Marcel Rochas chose the name Femme—the French word for “woman”—to celebrate femininity in its fullest expression. Pronounced simply as “fam” in English, the word evokes images of elegance, confidence, and the timeless allure of a woman in her prime. According to legend, Rochas was inspired by his young wife, presenting the fragrance to her as a wedding gift in 1943. Hélène Rochas recalled, “This extraordinary perfume was the most beautiful wedding gift I could dream of,” underscoring the personal and intimate origin of this iconic creation. The name itself conjures emotions of romance, sophistication, and self-assured femininity, reflecting both the perfume’s character and the ideal of the modern postwar woman.
Femme was publicly launched in 1945, in the immediate aftermath of the Second World War, during a period marked by renewal, hope, and a return to elegance after years of austerity. This era, often referred to as the “postwar” or “New Look” period, saw Christian Dior introduce his revolutionary silhouettes with nipped-in waists, full skirts, and an emphasis on the luxurious female form. Women were embracing glamour, indulgence, and personal expression, and perfumery followed suit. A perfume named Femme spoke directly to these cultural and social shifts, promising sophistication, allure, and the freedom to revel in one’s femininity. For women of the time, the fragrance would have symbolized empowerment, elegance, and a celebration of womanhood.
At the request of Marcel Rochas, the legendary perfumer Edmond Roudnitska created Femme as a chypre-fruity fragrance, a complex yet approachable composition. It blends the soft sweetness of peach and exotic fruits with the floral warmth of jasmine and rose, underpinned by the earthy depth of patchouli and brightened by bergamot. The result is a feminine, warm, and blossoming perfume, evocative of fulfillment, elegance, and sensuality—ideal for evening wear and refined occasions.
In the context of 1940s perfumery, Femme was both reflective of contemporary trends and subtly distinctive. Fruity-floral and chypre compositions were gaining popularity, yet Roudnitska’s careful balancing of lush fruit with powdery florals and a sophisticated patchouli base gave Femme a unique elegance. Unlike many perfumes of the era that emphasized either light freshness or overt floral sweetness, Femme captured a nuanced, multifaceted femininity, aligning perfectly with Rochas’ vision of style, sophistication, and modern glamour. It was a perfume that women could relate to as an expression of their own refinement, poise, and sensuality—a signature scent that transcended simple fashion and became an enduring emblem of feminine elegance.
The Beginning:
During the German occupation of France in World War II, obtaining raw materials for perfumery was nearly impossible, and Edmond Roudnitska was still a relatively young perfumer, experienced in creating fragrance “bases” for the De Laire Company in Paris but new to composing fine perfumes. While exploring the stored and discarded drums of materials in the yards of the de Laire plant, he discovered an unusual compound that had been aging undisturbed for many years. With extremely limited resources due to wartime shortages, Roudnitska experimented freely, combining this newfound material with oakmoss to create a novel fruity accord of peach and plum, using Prunol and Fut 5. This inventive approach gave birth to the seductive fragrance Femme, which he presented to Marcel Rochas in November 1943. Rochas accepted the composition immediately, without alteration, recognizing its unique allure.
Roudnitska later recounted the humble circumstances of the perfume’s creation: “Let me tell you, I created Femme in 1943 in Paris during the worst days of the war, in a building that had a rubbish dump on one side and a paint factory on the other.” Among the discarded vats he salvaged were chemicals such as methyl ionone, which imparts a violet note, and Prunol, an aldehyde C14 with a fruity plum scent. By ingeniously incorporating these overlooked materials, Roudnitska transformed scarcity into creativity, producing a fragrance that was both sumptuous and innovative—a testament to his skill and the resilience of artistry under difficult circumstances.
Femme builds on the tradition of chypre fragrances while introducing a distinctive, modern character. At the top, it opens with a bright, fresh burst of citrus, immediately capturing attention with its lively clarity. The heart of the perfume blends a fruity jasmine accord with the aromachemical methyl ionone, lending the scent the delicate, dewy aroma of violets. Beneath this floral-fruity core, the fragrance is anchored by classic chypre elements—oakmoss, patchouli, and labdanum—enhanced by the warmth of precious Mysore sandalwood, subtle spices, and a hint of leathered quinoline, which together provide depth and sensuality. The unique fruity note was originally introduced through a prefabricated base called Prunol, developed by de Laire, which took nearly six years to reproduce exactly, becoming the secret to Femme’s signature character. This careful layering of elements has ensured that Femme remains one of the century’s enduring classic perfumes.
In his autobiography, A Life of Perfume, Edmond Roudnitska reflects on the creation of Femme during the German occupation: “In 1943, during the occupation, I freely composed the perfume Femme that Marcel Rochas launched as is underwriting in 1944, immediately after the liberation.” He emphasizes that, despite its similarities to chypres, Femme does not fit neatly into that category. Rather, he describes it as an aldehydic floral fragrance, very fruity, with a dual woody and candied character, distinguishing it from the conventional chypres of the time and setting it apart from prototypes such as those by Coty. This nuanced blend of aldehydes, fruits, florals, and woods gives Femme its unmistakable personality—feminine, warm, and richly layered, yet modern and approachable.
In December 1944, Edmond Roudnitska faced a significant challenge: he had composed an extraordinary new fragrance, Femme, but wartime restrictions made production nearly impossible. With imports halted and alcohol in short supply, perfumers across France scrambled for whatever resources they could obtain. Roudnitska himself was able to procure enough alcohol to fill only 500 bottles, but even securing the bottles proved difficult, as materials were scarce.
To overcome these obstacles, Roudnitska consulted with his friend Marc Lalique, and together they devised a plan to release Femme as a strictly limited edition of 500 deluxe bottles. Each flacon would be numbered and adorned with a dove-gray satin ribbon around the long neck in place of a traditional paper label, elegantly embroidered in black with the perfume’s name and Marcel Rochas’ signature. This subtle but refined detail tied the perfume directly to Rochas’ couture legacy, lending the fragrance an air of exclusivity and sophistication.
