools the profusion with its crisp green-white bell clarity, while Florentine orris butter adds luxurious powdery softness, evoking violet and suede. Here, the ionones (synthetic violet molecules) amplify that effect, powdery and fruity at once, their transparency lifting the dense floral heart and weaving natural orris with an airy violet veil.
As the perfume settles, the base reveals the grandeur of Sharra’s chypre structure. Brazilian rosewood gives a polished, rosy-woody gleam, while Malaysian patchouli provides a dark, earthy anchor, rich and camphoraceous. Smoky-green Haitian vetiver adds dry grassiness with hints of grapefruit rind, blending seamlessly with the leathery bitterness of Balkans oakmoss, the quintessential chypre element. The animalics emerge in subtle growls: Tonkin musk, sensual and powdery, envelops the composition in warmth; Ethiopian civet brings an unmistakable musky-leathery depth, slightly fecal yet elegant in trace amounts; and Canadian castoreum lends a smoky, leathery pelt-like note, evoking luxury furs.
Resinous elements enrich the base: creamy, sacred Mysore sandalwood (the most prized of all, now nearly extinct in its original form) brings soft, milky-woody roundness; sweet balsamic Madagascar vanilla and almond-toned Venezuelan tonka bean offer gourmand warmth; golden Siam benzoin and leathery-balsamic Sumatran styrax add incense-like smoothness. Maltese labdanum, sticky and ambery, with its leathery undertones, mingles with radiant ambergris, salty and mineral, giving the base an expansive, oceanic glow. Together, they create a profound sense of depth, mystery, and sensuality—an aura that clings to the skin long after the fruits and flowers have faded.
Smelling Sharra is like watching a drama unfold in three acts: the sparkling aldehydic and citrusy opening that dazzles like a spotlight, the lush, overflowing heart of exotic blossoms that seduces like a midnight garden, and the grand finale of resin, moss, musk, and wood that grounds it in sensual mystery. It is extravagant, unapologetically bold, and richly textured, embodying the decadent glamour of late 1970s perfumery, when excess and opulence were celebrated in both fashion and fragrance.
Bottles:
The bottle for Sharra was itself a striking design statement, perfectly in keeping with the dramatic fashion aesthetic of the late 1970s. The flacon, crafted from partially frosted glass, gave a play of contrast between transparency and opacity, suggesting both mystery and allure. Its most distinctive feature was the sculptural black plastic stopper, molded to resemble an abstract branch. The bottle was the work of renowned French sculptor Serge Mansau, whose creations for the perfume industry were celebrated for their originality and artistic flair. His design transformed the bottle from a simple container into a sculptural object, blurring the line between perfume and art. Production was entrusted to Pochet et du Courval, one of France’s oldest and most prestigious glassmakers, long associated with high-quality perfume bottles for the great houses. The combination of Mansau’s artistic vision with Pochet’s craftsmanship ensured that Sharra stood out as both modern and luxurious.
The perfume was released in both Eau de Parfum (EdP) and Eau de Toilette (EdT) concentrations, each offering a different experience of the fragrance. While both contain the same essential composition, the distinction lies in their strength and longevity. Eau de Parfum contains a higher concentration of aromatic compounds, generally ranging from 15–20%, giving it greater depth, richness, and longer-lasting power on the skin. It tends to emphasize the heart and base notes, making it more intense and sensual. Eau de Toilette, with a lower concentration (typically 8–12%), is lighter and more sparkling, bringing out the freshness of the top notes and offering a more casual, daytime-friendly wear. For a perfume as opulent and complex as Sharra, the EdP would have emphasized the deep florals, resins, and animalics, while the EdT would have presented a brighter, more accessible version, ideal for the fashionable woman who wanted to move seamlessly between everyday elegance and evening allure.
Fate of the Fragrance:
Sharra by Sharra Pagano is now discontinued, with the final production having been carried out by Comprof. Italie. As a result, the perfume has become a rare collectible, particularly for connoisseurs of 1970s luxury fragrances and distinctive designer scents. Its discontinuation marks the end of a chapter in which Sharra Pagano, primarily known as a luxury Italian jewelry brand, extended its creativity into perfume, merging fashion, art, and fragrance into a single sensory experience.
The discontinuation also reflects broader trends in the fragrance industry, where designer and celebrity lines often have limited lifespans, particularly when produced in smaller, artisanal batches. Collectors now value Sharra not only for its complex fruity-floral-chypre composition but also for the sculptural artistry of its partially frosted glass bottle and Serge Mansau’s branch-inspired stopper. Even though the scent is no longer available, its presence in vintage collections preserves the legacy of Sharra Pagano’s brief but striking contribution to late 20th-century perfumery.
Mille Fiori by Sharra Pagano:
Mille Fiori by Sharra Pagano was launched in 1991, and was later marketed by Comprof. The name Mille Fiori is Italian, meaning “a thousand flowers” and pronounced “MEE-leh FYO-ree”. This name immediately conjures images of lush, abundant floral gardens, evoking elegance, romance, and timeless beauty. By choosing this name, Sharra Pagano paid homage to the classic Victorian Millefleurs style of perfumery while updating it with modern ingredients suited to contemporary tastes, bridging history and modernity in a single fragrance.
The early 1990s was a period of transition in fashion and fragrance. Women were embracing both minimalism and refined luxury—clean lines in clothing, bold colors, and fragrances that balanced freshness with sophistication. In this context, a perfume named Mille Fiori would have suggested a feminine, joyful, and multifaceted floral experience, resonating with women who appreciated classic elegance interpreted through a modern lens. The name itself implied a bouquet of scents, hinting at a layered, rich floral composition that could feel both playful and sophisticated.
