Farouche by Nina Ricci was launched in 1973, a moment when perfume names were becoming more expressive, psychological, and even provocative. The choice of the name "Farouche" was deliberate and telling. The word is French, pronounced fah-ROOSH. In French, "Farouche" describes something untamed, fierce, elusive, or proudly independent. It can suggest a wildness that is not aggressive, but self-possessed—someone who does not yield easily, who keeps a certain mystery and distance. The word evokes images of a woman who is not immediately accessible: strong, instinctive, sensual, and slightly aloof. Emotionally, "Farouche" suggests tension between softness and strength, beauty and defiance, elegance and raw instinct.
The perfume was introduced during the early 1970s, a period defined by cultural upheaval, self-expression, and shifting ideals of femininity. This era followed the social revolutions of the late 1960s and is often associated with second-wave feminism, sexual liberation, and a rejection of rigid traditional roles. Fashion reflected this transformation: flowing silhouettes, dramatic prints, earthy tones, bold makeup, and a growing mix of masculinity and femininity in women’s dress. In perfumery, this period marked a move away from purely romantic, innocent florals toward more complex, assertive compositions—chypres, aldehydes, and bold florals that conveyed confidence and individuality. A perfume called "Farouche" would have resonated deeply with women of the time, offering them a fragrant expression of autonomy, strength, and modern sophistication.
For women in 1973, wearing "Farouche" would not have felt decorative or submissive. Instead, it would have felt like a statement—an olfactory reflection of a woman who knew herself and was unafraid to stand apart. The name alone suggested a refusal to be easily categorized, aligning perfectly with the evolving identity of women who were embracing professional lives, personal freedom, and self-definition. "Farouche" spoke to a woman who was elegant but not fragile, sensual but not predictable.
Interpreted through scent, "Farouche" becomes an expression of controlled intensity. Created by Michel Hy, the fragrance is classified as an aldehydic floral chypre, a structure known for its sophistication and dramatic contrasts. Aldehydes lend an immediate brightness and lift at the opening—clean, sparkling, and almost abstract—before giving way to a luminous floral heart. Jasmine and rose absolute form the core, enriched by rare oriental fruits and woodsy blossoms, creating a layered and slightly enigmatic floral character. The base settles into a powdery, feminine softness, offering warmth and intimacy without sacrificing strength. Reportedly composed of 100 precious ingredients, including innovative dosages of woody and fruity notes, "Farouche" was designed to feel expansive, evolving, and alive on the skin.
Within the context of other fragrances on the market in the early 1970s, "Farouche" both aligned with and elevated prevailing trends. Aldehydic florals and chypres were already established, but Nina Ricci’s emphasis on richness, natural materials, and complexity set it apart from more aggressively synthetic launches of the time. Rather than chasing novelty for its own sake, "Farouche" offered depth, craftsmanship, and emotional presence—qualities increasingly valued by discerning perfume wearers.
This philosophy was articulated clearly by Robert Ricci in 1978, when he stated: "Many new perfumes are just chemical mixtures. They are 'dead' fragrances that grow boring because they don't have the warm life of natural essences. We use some laboratory-made elements, but a great perfume must be made of mostly natural ingredients." At the time, Ricci was touring the United States to promote "Farouche," which had only recently been introduced there. He emphasized patience and authenticity over mass-market tactics, explaining, "That makes it still a new perfume. It is not wise to make a blitz, as you say, to introduce a couture fragrance. If it has validity, it must find its patrons, who will tell others, and thus its grows."
"Farouche" was conceived when Ricci recognized the need for a counterpart to the iconic L’Air du Temps, a fragrance instantly recognizable worldwide thanks to its Lalique dove bottle. As Ricci himself acknowledged, "When you have been identified so strongly with one great perfume, it is most difficult to launch a second with success." Yet the changing cultural climate made it necessary. "But our changing times caused me to think that we should create a new fragrance, with dash, for a sophisticated effect." The result was "Farouche," a perfume that did not seek to replace its predecessor but to speak to a more assertive, modern woman.
Ricci also highlighted the technical and artistic challenges behind its creation, noting, "And there is the problem of translating it into production quantities! That is another difference from all-chemical fragrances. We produce in small quantities, blending with batches from past years, as they do with Champagne. Chemical kinds are simply mixed and run off, as it were." Composed by Michel Hy using over 100 ingredients, "Farouche" was designed to unfold fully on contact with the skin, creating a fragrance that adapts to the individual wearer. In this way, "Farouche" became not just a perfume, but a personal signature—fierce, elegant, and unmistakably alive.
Fragrance Composition:
So what does it smell like? Farouche is classified as an aldehydic floral chypre fragrance for women. Memorable meld of jasmine, rose absolute, rare oriental fruits, woodsy blossoms. It starts off with a fresh aldehydic top note, followed by a radiant light floral heart, resting on a powdery, feminine base. It was reportedly made up of 100 precious ingredients, including a new dosage of woody and fruity scents.
- Top notes: aldehydes, leafy green note, mandarin orange, orange blossom, galbanum, peach and bergamot
- Middle notes: broom blossom, cyclamen, honeysuckle, Indian carnation, orris, lily, clary sage, jasmine absolute, lily-of-the-valley, ylang ylang, rose absolute, geranium and cardamom
- Base notes: orange leaves, Mysore sandalwood, ambergris, musk, oakmoss and vetiver
Scent Profile:
Farouche opens with a shimmering, almost electric lift, the unmistakable signature of aldehydes. These airy, laboratory-created molecules smell clean, sparkling, and abstract—like cold light bouncing off polished metal or freshly laundered linen warmed by skin. Aldehydes do not imitate nature; instead, they magnify it. Here, they act as a luminous veil, heightening everything that follows. Beneath this brightness, a leafy green note emerges, crisp and slightly bitter, evoking crushed stems and sap. Galbanum deepens this greenness with its sharp, resinous bite—dark green, almost pine-like, and intensely vegetal—anchoring the sparkle with tension and depth.
Bergamot adds a refined citrus freshness, its Italian origin traditionally prized for its balanced bitterness and floral nuance, while mandarin orange brings a softer, sweeter citrus glow. Orange blossom introduces a white floral radiance—honeyed, faintly indolic, and gently narcotic—while peach contributes a velvety, lactonic softness, its fruity fleshiness rounding the sharper edges of the opening.
As Farouche unfolds, the heart becomes richly floral yet carefully controlled, each bloom distinct but harmonized. Broom blossom lends a warm, hay-like sweetness, sunlit and slightly almond-tinged, while cyclamen adds a cool, watery floral transparency that keeps the bouquet buoyant. Honeysuckle drips with nectar-like sweetness, evoking warm air and flowering vines, while Indian carnation—far spicier and more complex than its European counterparts—introduces clove-like warmth and a subtle peppery heat. Orris, derived from the aged rhizomes of iris plants (often Italian or Tuscan in character), smells powdery, rooty, and softly buttery, imparting elegance and a cosmetic smoothness. Lily and lily-of-the-valley contribute brightness and innocence—fresh, green, and dewy—while clary sage adds an herbal, slightly musky nuance that feels both aromatic and skin-like.
Jasmine absolute forms one of the emotional centers of Farouche. Rich, indolic, and faintly animalic, it suggests warm skin and night-blooming flowers, its depth amplified by synthetic elements that extend its diffusion and longevity. Rose absolute follows, lush and velvety, with a honeyed, wine-dark richness that speaks of classic perfumery; its complexity is enhanced by subtle aroma chemicals that emphasize freshness and petal clarity without overwhelming its natural soul. Ylang ylang brings creamy, banana-like florality with a tropical warmth, while geranium adds a rosy-green sharpness, bridging floral and leafy facets. Cardamom threads through the heart with aromatic spice—cool, citrusy, and gently peppered—adding lift and intrigue rather than heat.