By the end of 1944, the Lalique flacons were filled, ribbons tied, and Femme was offered to high-end clients of Rochas’ fashion boutique as a kind of investment gift. In a gesture akin to a public offering in finance, select women were invited to “subscribe” to the perfume before it became generally available. Among the first recipients were notable figures such as Wallis Simpson, Duchess of Windsor, Baroness Rothschild, and Princess Marina of Greece and Denmark, ensuring that Femme entered the world as a symbol of elite taste and refinement.
The following year, Rochas expanded the line with less expensive flacons, making the fragrance accessible to a wider audience. Even then, Femme maintained its sophisticated allure, winning critical praise for its innovative composition and establishing itself as a landmark creation in postwar perfumery.
The Burmudian, 1946:
"Paris is ga-ga over the perfume by Marcel Rochas. It's called Femme"
When Women's News Service asked why Marcel Rochas would still bring out a new perfume after the immense success of Femme, Howard Zagor, president of Parfums Marcel Rochas in 1967, he gave a surprising reply, "Perfumes have definite personalities. We started with a perfume which was definitely French, cosmopolitan in its appeal. For less sophisticated women and smaller towns, Femme wasn't always right. So we created Madame Rochas, which is still an elegant perfume but has a broader appeal to the average person."
Original Fragrance Composition:
Rochas Femme was composed of over one hundred ingredients which produce a fruity floral chypre fragrance for women. Femme is a blend of more than 200 rare flower essences from all over the world. Predominant is the exquisite jasmine with overtones of lush, tropical blossoms. This is completely feminine and flattering fragrance as its name would imply. Musk, civet and castoreum, sharpened by the singular sharpness of hyacinth aldehyde, are nuanced with rose, lilac, iris, tuberose, oregano, patchouli and ylang ylang atop mosses.
- Top notes: bergamot, hyacinth, lemon, petitgrain citronnier, peach, prune, plum, apricot, aldehyde, oleander, acacia
- Middle notes: oregano, iris, cinnamon, carnation, violet, Bulgarian rose, immortelle, white Grasse jasmine, ylang-ylang
- Base notes: leather, castoreum, cardamom, labdanum, civet, patchouli, vanilla, ambergris, musk, oak moss, sandalwood
Scent Profile:
Stepping into the world of Femme, the first breath is an exhilarating burst of citrus and fruit. Bergamot from the sunlit groves of Calabria unfolds with a sparkling, slightly bitter freshness that lifts the senses, while the leafy brightness of petitgrain citronnier, distilled from the green twigs of the bitter orange tree, adds a crisp, aromatic nuance. Lemon adds clarity and zing, complementing the lush juiciness of peach, prune, plum, and apricot, each contributing its own unique sweetness: the soft, velvety warmth of peach, the darker, slightly tart richness of prune, the succulent roundness of plum, and the subtle tang of apricot. Interwoven with these natural fruits is a delicate aldehydic veil, creating a sparkling, almost effervescent quality that heightens the fruity notes and introduces a sense of refined sophistication. Hyacinth aldehyde pierces with a green-floral sharpness, giving the top a distinctive lift that contrasts beautifully with the creamy sweetness of oleander and the delicate floral nectar of acacia.
As the fragrance deepens, the heart reveals an opulent bouquet of flowers, drawing from more than 200 rare essences. Bulgarian rose, prized for its intensely rich, honeyed floral depth, dominates alongside Grasse jasmine, whose heady, sun-warmed petals exude warmth and sensuality. The jasmine is rounded with lilac’s tender, powdery freshness and iris’ soft, velvety elegance, giving the perfume a silken floral texture. Tuberose contributes its creamy, narcotic richness, while ylang-ylang from the Comoros or Madagascar adds a warm, exotic creaminess with subtle fruity facets. Carnation and violet lend gentle spice and powder, while oregano introduces a surprising aromatic sharpness, bridging the gap between the bright fruits and the floral complexity. Cinnamon whispers softly in the background, providing a comforting warmth and a hint of exotic allure. Immortelle contributes a warm, dry, and subtly resinous floral touch, anchoring the bouquet with understated depth.
The base of Femme is where the perfume’s sensuality and sophistication truly unfold. Musk wraps the composition in a soft, intimate warmth, while civet and castoreum lend a slightly animalic, leathery depth, sharpened and refined by the synthetic aldehydes that echo their natural richness without harshness. Oakmoss and labdanum bring the classic chypre structure: earthy, resinous, and subtly green, adding a forest-like undertone that stabilizes the florals and fruits. Patchouli from Indonesia contributes a dark, sweet-woody, slightly earthy depth, while sandalwood from Mysore brings creamy, smooth warmth. Leather notes intertwine with cardamom, lending aromatic spice and tactile sensuality, and vanilla softens the composition with its sweet, enveloping richness. Ambergris and the carefully balanced synthetics heighten the projection and longevity, blending seamlessly to give the perfume an airy yet persistent radiance.
Overall, Femme is an extraordinary orchestration of natural and synthetic elements. The synthetic aldehydes and hyacinth aldehyde enhance the vibrancy of the fruits and flowers, creating a luminous, sparkling quality that natural ingredients alone could not achieve, while the rare florals and precious woods impart depth, warmth, and complexity. Every inhalation reveals new layers: the sun-drenched citrus and fruits of the top, the sensual, intoxicating florals of the heart, and the deeply comforting, subtly animalic and resinous base. As a result, Femme is not merely a fragrance but a fully immersive experience—a celebration of femininity in its richest, most sophisticated form, reflecting the elegance, sensuality, and refinement that defined Rochas’ postwar vision.
A 1953 ad described Femme as "Flowers and fruit superbly wreathed together into one of the most compelling perfumes of our era."
Combat, 1954:
"Eau Femme by Marcel Rochas: it is from a voluptuous base of musk, civet and castoreum, sharpened by the singular acuity of 'hyacinth aldehyde', that this time release the waves of jasmine. Their cello vibration covers without reducing them to silence, the violins of rose, iris, oregano, patchouli and ylang ylang, for a symphony of acute femininity. Drunk boat of travelers in their room,. tenderness and exaltation."
A 1952 advertisement in the Milwaukee Journal describes the perfume:
"One French perfumer offers his well known Femme or La Rose in a pretty box for gift giving. The graceful Lalique designed bottle, labeled only on the stopper, nestles in billows of filmy net in an oval box. This presentation is veiled in black lace - the trademark of this perfume house.
Femme is a blend of more than 200 rare flower essences from all over the world. Predominant is the exquisite jasmine with overtones of lush, tropical blossoms. This is completely feminine and flattering fragrance as its name would imply. La Rose captures the heady fragrance of fresh cut roses with a hint of their pungent leaves and stems."
Bottles:
Original Flacon:
The original Femme flacon takes the form of a stylized amphora, conceived by Marc Lalique for Marcel Rochas and executed in clear pressed and molded crystal. Its rounded body rests on a small pedestal and is defined by a flattened central panel decorated with radiating frosted floral corollas, lending both structure and sculptural depth. A long, elegant neck fitted with a metal collar supports a convex cabochon stopper in frosted glass, also molded with floral decoration. The base is acid-stamped “Lalique Bottle Made in France,” confirming its authorship and origin.
This particular example represents an exceptional luxury presentation of Femme (1944), issued by subscription in the same year as the fragrance’s debut. The bottle is housed in a large, softly contoured rectangular box of cardboard covered in gold paper and overlaid with Chantilly lace. Inside, the dramatic contrast of black moiré satin and black velvet creates a couture-like setting, elevating the ensemble from perfume packaging to a true collector’s object. The urn-shaped bottle is hot-fixed at the center on its footed base, emphasizing its importance within the presentation. Measuring approximately 21.5 cm in height, it stands among the most prestigious and iconic expressions of Femme, uniting high perfumery, Lalique glass artistry, and wartime French luxury craftsmanship.
A related version of this design remains in production today in a simplified, less detailed form. Known as the “Moulin Rouge” flacon, it is sold empty exclusively through Lalique boutiques as part of the Maison Lalique catalogue, serving as a modern echo of the original Rochas collaboration.
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Amphora Bottles:
Femme was first issued in a lavish, limited, and numbered edition manufactured by Lalique, featuring an ornate frosted crystal flacon whose exceptional craftsmanship made it prohibitively expensive. Intended as a prestige presentation, this deluxe version was produced in small quantities, after which Rochas planned to make the fragrance more widely available in simpler, more economical bottles.
Drawing inspiration from the curves of the female form, the classic Femme bottle was conceived as a sensuous amphora shape. Marcel Rochas provided the original sketches, which Marc Lalique translated into a more streamlined design that could be produced at lower cost. This revised Lalique flacon retained the essential sculptural character of the original, with a curving body and a partially frosted glass stopper molded with the Marcel Rochas name, yet even this simplified version remained costly to manufacture.
To meet ongoing demand, Rochas ultimately turned to the glassmaker Pochet et du Courval, who continued producing the stylized amphora flacons for Femme. As a result, the earliest bottles are Lalique-made, while subsequent production was carried out by Pochet. These can be distinguished by markings on the base: Pochet examples bear the entwined “HP” monogram together with “Bottle Made in France” molded into the glass, whereas bottles lacking these molded marks are generally attributable to Lalique.
To open the classic Femme crystal flacon, use the following tip provided by Parfums Marcel Rochas themselves in 1963:
Use a razor blade to slit the plastic casing that surrounds the top. Then heat the bottle neck with a match.
The “Deluxe” presentation of Femme extended the sense of luxury to its outer packaging, reflecting Marcel Rochas’ couture-inspired aesthetic. The perfume was housed in an oval lay-down box wrapped in white paper and lavishly overlaid with genuine black Chantilly lace, evoking the delicate, diaphanous fabrics central to the house’s design heritage. Inside, the flacon rested in a nest of soft white tulle, providing a tactile contrast that enhanced the visual drama and emphasized the fragrance’s refined femininity. Within Rochas’ signature color palette, Femme’s pure white clearly distinguished it from other scents—turquoise for Mouche, soft gray for Moustache, blush pink for La Rose, and chartreuse for Mousseline—each carefully chosen to reinforce the individuality of the fragrance it contained.
Jet - September 11, 1952:
"One of the most sought after lines of French perfume in the world is now available to Americans. It is Marcel Rochas' distinctive assortment of Parisian 'bouquets', each of which has wide appeal. "Femme', is the heaviest of the perfumes, and Mousseline, a blend of jasmine, lavender and mimosa, the lightest. A more sensual fragrance is "Mouche," suggestive of mosses, leaves, roots and grasses. An exquisite fragrance. An exquisite fragrance called "La Rose" is described as 'all rose'. A perfume for men, called 'Moustache', has a scent of the outdoors -clean, crisp and windswept. These perfumes come in special gift packages designed by Rochas. Each package contains three one-quarter ounce bottles. $22.50."
Esquire, 1954:
"Urn-shaped bottle of Femme comes in an attractive lace-covered box, by Marcel Rochas, $40 the ounce."
Standard Presentations:
The standard presentations of Femme perfume combined elegance and practicality while retaining the house’s couture-inspired aesthetic. Designed by Albert Gosset, the packaging featured a subtle lace motif that recalled the legendary corset Rochas created for Mae West, linking the perfume to the brand’s most iconic fashion moments. The amphora-shaped bottle stood upright in the base of an oval cardstock slipcover box, carefully proportioned so the flacon rested securely and gracefully. The box was wrapped in white paper printed with a delicate black Chantilly lace motif, creating a visual harmony that echoed Rochas’ attention to detail and refined sensibility.
An alternate standard presentation offered a softer, more understated interpretation: an oval cardboard box covered in the same white paper but decorated with a subtle black tulle pattern and discreetly labeled with the fragrance’s name. Both variations maintained a cohesive identity, allowing nuance in texture and ornamentation to enhance the perfume’s visual allure. For these standard editions, the packaging was trimmed with printed black Chantilly lace designed by Gosset, evoking the couture elegance of Rochas’ fashion heritage. Only the original luxury Lalique crystal bottles bear the Lalique signature; subsequent standard bottles were produced by Pochet et du Courval, ensuring consistent quality while making the fragrance more accessible. l.
Femme Parfum was available in five sizes of the amphora bottle:
- 1/4 oz (7.3 ml) (Ref # 156) stands 2.25" tall
- 1/2 oz (also listed as 0.44 oz or13.3 ml) (Ref #154 ) stands 3.25" tall
- 0.7 oz (23 ml) (Ref #153) stands 3.34" tall.
- 1 oz (25 ml) (Ref #150) stands 3.75" tall
- 2 oz (Ref #152) stands 4.5" tall
Purse Flacons:
In 1948, Rochas created two elegant miniatures of Femme, designed to offer both style and practicality for a woman on the move. The simpler version, known as the “purse flacon” or “pebble,” combined charm with refinement. Its clear glass body, molded into a flattened disk shape, was topped with a gilt metal ball screw-cap and accented with a small round gold foil label. Standing approximately 2.25 inches tall and holding 0.25 oz of parfum, the bottle was nestled in an antelope suede pouch with a delicate satin rope handle, making it a fashionable and convenient accessory for carrying fragrance throughout the day. The pouch for Femme was further overlaid with black Chantilly lace—a unique feature among Rochas perfumes—linking the miniature to the house’s couture heritage. Antelope suede, prized for its soft, velvety texture and supple feel, was commonly used in luxury gloves of the period, offering a tactile richness and a subtle sense of indulgence that complemented the perfume’s elegant design.
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French opaline glass is a semi-translucent, milky glass often tinted in soft pastel shades or kept pure white. Developed in the 18th and 19th centuries, it was highly prized for its smooth, lustrous surface and subtle depth of color. It has a velvety, opalescent quality that catches the light gently, giving objects a refined and delicate appearance. Opaline glass was commonly used in decorative bottles, tableware, and small luxury objects, and its tactile smoothness and soft sheen made it especially popular for perfume flacons and other collectible items.
For special occasions, the “evening bag model” elevated the miniature flacon to a true objet d’art. Launched in 1948, it is crafted from white opaline glass and lavishly adorned with genuine black Chantilly lace, the elegant oval bottle features an opaline glass inner stopper with a long dauber, or touche oreille, designed to reach the bottom for precise application. Brass fittings and a delicate gilded chain add refined sophistication, while the flacon rests in a black silk faille pouch shaped like a coin purse, luxuriously lined with satin. Measuring 2.5 × 1.75 × 0.5 inches and holding 0.25 oz of parfum, this miniature exemplifies exquisite material interplay and meticulous craftsmanship. Originally retailing for $22.50 in 1950, the price is roughly equivalent to $307 in 2026, reflecting its luxury status and enduring appeal to collectors.
If your bottle is missing its lace, this is what it will look like, it might even be mistaken for a Victorian era scent bottle by those who aren't familiar with the Rochas bottle.
A third, exceptionally rare purse flacon also exists, cylindrical in form and crafted from opaline glass coated with turquoise enamel, elegantly screen printed with a black lace pattern. This miniature exemplifies Rochas’ couture-inspired attention to detail and the artistry invested even in the tiniest perfume vessels. Measuring 2.5 inches (6.4 cm) tall and holding 5 ml (one dram) of parfum, it was presented in an upright rectangular cardstock box printed in the signature turquoise hue and adorned with a delicate black tulle pattern. The set included a glass medicine dropper, allowing the wearer to decant perfume from a larger bottle into the purse flacon, combining practicality with exquisite design.
Another charming miniature of Femme is the smaller version of the “pebble” flacon, designed for effortless portability in a handbag. This tiny, disk-shaped bottle of clear glass is topped with a simple black plastic or gilt metal screw cap, combining practicality with refined charm. Its presentation enhances its appeal: the flacon was suspended by a cord from an oval white paper card decorated with a printed black Chantilly lace pattern, echoing the elegance of the full-size packaging. Measuring just 1 3/8 inches tall by 1 inch in diameter and holding one dram (1/8 oz) of parfum, it is considered a “micro-mini” bottle. Some examples were also housed in a small rectangular box covered with the same patterned paper. Today, pebble flacons that remain attached to their original cards or retain their boxes are rare and highly collectible, offering a delightful glimpse into the couture-inspired attention to detail Rochas applied even to its smallest creations.
Flacon Sac:
The flacon sac is a delicate, handbag-sized miniature holding 0.17 oz (1/6 oz) of Femme parfum. Crafted from frosted glass, the vial is adorned with an abstract floral pattern, partially polished to create subtle interplay between matte and luminous surfaces. Its gilded metal screw cap is engraved with the name Femme, adding a refined, personalized touch, and the overall design exudes elegance in miniature form. Measuring approximately 3 inches tall, the bottle is perfectly portable, making it an ideal companion for a woman on the go. Notably, this same flacon design was also used for Madame Rochas, underscoring its versatility and enduring appeal within the Rochas perfume line. This item dates as far back as 1967.
Parfum Sprays:
The bottle below was used in 1985
Bottle below was used in 1986 and held Eau de Parfum Intense
A Variety of Products:
The packaging shown below with the golden bust of a woman was used in 1973.
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Parfum de Toilette:
In 1958, Rochas introduced Parfum de Toilette for Femme, a concentration designed to bridge the gap between the intensity of the original parfum (or extrait) and the lighter Eau de Toilette. To clarify the distinctions: parfum (extrait) contains the highest concentration of aromatic oils, often 20–40%, producing a rich, long-lasting scent with pronounced depth; Eau de Parfum typically contains 15–20% aromatic oils, offering strong presence but slightly lighter wear; Eau de Toilette is more diluted, around 5–15%, producing a fresher, more fleeting fragrance suitable for generous daily use. The Parfum de Toilette format provided the ideal middle ground—maintaining the luxurious warmth, complexity, and sensuality of the parfum while offering lighter wearability, making it suitable for modern, active lifestyles.