In terms of olfactory impression, Mille Fiori promised a symphony of blooms, likely blending soft, airy florals with more heady, sensual petals, echoing the vibrant, abundant imagery suggested by its name. On the market of the early 1990s, Mille Fiori stood out as a contemporary revival of the historic Millefleurs tradition, offering women a way to experience the opulence of classic floral compositions in a modern, wearable form.
This fragrance also inaugurated a small but elegant series of Mille Fiori-based perfumes, including Mille Fiori-Magnolia, Mille Fiori-Tuberosa, Mille Fiori-Oranger, and Mille Fiori-Red, allowing Sharra Pagano to explore different facets of floral expression while maintaining a unifying concept. Through its name, presentation, and olfactory richness, Mille Fiori exemplified the brand’s ability to honor tradition while innovating for the tastes and sensibilities of a new generation of perfume enthusiasts.
Fragrance Composition:
So what does it smell like? Mille Fiori by Sharra Pagano is classified as a floral fragrance for women.
- Top notes: bergamot, orange, neroli, cassie, lavender, magnolia
- Middle notes: tuberose, jasmine, rose, violet, orris, heliotrope, clove, orange blossom
- Base notes: musk, sandalwood, vanilla, ambergris, tonka bean
Scent Profile:
Mille Fiori by Sharra Pagano unfolds like a lush, blooming garden, each note carefully layered to evoke both elegance and vitality. As you first inhale, the top notes greet you with a sparkling, luminous clarity. Bergamot, likely sourced from Calabria in southern Italy, offers a bright, citrusy opening, crisp and slightly bitter, distinguished from other varieties by its balanced, fragrant zest. Orange and neroli, from Mediterranean groves, provide a softer, sun-drenched sweetness, while cassie adds a delicate, powdery warmth reminiscent of mimosa flowers. The touch of lavender brings a gentle herbal nuance, aromatic and soothing, while magnolia contributes a creamy, almost waxy floral facet, evoking petals opening in the morning sun. Together, these top notes create an inviting, sparkling introduction that is both fresh and floral.
Transitioning into the heart of the fragrance, the bouquet deepens with lush, opulent florals. Tuberose, with its rich, narcotic creaminess, pairs beautifully with the soft yet intoxicating jasmine, whose Egyptian origin imparts a honeyed, radiant floral depth. Rose, possibly Turkish or Bulgarian, adds a warm, velvety complexity, subtly layered with powdery violet and earthy orris root, giving the perfume a classic elegance and a soft, almost gourmand nuance. Heliotrope introduces a soft, almond-like sweetness, while clove brings an exotic spiciness, and orange blossom continues the citrus floral thread from the top, rounding the heart with radiant warmth and delicate transparency. Each floral note is heightened by subtle aroma chemicals: ionones in violet and orris for powdery softness, geraniol and citral to enhance the fresh rose and citrus character, and trace synthetics to ensure the bouquet’s projection and longevity without overwhelming the natural floral impression.
The base notes anchor the composition with warmth, sensuality, and subtle gourmand facets. Musk lends a clean, skin-like softness, while sandalwood—likely from Mysore, India—is creamy and resinous, balancing the richness of vanilla, which adds a gourmand sweetness without cloying. Ambergris, rare and slightly marine, provides a luminous depth, enhancing the floral notes above with a smooth, natural fixative effect. Tonka bean contributes a gentle warmth and vanilla-like nuance, harmonizing with the amber and musk to create a soft, enduring trail. Together, the base ensures that Mille Fiori lingers gracefully, leaving a soft, enveloping floral veil that is both comforting and alluring.
Overall, Mille Fiori is a celebration of floral complexity. The fragrance layers bright citrus, opulent blossoms, and warm sensual undertones in a way that is both sophisticated and accessible. The interplay of natural ingredients with subtle synthetics allows each note to shine individually while harmonizing seamlessly into a cohesive, modern interpretation of the classic millefleurs tradition.
Bottle:
The bottle is the same one that was designed by sculptor Serge Mansau, again it was produced in France by Pochet et du Courval.
Mille Fiori Magnolia:
Mille Fiori Magnolia was launched in 1991.
Jasmine
Neroli
Rose
Ionone
Benzaldehyde
Mille Fiori Oranger:
Mille Fiori Oranger was launched in 1991.
- Top notes: neroli, nerol, linalool, aldehyde C-9, linalyl acetate
- Middle notes: orange blossom absolute, jasmine absolute, indol, rose absolute, geraniol, lily of the valley, hydroxycitronellol, geranyl formate, methyl naphthyl ketone
- Base notes: Siam benzoin, methyl anthranilate
Mille Fiori Tuberosa:
Mille Fiori Tuberosa was launched in 1991.
tuberose, rose, heliotrope
ambergris, vanilla
Mille Fiori Red:
Mille Fiori Red was launched in 1991. It was modeled after Red by Giorgio Beverly Hills (launched in 1988), which is evident by the near identical "RED" font used on the packaging.
So what does it smell like? It is classified as a fruity floral fragrance for women.
- Top notes: orange blossom, ylang-ylang, bergamot, peach and clove
- Middle notes: jasmine, rose, carnation and marigold
- Base notes: ambergris, tonka bean, patchouli, sandalwood, musk, oakmoss and vetiver
Scent Profile:
Bottles:
