
Perfume Houses History Blog: Chapter 3 - Yves Saint Laurent
Introduction
Few fashion houses have impacted the industry as profoundly and provocatively as Yves Saint Laurent. And I certainly don't have to tell you that - you already know it. With a sheer amount of talent and a deep appreciation and interest towards fashion, Yves was positioned to redefine the industry even from an early age. But that did not mean challenges and roadblocks would part ways with him. No, quite the contrary. Although his rise to fame was impressively quick, he would be met with various difficulties and obstacles which seemed to have one goal in mind: to just stop Yves from doing what he was destined to do. However, since our main concern here is to discuss the fragrances of said house, I won't spend too much of our time upon Yves life story and/or the fashion side of the fashion giant.
The Beginnings: A Shining Star Collapsed, Reborn
Nonetheless, we still need some context, no? Yves Saint Laurent was born on August 1, 1936, not in Paris or France for that matter, but in Oran, Algeria. At that time, however, the African country was under French colonial rule, declared an integral part of France all the way back in 1848, 18 years after the French gained control over the land. The French settlers (known as colons or pieds-noirs, meaning "black feet") had full French citizenship, even if born there, like Yves. Both of Yves' parents (Charles Saint Laurent and Lucienne-Andrée Mathieu-Saint Laurent) were also of French descent, so that leaves no doubt regarding his nationality.

From a young age, Yves showcased a clear fascination for fashion. He discovered fashion magazines like Vogue and Paris Match at 13, instantly sprouting his obsession with couture. From there, sketching fashion became a daily activity, often designing dresses for his mother or sisters. His talent was undisputable; many of his illustrations showed sophistication and creativity beyond his years. And so, as a teenager, he would enter various amateur fashion design competitions, with a clear goal and dream in mind: Paris.
This dream wasn't so far-fetched for someone with his potential. At 17, with his mother's support, Yves left Algeria and enrolled at the Chambre Syndicale de la Haute Couture in Paris, and it didn't take long before he would stick out like a bright star going supernova. In 1953, he would submit three of his sketches to the International Wool Secretariat competition, where he won third place - Karl Lagerfeld won first. Nonetheless, Yves' work still managed to catch the eye of Vogue editor Michel de Brunhoff, who would end up introducing our rising star to the man himself, Christian Dior. And in 1955, Yves would join Dior as his assistant at only 19 years of age.

After Dior's sudden death in 1957 (heart attack), Yves Saint Laurent, now 21, was named head designer of the legendary fashion house. In such a position, Yves had a whole ocean of potential, but also of responsibility. He was now leading one of the most prestigious fashion companies in the world and the house responsible for more than half of France's total fashion export. He couldn't afford to mess up now. And so, in 1958, his debut collection - renowned for the "Trapeze" line - became a critical and commercial success for the house. This not only reassured clients and investors that the Dior house was still very much a creative leader in the industry despite Dior's passing - it paved the way for Yves' future which was only full of radiant and prosperous possibilities.

For the next two years, Yves would attempt to push the boundaries in fashion by introducing bohemian, beatnik-inspired looks, which were far ahead of their time, leading to divided opinions among critics. But as Yves was putting in the effort of redefining and revolutionizing the fashion industry, a sudden, unexpected twist came in his life: he was drafted for military service during the Algerian War of Independence. Despite his fame, his role as Dior's head designer, and most notably, his fragile mental state, the French Army made no exceptions. Yves was sent to a training camp in southern France, where he wouldn't last long - the sudden change of environment, the overwhelming physical and emotional demand, the bullying and mockery he endured for his effeminate appearance, and the thought of being forced to fight in a war in the land of his childhood were simply too much for Yves, leading to a severe nervous breakdown.