This concentration subtly modified the original composition of Femme. While the core structure of citrus top notes, lush fruity-florals, and chypre-inspired base remained intact, the intensity of the richest notes—patchouli, oakmoss, leather, and animalics such as musk, civet, and castoreum—was slightly softened to create a more balanced, approachable sillage. The floral bouquet, including Bulgarian rose, Grasse jasmine, tuberose, and ylang-ylang, remained prominent but was lightly attenuated to harmonize with the lighter base, while aldehydes and fruity accords were emphasized to maintain brightness and radiance. The result was a fragrance that retained the sensuality and sophistication of Femme while feeling fresher, more airy, and easier to wear throughout the day.
To accompany this modernized concentration, Femme was released in metered spray bottles—a novelty at the time—and in the sleek, metered Pursatomizer, housed in a black-etched silvery metal shaft. These innovations reflected evolving habits in perfume application, emphasizing precision, convenience, and elegance. The packaging retained the house’s signature aesthetic: a white background overlaid with black Chantilly lace, centered with a white oval cartouche bearing the perfume’s name. This visual continuity linked the Parfum de Toilette to the original fragrance line while embracing the modernity and practicality demanded by contemporary fragrance wearers.
Parfum de Toilette was still being marketed in the mid 1980s.
Sometimes the bottles or boxes are not marked as to size, so I created a handy guide to help you figure out what size your bottle is based on the height measurements.
This is the guide for the Parfum de Toilette splash bottles.
- stands 3" tall.
- 1 oz stands 3.5" tall
- 1.7 oz stands 3.75" tall
- 3.5 oz stands 4.75" tall.
- 6.8 oz stands 6" tall.
- 13.5 oz stands 7" tall.
The packaging shown below with the golden bust of a woman was used in 1973.
The bottle shown below with the black silkscreened lace motif dates to 1967 to 1973.
The bottle shown below was used in 1984.
Eau de Parfum:
In 1977, Rochas made a strategic shift in the marketing and presentation of Femme by introducing the Eau de Parfum, a more contemporary and widely recognized designation of fragrance, aligning with evolving consumer expectations and industry standards. This change reflected a broader trend in perfumery, as houses sought to simplify classifications for clarity while emphasizing the luxurious, long-lasting qualities of a fragrance without overwhelming the wearer.
Despite the change in concentration name, the composition of Femme remained faithful to its original character. The balance of sparkling citrus top notes, lush fruity-floral heart, and warm, subtly animalic chypre base continued to define its signature personality. By presenting the fragrance as an Eau de Parfum, Rochas highlighted its elegance, presence, and sophisticated sillage, making it accessible to a modern audience while preserving the richness, femininity, and complexity that had made Femme an enduring classic since its debut. The packaging and visual identity maintained the house’s signature aesthetic, ensuring continuity and reinforcing Femme’s position as a timeless emblem of French perfumery.
- 1.7 oz Eau de Parfum
- 2.5 oz Eau de Parfum
Femme Eau de Jeunesse:
Like many creations from the house of Rochas, Femme was offered in an Eau de Jeunesse, poetically described as “Water of Youth,” first introduced in 1947. This lighter, more carefree expression was designed for everyday enjoyment, capturing the essence of the original parfum while offering a fresher, more airy interpretation. Housed in the familiar amphora-shaped bottle, fitted with either a glass stopper or a practical black plastic screw cap, the Eau de Jeunesse was sold in generous 4, 8, and 10-ounce sizes, clearly intended for lavish, unrestricted use rather than sparing application. Technically, the Eau de Jeunesse corresponds to what is now called an Eau de Toilette, containing a lower concentration of aromatic oils—typically 5 to 15 percent—diluted in alcohol and water. This composition allowed the fragrance to be splashed freely over the body, hair, or clothing, imparting a lively radiance without the deeper, lingering intensity of the parfum.
In terms of scent, the Eau de Jeunesse preserved the signature structure of Femme but with some subtle adjustments. The top notes of citrus, peach, and plum were emphasized to enhance brightness and immediacy, while heavier base notes such as leather, civet, and castoreum were softened or reduced to create a lighter, more playful character. The floral heart—including jasmine, rose, iris, and ylang-ylang—remained present but was rendered less dense, allowing the fragrance to feel breezier and more accessible for daytime wear. Aldehydes and fruity accords were highlighted to maintain a sparkling freshness, creating a lively, radiant fragrance that retained the femininity and elegance of Femme while emphasizing approachability and ease of wear.
The packaging for Eau de Jeunesse reflected this lighter, youthful spirit. While still honoring the iconic amphora bottle, the outer box was simplified, featuring a white background overlaid with a delicate netted tulle motif—a subtler, softer counterpart to the black Chantilly lace of the original parfum. By 1949, the Eau de Jeunesse was offered in two sizes, retailing at $12.50 and $8, positioning it as an accessible luxury for daily pleasure. As consumer understanding of the term “Eau de Jeunesse” waned, Rochas eventually relabeled the fragrance as Eau de Toilette, restoring the familiar white boxes printed with black Chantilly lace and reaffirming its connection to the house’s signature aesthetic.
Eau de Cologne:
Like many creations from the house of Rochas, Femme was also offered in an Eau de Cologne, conceived as a lighter, more refreshing interpretation of the fragrance for generous, everyday use. In this format, the perfume opens with a bright, brisk impression, highlighting sparkle and immediacy rather than depth. Citrus elements—particularly lemon and bergamot—take center stage, lending a crisp, clean freshness that invigorates the skin. Fruity notes such as peach, plum, and apricot become more fleeting and translucent, while the floral heart is softened and aerated, evoking the impression of blossoms carried on a gentle breeze rather than the dense, plush bouquet of the original parfum. Heavier spices, woods, and animalic nuances are restrained or removed, allowing the composition to feel light, buoyant, and effortlessly wearable throughout the day.