The base of Farouche settles into a sensual, softly shadowed chypre foundation. Orange leaves echo the brightness of the opening but now feel dry and gently bitter, like sun-warmed foliage. Mysore sandalwood, long considered the gold standard of sandalwood due to its creamy richness and natural oil content, brings a smooth, milky woodiness unlike the sharper varieties from other regions. It smells warm, intimate, and quietly luxurious.
Vetiver contributes earthy depth—smoky, grassy, and slightly damp—its roots grounding the composition. Oakmoss provides the classic chypre backbone: dark, forest-like, and slightly salty, evoking shaded woods and aged stone. Ambergris adds a soft, marine warmth and subtle animalic glow, blurring the line between skin and scent, while musk—largely synthetic by this era—wraps everything in a clean, sensual softness that prolongs the fragrance’s presence without heaviness.
Together, these elements—natural essences enhanced by carefully chosen synthetics—create the living complexity Farouche was celebrated for. The aroma chemicals do not replace nature here; they illuminate it, extending the life of fragile florals, polishing rough edges, and allowing the perfume to unfold slowly on skin. The result is a fragrance that moves from brilliance to intimacy, from sparkling confidence to powdery, feminine warmth—untamed yet refined, true to the spirit of its name.
The American Home, 1977:
"Nina Ricci's new fragrance, Farouche (French for both "wild" and "shy"), is created from jasmine, rose absolute, rare Oriental fruits, and woodsy blossoms— all meant to complement your personality. 2-oz. Eau de Toilette Spray (refillable)."
House Beautiful, 1977:
"Andrea de Portago, who is half Spanish nobility (her father's side) and half Southern belle (her mother's), is the new model and spokesperson for Nina Ricci's "Farouche" fragrance."
Bottles:
Farouche was offered as a complete luxury fragrance ritual, available in parfum, eau de parfum, eau de toilette, bath oil, creme parfumee (perfumed body lotion), dusting powder, deodorant spray, and perfumed soap. This range allowed the wearer to layer the scent in different ways, from the intimate richness of parfum to the lighter, more casual expression of the eau de toilette, extending the fragrance into everyday life through bathing and body care. Such breadth reflected Nina Ricci’s couture approach to perfumery, where scent was not a single product but an atmosphere surrounding the woman who wore it.
Parfum:
The parfum was the jewel of the collection and was presented in a deluxe Lalique crystal original flacon of remarkable symbolic and artistic ambition called the "Flacon Volutes". The bottle was composed of two solid crystal volutes—graceful, sculptural curves—embracing a frosted crystal heart at the center. This design was intended to symbolize the “inner woman,” a poetic metaphor suggesting emotional depth, sensuality, and mystery protected within strength. Each piece was individually signed by Lalique, reinforcing its status not merely as packaging, but as a work of decorative art. From the moment of its release, the flacon was destined to be a collector’s item, joining the lineage of celebrated Nina Ricci bottles revered by perfume and crystal connoisseurs alike.
Alongside the deluxe presentation, both the parfum and the eau de toilette were also available in the more restrained Lalique “Classical Flacon,” as well as in spray formats. These versions offered accessibility without sacrificing elegance, maintaining the brand’s refined aesthetic while allowing the fragrance to reach a broader audience. Even in its simpler forms, the presence of Lalique glass ensured a sense of continuity with Nina Ricci’s artistic heritage.
The "Lalique Classical Flacon" used for the Parfum shown below, was available in 1/4 oz, 1/2 oz and 1 oz sizes.
The cost of Farouche at launch clearly positioned it as a true luxury. The heart-shaped one-ounce Lalique crystal deluxe parfum flacon retailed at $75, a considerable sum at the time—equivalent to approximately $522.75 in 2025’s money, according to an inflation calculator. By comparison, the same amount of parfum in the plainer Lalique Classical Flacon sold for $40 an ounce, or about $278.80 in 2025’s terms. This pricing emphasized not only the value of the fragrance itself, but also the artistry and exclusivity of the crystal object that contained it.