While hospitalized in Paris, Yves was diagnosed with nervous exhaustion and depression, and he was subjected to electroconvulsive therapy (ECT) and heavy sedation. And then, as if things couldn't get him any deeper in these trenches, Dior replaced him with Marc Bohan as head designer, which left Yves completely devastated. For one moment, he had everything. He was living his dream life, leading one of the most influential fashion houses in the industry; he was doing what he was born to do. But just as quickly as he rose to a status of fame and power, it all crumbled down to his feet - the war, his medical condition, and betrayal. Most would've given up right there after such psychological scarring; most would've left their dreams be dreams and their talent and capabilities hidden, dormant, wasted. But not Yves. No, if anything, all that he went through, all of this apparent 'death' of his dreams, the apparent collapse of a bright star were just setting the stage for his rebirth, his comeback, his determination to keep going. Upon his release from the hospital and with support from his partner, Pierre Bergé, Yves would sue Dior for breach of contract, lawsuit that he would end up winning. This gave Yves and Pierre a strong starting capital. And with financial backing from American millionaire and businessman J. Mack Robinson, Yves was ready for the next chapter of his life. And hence, in 1961, the Yves Saint Laurent couture house was established.
Breakthrough Releases: Changing the Game
I know I said I wouldn't want to dwell upon Yves' personal history and early days in the industry for too long, but in the end, I just got immersed in his story. Nevertheless, it's now time to talk about what we came here for, starting with...

Y Eau de Parfum. No, not that one, this one:
Y (1964) Eau de Toilette. Three years after the newborn house took off, while it was making strides in fashion, Yves ventured into the galaxy of perfumery, with the first release being
Y (1964) Eau de Toilette - a green floral chypre marketed for women. It presented a variety of notes, such as aldehydes, peach, rose, jasmine, honeysuckle, oakmoss, vetiver, patchouli, and even civet. Crisp and tailored in the opening, elegant and reserved in the heart, earthy and sensual in the dry down. It was the kind of scent that said "effortless class", matching YSL's ideal woman at the time: poised, modern, and a little mysterious. It struck a balance between freshness (aldehydes and florals) and depth (oakmoss, patchouli), between elegance and timelessness; many referenced it as one of the best examples of the chypre style from that era. And so,
Y (1964) Eau de Toilette was a critical first success for the YSL house. Even today, it still holds cult status, and vintage bottles are sought after by collectors.
The brand's next big hit was Pour Homme (1971) Eau de Toilette, but it would also turn out to be one of the house's most controversial episodes, not because of the scent of the fragrance, but because Yves himself would pose nude in the ad campaign. This was a radical move at the time - a male designer using himself in such an intimate way to sell a fragrance. Plenty of scandal and controversy came out of it, but also plenty of attention towards the house. This move, particularly, positioned YSL as rebellious, sexy, bold, and very ahead of his time in challenging masculine norms - just what Yves wanted.

As for the fragrance itself, Pour Homme (1971) Eau de Toilette combined a bright and citrusy opening with a classic, calming lavender, followed by a floral and spicy mix-up in the heart for an old-school gentleman vibe, and an earthy, mossy, and woody finisher for a warm, green foundation. Clean, elegant, no-nonsense - sharp suit, freshly shaved face, polished pair of shoes... an absolute classic by today's standards.
Entering the late 70s, YSL would drop an absolute bombshell, followed yet again by controversy - Opium (1977) Eau de Toilette. A legend amongst women's perfumes these days,
Opium (1977) Eau de Toilette focused on the spicy-resinous elements, with citrus, clove and pepper in the opening. A couple of flowers would sprout as soon as you'd reach the heart notes, and a complex combination of amber, patchouli, vanilla, opoponax, frankincense, and more would wait for you at the base. The fragrance screamed exotic and glamorous from every angle; a veil of incense and spice - unapologetic, decadent, bold.

However, the fragrance's name, "Opium", sparked plenty of backlash and controversy, especially in the U.S. Hell, there were even some small protests and boycotts due to the name, but these only made Opium (1977) Eau de Toilette all the more desirable. The fragrance sold incredibly well in its first year, with lines being made at department stores, and it rapidly became one of YSL's signature icons.
Opium (1977) Eau de Parfum would follow that same year, which only made things deeper, richer, and more velvety. It went heavier on myrrh, opoponax, amber, and it added a denser carnation note. If anything,
Opium (1977) Eau de Toilette was the daytime scent and
Opium (1977) Eau de Parfum was the nighttime version.
Somehow, it gets even better (commercially, at least). In 1981, YSL released what's become one of the most legendary (and polarizing) scents in men's perfumery. "A fragrance for gods" said its tagline, Kouros Eau de Toilette was indeed not for everyone. It wasn't your clean-boy, elegant and seductive kind of scent. This one was boldness in a bottle. Loved by some, loathed by others - there's no in-between. A sharp, metallic, herbal opening, a spicy floral heart with a hint of incense-like sweetness, and a downright dirty, musky, animalic dry down.

This is where the infamous "sweaty gym god" vibe comes from. This is the fragrance you reached for when you wanted to make a statement, not a suggestion. It's like incense, body heat, and church all rolled in one - heroic, idealized male form, glistening with sweat. If there was a fragrance whose second name was 'unapologetic', it was Kouros Eau de Toilette. It's considered a masterpiece of bold, daring perfumery, even today.
In a total change of pace from the striking and masculine Kouros Eau de Toilette, we stumble across
Paris Eau de Toilette in 1983. If
Kouros Eau de Toilette was the fragrance that captured the essence of masculinity best,
Paris Eau de Toilette is the one that did the same, but with femininity.

We're talking of an iconic mix of florals, rose being the main protagonist. Paris Eau de Toilette opened bright and with slightly green florals - the violet giving the composition an almost cosmetic sparkle. Once reached the heart, the fragrance would strike you with a huge floral bouquet; like walking into a Paris flower shop in spring. And then, iris, sandalwood and musk would finish things on a powdery, soft, slightly woody tone - like a meticulously-written love letter (definitely not from
Kouros Eau de Toilette). Romantic, dressed-up, elegant and unmistakably Parisian, this fragrance became the signature scent of millions of women around the world, and it is considered to be one of the greatest rose/floral fragrances ever made.

As it was the case with Opium (1977) Eau de Toilette, an eau de parfum concentration would also join
Paris Eau de Toilette, and in a similar way to
Opium (1977) Eau de Parfum,
Paris Eau de Parfum would make things richer and deeper, more rose-heavy and velvety, more intimate and romantic. Or the short way: more evening appropriate. This one also found plenty of success, particularly among more devoted fragrance lovers.
As we approach the end of the 20th century, we also approach an era where designers were exploring dark, spicy, oriental fragrances for men. And once again, YSL had something in their sleeves - Opium pour Homme Eau de Toilette.

This was YSL's answer to translating the bold mystique of the original Opium (1977) Eau de Toilette into a masculine form. It opened with a cool, slightly sharp anise note, warming up with peppery spice and a soft woody-vanilla base. Its smoothness depicted a certain scenario in mind: silk shirt, soft lighting and an ever so slightly warm breeze in an Eastern spice market at dusk. Easy to wear, versatile, approachable... It was the opposite of
Kouros Eau de Toilette. And while it did find a loyal fanbase, it wasn't as successful as other releases from the house...
...one being the eau de parfum version - Opium pour Homme Eau de Parfum.

This one was not only deeper and denser than the eau de toilette release, but it also brought an incense-like accord and an emphasis on warmth and mystery. The anise was still present upfront, but it was less fruity than on the EDT. At heart, spices dominated, with hints of myrrh or incense surrounding them. And at the base, the vanilla and amber were notably thicker. All of these made it more intense and longer-lasting than the EDT, which contributed to a better commercial success for the EDP.
Modern Icons: The 2000s to Today
In 1999, Tom Ford took over YSL Rive Gauche, the ready-to-wear line, until 2004. During this time, in 2002, Yves Saint Laurent retired, marking an end to his legendary 40-year career of redefining fashion. He would completely withdraw from public life, focusing on art, writing, and his health, ultimately passing away in June 2008 from brain cancer at the age of 71.
The first fragrance released under Tom Ford's creative and bold direction was M7 (2002) Eau de Toilette - the grandfather of designer oud fragrances. It mixed a fresh and sharp citrusy opening with a smoky, medicinal, almost animalic wood note, followed by a warm, ambery, resinous dry down. These days, this combo of notes might not sound like much, but back in the early 2000s, such a bold and polarizing oud note was ahead of its time.

It introduced oud to the Western market before oud was cool, and hence, the initial reception was rather mixed. Some found it too strong, too dark, too raw; many were still after cleaner aquatics or soapy woods fragrances. But over time, M7 (2002) Eau de Toilette gained cult status, and nowadays a vintage bottle of
M7 (2002) Eau de Toilette is highly sought after by collectors. It is considered a pioneer in the Western oud wave; one of the first "oud stabilizers", and one of the boldest men's fragrance launches ever.
4 years later, with Stefano Pilati succeeding Tom Ford, the YSL house was in for one of their biggest commercial successes ever - L'Homme Eau de Toilette. This fragrance played a completely different game compared to
M7 (2002) Eau de Toilette. It was composed of bergamot, lemon, and a zingy ginger sparkle in the opening, with a spicy and herbal-floral continuance from the violet leaf, basil, and white pepper, and at the base, cedarwood, tonka bean, and vetiver made for a creamy, slightly powdery-woody finale.

Relaxed sophistication, as some might describe it. L'Homme Eau de Toilette ticked most boxes to become the go-to fragrance for most men - versatile, polished, masculine, and almost impossible to dislike. Anywhere, anyone, anyway,
L'Homme Eau de Toilette would fit in beautifully, while still making you smell effortlessly classy. No wonder why it became one of YSL's top-selling fragrances ever. Even today,
L'Homme Eau de Toilette sits comfortably in the top 100 men's perfumes.
However, plenty of flankers for the L'Homme line would follow, and plenty would find just as much success as the original. But one of them would stick out not only from the line, but from the whole fragrance industry, and it would become one of the best-selling fragrances in history, one of the most referenced, and one of the most seductive.

Meet La Nuit de L'Homme Eau de Toilette, one of the most popular nighttime/date fragrances for men ever created. Currently ranked 8th on men's fragrances, its smooth, cardamom-forward opening set the tone for instant seduction, warmth, and slight spicy sweetness. The lavender and cedarwood at the heart would balance the spice with a calm, clean floral-wood duet. And the vetiver and tonka bean would add this soft, sweet-woody character lingering close to the skin like a whisper. What more could you wish for in a date night fragrance? I'll tell you what: stronger performance. The original 2009-2012 batches had significantly better projection and longevity than the newer, reformulated batches. Because of that, many collectors are constantly hunting for older batches of
La Nuit de L'Homme Eau de Toilette, with the batch codes starting with 9-1-2. Thankfully, the scent itself has pretty much remained unchanged.
Following up, we've got a cultural phenomenon, and just like with La Nuit de L'Homme Eau de Toilette, this next one is one of the house's best-sellers -
Black Opium Eau de Parfum. Making it into the top 40 on women's perfume at the time of this writing,
Black Opium Eau de Parfum rapidly became a Gen Z and millennial favorite. How?

I'll tell you how. The opening of Black Opium Eau de Parfum features pink pepper and orange blossom, giving a slightly spicy and fruity edge, which sets the tone for modern and playful. But not for long, as the heart notes of jasmine and coffee, the signature note, would darken things up, whilst keeping things in balance. The coffee note, particularly, gives it a bitter roasted kick, which might sound repulsive or unusual, especially in a women's perfume, but it's done beautifully here. The base notes consist of vanilla, patchouli, and cedar, which translate to creamy, soft, sweet, a little earthy, and stupidly addictive. Some might find it overly sweet, some might find it lacks coffee-vanilla balance, although this seems to be the effect of reformulations, but most women found it irresistible, hence the chart-topping sales numbers and the numerous flankers that would follow.
Finally, let's finish things off just as we started, with one single letter: Y Eau de Parfum. In 2017, YSL released
Y (2017) Eau de Toilette, a men's mass-appealing blue fragrance, which didn't find too much love. Next year, however, the eau de parfum dropped, and even today, it's one of the most popular men's fragrances out there, ranked 55 on men's perfume.

And the thing is, it doesn't reinvent the wheel or do anything outstanding. Its main purpose is to be mass-appealing above all, competing directly with Dior's Sauvage Eau de Parfum, Chanel's
Bleu de Chanel Eau de Parfum, and Armani's
Acqua di Giò Profumo Parfum. And it does an excellent job at it. It combines a juicy apple, crisp and slightly sweet opening, with a fizzy kick from the ginger. It continues into a herbaceous and aromatic composition with sage, juniper berries, and lavender; a smoothed out classic barbershop edge. And at the base, you've got tonka bean, vetiver and frankincense, turning it into a sweet, warm, and resinous craft. It has become the signature scent for millions of men around the world, as it can hold up anywhere, anytime. It's confident, clean, magnetic, and while it's a fragrance hard to be impressed by, it's also a fragrance that will find few haters. And that's its main selling-point.
Present Day: A Near-Unmatchable Legacy

You'll have to forgive me for not keeping it shorter, but there's just so much to talk about Yves Saint Laurent. The house climbed one mountain after another, one success bigger than the previous; all that was needed was a man with a dream, ambition, and no fear from making a statement, no matter how bold it is. Because of Yves' refusal to give up, after going through so many highs and lows at the start of his career, the YSL house is now one of the most iconic, reputable, and successful designer houses in history.

The house is also one of the main pillars of designer perfumery. For over 50 years, they proved that they are here to stay, with fragrances that wouldn't shy away from boldness, unusual, and even controversion. They made it clear that the YSL legacy was going to be one remembered for decades or even centuries. And although nowadays the house has settled for more mass-appealing creations and has steered away from the creative and provocative boldness of the earlier days, they still very much dominate the designer market and they continue to succeed - sometimes commercially, sometimes artistically.
You might then argue, "Well, they built the foundation already with all of their bold statements and releases from the past 40 years or so, and now they play it safe because they know that people will keep buying regardless, because they've built a name for themselves." And you'd be right; many companies in many different fields play the game that way. Take a look at Samsung or Apple, for example - year after year, nearly the same products. Similarly, with fragrances, year after year, few that truly stand out. And that brings me back to the question asked in my Paco Rabanne History blog: is there no more innovation left?

And that's a hard question to answer. These days, if you want to survive in a business, especially in the perfume business, you've got to stand out, in one way or another. People want different, unusual, exciting, unique. Just smelling "good" isn't enough anymore, apparently. And that's why the niche market has been growing lately. Now, am I saying that YSL should go all-in into niche? No, definitely not. They actually have their Le Vestiare des Parfums collection which contains more niche-like offerings. And to me, this seems like the best strategy for most designer houses - two separate collections, one more experimental that makes things from a more niche perspective, and one "main" collection that would primarily represent the brand's perfume branch and that would offer mass-appealing fragrances.

But I've got a better question that would contradict my previous point: do people really care about innovation? Because if most of them did and most didn't just settle with smelling "good", then they wouldn't have bought most mass-appealing, simple, unassuming releases, ultimately forcing designer houses to pretty much go 'niche'. And yet, designers still release year after year fragrances as mass-appealing as they come, meaning that they must be selling pretty well. So to finish things off, because this is getting stupidly long and steering a bit off the main subject, the conclusion is: big brand name, big sales, regardless if the products are groundbreaking or not. For YSL, their 20th century period was full of groundbreaking launches. In recent years, things have settled down significantly, however. But the sales? They've remained excellent, and that's what matters most in the end, right? Right?
What do you think awaits the Yves Saint Laurent house in the future and their perfume branch?