The distinction between Eau de Cologne and Eau de Toilette lies primarily in concentration and intent. Eau de Cologne generally contains only 2–5% aromatic materials, compared to the 5–15% found in an Eau de Toilette, making it lighter, more ephemeral, and suited to liberal application after bathing or during daytime activities. In Femme’s cologne form, heavier base notes such as oakmoss, patchouli, leather, castoreum, and civet are reduced or omitted entirely. Instead, the formula emphasizes volatile top notes: fresh citrus oils, light florals such as jasmine, lilac, and acacia, and subtle herbal or green accents, creating a sparkling, uplifting impression. This version retains just enough of the floral and fruity personality to remain unmistakably Femme, but in a simplified, luminous structure that highlights freshness and clarity over depth and sensuality.
Combat, 1955:
"Femme, new presentation in an Atomizer bottle allowing a spray that impregnates the whole body with eau de cologne scented with Marcel Rochas extract. The most recent victory of French perfumery. With a voluptuous base of musk and castoreum, sharpened by the singular acuity of 'hyacinth aldehyde', the waves of jasmine emerge. Their cello vibrations lead, in a symphony of acute femininity, the violins of the rose, the iris, the oregano and patchouli. The simples of eau de cologne lighten the extract. A nymph directs the orchestra of Venus."
Visually, the Eau de Cologne mirrored its lighter character while maintaining Rochas’ signature style. The amphora-shaped bottle, fitted with a practical black plastic screw cap, was housed in boxes decorated with a black Chantilly lace motif on a white background, offering a refined yet airy presentation. Available in three sizes, the cologne allowed women to enjoy the chic, slightly mischievous personality of Femme in a form suited to daytime wear, warm weather, and casual elegance. In 1955, Rochas introduced an atomizer for the Eau de Cologne, marking a notable innovation; a period newspaper ad proudly noted that “Femme is the first perfume to have an atomizer,” reflecting the house’s commitment to modernity, convenience, and sophistication in fragrance presentation.
- 1.8 oz Eau de Cologne Splash, bottle stands 3.75" tall
- 2 oz Eau de Cologne Splash
- 4 oz Eau de Cologne Splash stands 5" tall.
- 5.75" tall
The packaging shown below with the lace pattern was still being used in 1974.
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The atomizer shown below with the black silkscreened lace motif dates back to 1967.
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The bottle shown below was used in 1980.
Ancillary Products:
Femme was also available in various ancillary products over the years: dusting powder, body cream, body lotion, soaps, bath oil, talc, face powder, lipstick, deodorant spray and others. The first photo shown in each category is the oldest and continues to the last photo which shows the newest.
Face Powder:
In the 1950s, face powder scented with Femme was available in black Chantilly lace patterned cardboard boxes.
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Soaps:
The packaging shown below with the golden bust of a woman was used in 1973.
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The soap set shown below was used in 1968.
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This style of packaging was used from 1977 to about 1979.
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The "Caresses" line shown below in grey lace packaging debuted in 1991.
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Bath & Body Oils:
The lace patterned packaging shown below with the orange accents was first used in 1971.
The "Caresses" line shown below in grey lace packaging debuted in 1991.
Milk Bath:
The lace patterned packaging shown below with the orange accents was first used in 1971.
The white packaging below with the red accents and black lace debuted in 1977 and continued to be used throughout the 1980, ending in 1990
Dusting & Talcum Powders:
The lace patterned packaging shown below with the orange accents was first used in 1971.
The "Caresses" line shown below in grey lace packaging debuted in 1991.
Body Wash, Foaming Bath:
The lace patterned packaging shown below with the orange accents was first used in 1971.
The white packaging below with the red accents and black lace debuted in 1977 and continued to be used throughout the 1980, ending in 1990
Body Lotions & Creams:
The lace patterned packaging shown below with the orange accents was first used in 1971.
The "Caresses" line shown below in grey lace packaging debuted in 1991.
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Deodorant:
The white packaging below with the red accents and black lace debuted in 1977 and continued to be used throughout the 1980, ending in 1990
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In 1972/1973, Femme was available in the following formats:
- Parfum Presentation: Oval case adorned with black Chantilly lace: Amphora bottle; Dressing table atomizer (refillable); Purse atomizer (refillable).
- Related products: Parfum de Toilette; Parfum de Toilette Atomizer; Eau de Cologne; Eau de Cologne Atomizer
- Ancillary Products: Soaps; Talcum powder; Deodorant spray; Foaming bath; Satin cream.
In 1977/1978, Femme was available in the following formats:
- Parfum Presentations: Amphora bottle and oval case adorned with black Chantilly lace. Luxury presentation: amphora bottle nestled in a chamois suede case lined with white satin; Vanity atomizer (refillable); Purse atomizer (refillable)
- Related Products: Parfum de Toilette in bottles and an atomizer; Eau de Cologne in bottles and an atomizer.
- Ancillary Products: Soaps (toilet size and bath size); gift set of 3 soaps; Foaming bath and shower gel; Deodorant spray; Satin Cream; Talc.
In 1984/1985, Femme was available in the following formats:
- Parfum Presentations: Amphora bottle and oval case adorned with black Chantilly lace. Vanity atomizer (refillable); Purse atomizer (refillable)
- Related Products: Parfum de Toilette in bottles and an atomizer; Eau de Cologne in bottles and an atomizer.
- Ancillary Products: Soaps (toilet size and bath size); gift set of 3 soaps; Foaming bath and shower gel; Deodorant spray; Satin Cream; Talc.
In 1990/1991, Femme was available in the following formats:
- Parfum: "Collection" bottle (15ml, 30ml); "Range" bottle (7.5ml, 15ml); Purse natural spray, non-refillable (7.5ml)
- Related Products: Eau de Parfum splash (50ml); Eau de Parfum natural spray (50ml, 100ml); Eau de Toilette splash (50ml, 100ml, 200ml); Eau de Toilette natural spray (50ml, 100ml)
- Ancillary Products: Satin Caresse (Moisturizing Body Lotion); Bain Caresse (Bath & Shower Gel); Odorant Caresse (Deodorant spray); Soie Cresse (Silkening Body Oil); Beaute Caresse (Enriched Body Cream); Voile Caresse (Dusting Powder); Premiere Caresse (Cream Soap)
Fate of the Fragrance:
By 1987, Saint Gobain Desjonqueres manufactured bottles for Femme.