Contemporary press captured the spirit of Farouche and the woman it was meant to embody. Vogue in 1977 wrote: “There is a special kind of woman the French call ‘Farouche. … In her image, Nina Ricci, Paris, has created a soft but sensuous fragrance. … And in her honor, has named it Farouche. Perhaps, you are the Farouche woman.” The magazine went on to highlight the prestige of the presentation: “The Farouche Deluxe Parfum Flacon is a Lalique Crystal Original bearing the Lalique signature. The longer you know the Farouche woman the more interesting she becomes.”
Another contemporary observation reinforced this image, noting that “Nina Ricci characterizes its Farouche perfume as a lady ‘independent but not aggressive; strong, but unimpeachably feminine.’” The writer added, “Sounds like Jackie O. to me. Anyway, Farouche smells lovely, simply lovely, $85 in Lalique crystal.” Together, these descriptions framed Farouche not just as a fragrance, but as a portrait of a woman—complex, elegant, quietly powerful—encased in crystal as refined and enduring as the ideal it represented.
Other Parfum Bottles:
- 1/5 oz Refillable Parfum Purse Spray
- 3.3 oz Eau de Toilette Splash
- 6.6 oz Eau de Toilette Splash
- 2 oz Refillable Eau de Toilette Spray
- 3.75 oz Eau de Toilette Spray
Eau de Parfum:
Bath Oil:
The Farouche bath oil was conceived as a sensorial extension of the fragrance, transforming an everyday ritual into something indulgent and intimate. At its core was mineral oil, chosen for its smooth, weightless glide and its ability to coat the skin with a soft, protective veil. Odorless and stable, it allowed the fragrance to remain true and unaltered, while imparting a silky afterfeel that lingered long after the bath water had drained away. Mineral spirits were included in small, controlled amounts to help thin the formula and improve its spreadability, ensuring the oil dispersed evenly through warm water rather than pooling on the surface.
The fragrance itself infused the bath oil with the unmistakable character of Farouche—softly aldehydic, floral, and subtly powdery—so that steam rising from the bath carried gentle echoes of jasmine, rose, and mossy warmth. Oleth-10, a non-ionic emulsifier derived from oleyl alcohol, played a quiet but essential role. It helped bind oil and water, allowing the bath oil to cloud the water slightly and rinse more cleanly from the skin, preventing an overly greasy residue while maintaining a luxurious slip.
Perhaps the most evocative ingredient was mink oil, prized at the time for its richness and skin-conditioning properties. Naturally high in palmitoleic acid, mink oil closely resembles the lipids found in human skin, which gave it a reputation for deep moisturization and a supple, almost satin-like finish. In the context of Farouche, it added a sense of warmth and intimacy, reinforcing the idea of the bath oil as a nurturing, feminine indulgence rather than a purely functional product. Together, these ingredients created a bath experience that was not only fragrant, but enveloping—leaving the skin lightly perfumed, softened, and subtly glowing, as though wrapped in the quiet luxury that defined Farouche itself.
Body Lotion:
Soaps:
Dusting Powder:
In 1977/1978, Farouche was available in the following formats:
- Parfum Presentations: "Volutes" crystal bottles, original creation in Lalique crystal. Available in various sizes; purse atomizers; perfume atomizers
- Related Products: Eau de Toilette splashes (3 sizes); Eau de Toilette atomizers; Eau de Toilette - 4 oz deluxe, - 2 oz refillable; Natural Eau de Toilette spray (2.5 oz)
- Ancillary Products: Matching toiletries; Creamy shower soap
In 1984–1985, Farouche was presented as a refined yet assertive fragrance line, fully expressing the perfume’s independent and sophisticated character. The collection balanced high artistic luxury with practical formats, allowing Farouche to be worn as an intimate signature scent or enjoyed as part of a complete daily ritual. Every element of the line echoed the fragrance’s identity—elegant, confident, and quietly powerful.
At the pinnacle of the range were the “Volutes”parfums bottles, the original sculptural design executed in Lalique crystal. Available in two sizes, these bottles were conceived as true objets d’art, their sweeping crystal curves embracing the heart of the fragrance and symbolizing inner strength and femininity. Alongside these collector pieces, the parfum was also offered in presentation bottles in four sizes, providing a more traditional yet still luxurious alternative. A purse spray completed the extrait offerings, allowing the wearer to carry the essence of Farouche discreetly and elegantly.
The Eau de Toilette line emphasized versatility and modern convenience. It was available as a splash in three sizes, appealing to those who favored a classic method of application. For more contemporary use, the fragrance was offered in a generous 4 oz (120 ml) spray, a 60 ml refillable spray that combined practicality with sustainability, and a 2.5 oz (75 ml) natural spray, ideal for everyday wear. These options allowed Farouche to adapt to different lifestyles while maintaining its distinctive presence.
Extending beyond fragrance alone, the accessories transformed Farouche into a complete sensory experience. The line included 100 g perfumed soaps, a 150 ml perfumed body lotion, and a perfumed foaming bath designed to envelop the skin in softness and scent. A perfumed talcum powder in a 100 g travel-size flexible bottle offered a lighter, powdery expression of the fragrance, while a 150 ml cream soap provided gentle daily cleansing.
Together, the 1984–1985 Farouche product line reflected Nina Ricci’s couture philosophy: fragrance as both art and ritual. Through its Lalique crystal masterpieces, thoughtfully designed sprays, and indulgent body-care offerings, Farouche was presented not merely as a perfume, but as a confident, elegant way of life.
Fate of the Fragrance:
Although the exact date of discontinuation is unknown, the fate of several Nina Ricci fragrances reveals a telling contrast between European and American perfume culture in the mid- to late-twentieth century. Despite their exceptional quality, four Nina Ricci perfumes—Coeur Joie, Capricci, Farouche, and Fleurs de Fleurs—failed to gain lasting success in the American market, even as they continued to be well received in Europe. This divergence was not due to craftsmanship or artistic merit, but rather to differing cultural expectations around scent, femininity, and presentation.
At the time, many American women favored fragrances that made an immediate and powerful statement—bold, assertive compositions with strong projection and overt sensuality. In contrast, European women tended to appreciate lighter, more nuanced, and floral perfumes that unfolded gradually and remained closer to the skin. These softer compositions were valued not for their force, but for their elegance and subtle emotional effect. Nina Ricci’s fragrances, with their refined structures and gentle sophistication, aligned naturally with European sensibilities but often felt too restrained for American tastes.
Another crucial difference lay in how perfume itself was perceived. In Europe, fragrance was—and remains—an extension of personal refinement, something that enhances femininity rather than dominates it. European women placed great importance on the artistry of perfume bottles and packaging, especially when crafted in decorative crystal. A perfume was not only worn, but displayed and cherished as an object of beauty. This appreciation for visual elegance strongly complemented Nina Ricci’s heritage, particularly its association with exquisitely designed Lalique bottles.
In the United States, however, packaging was often secondary to the scent’s impact. The emphasis leaned toward immediacy and intensity rather than romance and subtlety. This cultural divide was succinctly captured by Lina Vitali, vice president of Parfums Nina Ricci, USA, in 1989: “The French image of perfume is very romantic, feminine and sophisticated,” she explained. “The American perfume’s image is more aggressive, sexual and overpowering.” Her observation highlights how deeply national identity and cultural values influence perfume preferences.
Ultimately, the discontinuation of these fragrances in the American market underscores the challenge of translating a distinctly French vision of perfume across cultural boundaries. While Coeur Joie, Capricci, Farouche, and Fleurs de Fleurs embodied elegance, artistry, and restraint—qualities prized in Europe—they struggled in a market that favored boldness and immediacy. Their continued success abroad stands as a testament to the enduring appeal of Nina Ricci’s romantic, feminine, and sophisticated approach to perfumery.
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