In 1989, Femme was reformulated under the direction of perfumer Olivier Cresp at Quest International, marking a pivotal moment in the evolution of the historic Rochas fragrance. Rather than pursuing a literal reconstruction of the original formula, Cresp chose a more introspective path, shaping the composition through the lens of personal memory. Drawing on recollections of family members who had worn Femme, he sought to recreate not the exact scent of the past, but its emotional resonance—the way it lingered in the air, on skin, and in lived experience. This approach allowed the fragrance to exist as an impressionistic portrait, faithful in spirit rather than in strict technical detail.
The resulting version of Femme emerged as lighter and more contemporary in structure, informed by both the availability of modern raw materials and the shifting aesthetic preferences of the late 1980s. While unmistakably a chypre, it leaned toward an earthy, mossy interpretation, emphasizing dryness, restraint, and a quietly grounded sensuality. The dense opulence and dramatic richness of earlier incarnations were softened, replaced by a clearer, more transparent framework that felt less ornate and more intimate. This refinement gave the fragrance a gentler diffusion and a more wearable presence, aligning it with modern tastes while preserving its essential character.
By 1990, Rochas was preparing to relaunch Femme in France, with plans for North America to follow. During this transitional period, the formulation was subtly adjusted, fine-tuning the balance established in 1989 without altering its overall identity. The packaging also evolved: the box design shifted from white lace on a black background to black lace on black, a change that introduced a darker, more discreet elegance while reinforcing the fragrance’s chypre mood. Importantly, the classic bottle itself remained unchanged, anchoring the relaunch in visual continuity.
That continuity was central to the relaunch strategy. Femme continued to be presented in the iconic Mae West–shaped bottle, a sculptural form inseparable from its legacy since its earliest years. The black cap, retained from the original design, further underscored the connection to the past. Together, these visual elements balanced heritage and renewal, mirroring the philosophy behind the reformulation itself. The 1989 reinterpretation of Femme thus stands as both homage and evolution—a fragrance that honors its storied lineage while expressing it through memory, modern materials, and a restrained, contemporary elegance.
Fragrance Composition:
- Top notes: aldehydes, lemon, bergamot, peach, pear
- Middle notes: Damascene rose, cumin, iris, cinnamon, immortelle, jasmine, carnation, ylang ylang, plum
- Base notes: rosemary, labdanum, rosewood, civet, patchouli, leather, sandalwood, oakmoss, musk, ambergris
Scent Profile:
The 1989 Femme opens with a breath that feels both familiar and newly clarified, as if the air itself has been polished. Aldehydes arrive first—those effervescent, silvery molecules that smell like clean linen warmed by skin, lemon peel snapped in midair, and a faintly soapy sparkle. They lift the entire opening, exaggerating light and space, making the natural citrus and fruit feel brighter than they would on their own. Lemon follows, brisk and juicy, recalling sunlit groves along the Mediterranean coast; its zest is sharp but not sour, made more radiant by the aldehydes’ fizz.
Bergamot—most evocative when imagined from Calabria, where the fruit develops a uniquely floral bitterness—adds a green, Earl Grey–like nuance, smoother and more aromatic than lemon. Into this citrus clarity drift peach and pear: peachy lactones give a soft, velvety, almost skin-like fuzz, while pear contributes a watery, translucent sweetness. Together, they feel gently golden, as if the fruit has been warmed by light rather than syruped, their natural aromas subtly amplified by synthetic fruit notes that extend their juiciness and make them linger.
As the brightness settles, the heart unfolds in slow, textured layers, revealing the fragrance’s emotional core. Damascene rose—traditionally associated with Bulgaria or Turkey, where the cool mornings preserve its complex aroma—blooms with a rich balance of honey, spice, and soft lemony facets. It smells plush yet restrained, its natural oil often supported by rose aroma molecules that heighten freshness and diffusion without overpowering the petal’s depth.
Cumin appears as a warm, human spice, slightly animalic, suggesting skin and warmth rather than the kitchen; it gives the rose a lived-in intimacy. Iris follows, cool and powdery, evoking the scent of orris root dried for years—violet-tinged, woody, and faintly carroty—its elegance often reinforced by ionones, which give that unmistakable cosmetic softness. Cinnamon adds a dry, glowing heat, while immortelle brings a startling contrast: maple-like sweetness, salted herbs, and sun-baked hay, recalling Corsican landscapes where the plant grows wild and resinous.
Jasmine—imagined in the lush style of Grasse—threads through the heart with creamy white floral richness, indolic yet refined, its natural headiness shaped and smoothed by modern jasmine molecules that add luminosity without heaviness. Carnation introduces a clove-like spiciness, rosy and peppered, while ylang ylang—often at its most velvety from the Comoros—adds a banana-cream warmth and exotic floral oiliness. Plum deepens the composition with a dark, wine-like fruit note, slightly tart and shadowed, anchoring the florals and hinting at the chypre structure beneath. The entire heart feels earthy yet elegant, floral but seasoned, as though each note has been gently dusted with spice and warmed by memory.
The base emerges gradually, grounding everything in shadow, moss, and skin. Rosemary brings an unexpected aromatic clarity—cool, green, and camphoraceous—cutting through the richness like fresh air over dry earth. Labdanum unfurls next, thick and resinous, smelling of warm amber, leathered sweetness, and sun-baked rock; its sticky depth forms the backbone of the chypre. Rosewood adds a smooth, rosy-woody polish, while civet—rendered through civetone rather than natural animal secretion—introduces a soft, musky animal warmth, sensual but controlled, enhancing the florals’ humanity without rawness. Patchouli, earthy and slightly chocolatey, provides damp soil and shadow, its Indonesian character darker and smoother than greener varieties.
Leather notes deepen the base, smoky and worn, suggesting gloves and saddles rather than harsh tannery hides, while sandalwood—creamy, milky, and gently sweet, evoking the legendary Mysore style—wraps everything in a soft, woody glow, often supported by modern sandalwood molecules that prolong its warmth and smoothness. Oakmoss anchors the fragrance firmly in chypre territory: inky, bitter-green, and forest-damp, recalling lichen-covered trees after rain, its effect echoed and extended by mossy aroma chemicals that preserve its depth and diffusion.
Musk settles last, clean yet intimate, a quiet skin hum that fuses everything together. Ambergris—now expressed through refined ambers like ambroxan—adds a salty, mineral warmth, a suggestion of sun-warmed skin and sea air. The final impression is earthy, mossy, and human: lighter than the original Femme, yet unmistakably chypre, as if the perfume is breathing slowly against the skin, alive with memory and quiet sensuality.
Bottles & Packaging:
The Femme fragrance was relaunched in new packaging: black lace on black boxes.
Lear's. 1992:
"This month's resurfacing: Marcel Rochas's Femme in its original Lalique-designed amphora-shaped bottle."
2011 Version:
In 2011, Femme underwent another reformulation, this time by perfumer Jean-Michel Duriez, reflecting both evolving regulatory constraints and contemporary expectations of wearability. This version was not a return to the historic original, but a careful reworking of the 1989 interpretation, preserving its essential identity while adapting its structure to the modern perfumery landscape. Duriez approached the fragrance with restraint and sensitivity, ensuring continuity with the earthy, mossy chypre character established in the late twentieth century.
A defining change in the 2011 reformulation was the significant reduction of oakmoss, necessitated by IFRA regulations that restricted the use of certain allergenic components traditionally found in natural moss extracts. As a result, the chypre base became cleaner and more transparent. The shadowy bitterness and forest-damp depth once provided by oakmoss were softened, often suggested through carefully chosen mossy and woody aroma materials that evoke its impression rather than replicate its full intensity. This shift gave the fragrance a lighter, smoother drydown, with greater emphasis on warmth and softness rather than dramatic contrast.
Visually, the 2011 release clearly signaled its updated identity. While still referencing the iconic Femme heritage, the fragrance was repackaged in new bottles, departing from strict historical replication. The introduction of peach-colored caps echoed the fruit-tinged warmth of the composition and offered a gentler, more contemporary aesthetic. Together, the reformulation and new presentation positioned the 2011 Femme as a modernized continuation of the 1989 version—recognizably rooted in chypre tradition, yet softened, regulated, and visually refreshed for a new generation.
Fragrance Composition:
- Top notes: aldehydes, lemon, bergamot, peach, pear
- Middle notes: May rose, carnation, immortelle, jasmine, iris, ylang ylang, plum
- Base notes: rosemary, oakmoss, leather, labdanum, patchouli, sandalwood, musk, ambergris
Scent Profile:
The 2011 Femme opens with a softened glow, as if light is filtered through silk rather than crystal. Aldehydes rise first, airy and abstract, smelling of cool steam, clean linen, and the fizz of citrus peel snapped between the fingers. These molecules do not belong to any single place, yet they create lift and diffusion, stretching every natural note that follows and lending the opening its elegant shimmer. Lemon follows, brisk and freshly zested, its brightness recalling southern European groves where the fruit ripens with a balance of acidity and sun-warmed sweetness.
Bergamot, at its most refined when imagined from Calabria, contributes a gentler citrus profile—green, floral, and faintly bitter, with a tea-like nuance that smooths the lemon’s sharp edge. Peach and pear then soften the sparkle: peach unfurls as a velvety, golden fleshiness created through peach lactones, which give a creamy, skin-like warmth, while pear adds a translucent, watery sweetness. Modern fruit aroma chemicals extend these natural impressions, making the fruits feel luminous and lingering rather than sticky or heavy.
The heart of the fragrance blooms with floral clarity and restrained warmth. May rose—traditionally associated with Grasse, where the short harvest preserves its delicate complexity—smells fresh, dewy, and softly honeyed, less dark than Damask rose and more petal-bright. Its natural oil is often enhanced by rose molecules that heighten freshness and diffusion, giving the rose an almost breathing quality on the skin. Carnation adds a spiced floral facet, its clove-like eugenol warmth suggesting crushed petals and dried spice. Immortelle introduces a distinctive contrast: a sun-baked note of hay, maple syrup, and salted herbs, evoking Mediterranean landscapes where the plant thrives in rocky soil. Jasmine—lush and creamy, reminiscent of Grasse or Indian harvests—adds sensuality, its indolic depth carefully moderated by modern jasmine aromachemicals that smooth the intensity and add radiance. Iris brings cool refinement, powdery and woody, with violet and carrot nuances derived from aged orris root; ionones amplify this effect, lending cosmetic softness and a silvery elegance. Ylang ylang, especially evocative of the Comoros, adds a tropical creaminess—banana-smooth, floral, and faintly spicy—while plum deepens the heart with a dark, wine-like fruitiness that feels plush and shadowed.
As the fragrance settles, the base reveals a quieter, earthbound sensuality shaped by regulation and modern balance. Rosemary emerges first, aromatic and green, its camphoraceous freshness cutting through the sweetness like cool air over dry herbs. Oakmoss remains present but restrained—no longer the dense forest floor of earlier chypres, but a suggestion of damp bark and bitter green shadow, often reconstructed with mossy aromachemicals that echo its depth while keeping the structure lighter and cleaner.
Leather follows, smooth and worn rather than raw, conjuring the scent of softened hide and polished gloves. Labdanum adds resinous warmth, ambered and slightly smoky, recalling sun-heated rock and sticky balsamic sap. Patchouli contributes earthy darkness—damp soil, wood, and a hint of cocoa—rounded and refined, while sandalwood envelops the base in creamy, milky wood, its Mysore-like smoothness supported by modern sandalwood molecules that enhance longevity and softness.
Musk settles close to the skin, clean yet intimate, providing a gentle hum that fuses all elements into a single tactile presence. Ambergris, now expressed through refined amber molecules such as ambroxan, adds a mineral-salty warmth, a suggestion of sunlit skin and sea air that lifts the heaviness from the base. Together, these notes form a chypre that is more transparent and polished than its predecessors—still earthy and floral, still unmistakably Femme, but softened into a modern, quietly sensual veil that breathes rather than declares.
