Norell by Norell (1968)

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“The First Great Perfume Born in America”

My fascination with history is, in large part, the reason behind my obsession with perfume. Perfume is, to my mind, a rare and tangible way to travel back in time. At the beginning of my perfume journey, my aim was to learn as much as I possibly could. While so many aspects of perfumery are interesting to me, I found myself delving more and more into the perfumes of the past. For this, I found one particular resource to be absolutely invaluable: Perfume Legends II: French Feminine Fragrances (a 2019 revision of the original 1996 work) by Michael Edwards. A Bible for those interested in perfumery in general, it is even more valuable to those attempting to trace the lineage of modern perfumery back to its storied origins. 

You can imagine my thrill when I discovered that there was, in fact, a follow up to the 1996/2019 masterpiece focused specifically on the evolution of American fragrances — American Legends (2024). Browsing through the list of incontrovertible classics like Youth Dew by Estée Lauder, Old Spice by Shulton, and Charlie by Revlon, I  came across a name I had never heard before — Norell. 

Even more surprising to me was the fact that it represents the significant milestone of being the first American designer fragrance. How was it that, given I’d considered myself more versed than your average person, I had no idea what Norell was let alone that it held this distinction? It seemed strange, almost unfair, that a fragrance as noteworthy did not enjoy the recognition that its place in history would typically warrant. And down the rabbit hole I went to discover what I could about it…

The History


Norman Norell, born Norman David Levinson in Noblesville, Indiana, is known as the “Dean of American Fashion.” After studying at both Pratt and Parsons, he launched his career in the 1920s, designing costumes for stage and screen for stars like Gloria Swanson and Rudolph Valentino during his time at Paramount Pictures in Queens. He would go on to join Hattie Carnegie with the relocation of the film industry from New York to California, serving as the head of her custom-order house for twelve years. He ventured out on his own only after a dispute with Carnegie over costumes he had designed for Gertrude Lawrence for the Broadway musical Lady in the Dark. With the support and partnership of clothing manufacturer Anthony Traina, Norell launched his career in ready-to-wear fashion in 1941.

By 1960, he had established his own independent fashion house on New York City’s 7th Avenue, dressing the likes of Jacqueline Kennedy Onassis, Judy Garland, Marilyn Monroe, and Lauren Bacall. His signature style, characterized by, “understated glamour, refined sophistication, and inherent sensuality,” revolutionized American ready-to-wear fashion, introducing an elegant, feminine look that continues to inspire contemporary design. His meticulous creations and sophisticated aesthetic were instrumental in establishing the United States as a significant force on the global fashion stage. A founding member of the Council of Fashion Designers of America, he is credited with paving the way for other visionaries like Bill Blass, James Galanos, and Halston.  


Before Norell’s fragrance debut, the American perfume market was undergoing a significant transformation. In the 1960s, the increasing availability of European fragrances resulting from expanding duty-free shops and travel retail fueled an explosion in perfume purchases across the United States. This happened to coincide with a shift in consumer taste — a preference for, “lighter, less cloying,” scents. The ‘modern touch’ of lily of the valley in Madame Rochas, though the fragrance itself was inspired by Chanel No. 5, was evidence of this wider trend. 

This dynamic environment meant Norell’s entry was strategically timed, as increased consumer interest and an emerging preference for modern olfactory profiles created fertile ground for innovation The broader cultural and economic shift, challenging the long-standing dominance of French perfumery, gave rise to a segment of consumers eager for domestic luxury that resonated with contemporary sensibilities. 

The creation of Norell was the result of a strategic partnership with Charles Revson of Revlon. As the story goes, Revson’s wife Lynn was a devoted customer of Norell’s and was key to encouraging her husband to take on a partnership with him to launch what would become not just Norell’s first fragrance, but Revlon’s. With Revlon’s commercial might, key to achieving widespread recognition and effectively challenging European dominance, and Norell’s credibility in the fashion world, the selection of the right perfumer remained.


The weighty task fell to Josephine Catapano of IFF. Already a pioneer and one of the few female noses in the industry, credited with challenging gender stereotypes, Catapano’s involvement would lend even more legitimacy to the undertaking. Her credentials were impressive to say the least, having created iconic fragrances such as Youth Dew for Estee Lauder, Fidji for Guy Laroche, and Zen for Shiseido. 

Her expertise in creating sophisticated, long-lasting compositions was essential to achieving Norell’s vision of a fragrance that could compete with and even challenge the finest French perfumes. Lauded for her ability to balance bold structural accords with refined subtlety, her creation for Norell would be characterized by a striking presence, originality, and sophistication. 

The Fragrance


While classified as a Floral Woody Musk fragrance, experts believe it ventures into chypre territory. This unique and distinct identity would be particularly notable given Norell is credited with popularizing a fragrance profile that would come to dominate the 1970s — the green floral. Its structure approaches the chypre family while maintaining a distinct floral harmony, leading to comparisons with Catapano's earlier work, specifically Fidji. This demonstrates how a perfumer can influence and cross-pollinate scent profiles across different brands and markets and would solidify the green floral as a significant and enduring trend.

Like classic chypres, Norell’s architecture is built upon a melding of citrusy top notes, a floral heart, and a mossy, woody base but with a pronounced green, almost bitter freshness thanks to the heavy use of galbanum. Reviews have described it as a “beautifully-blended green floral,” that begins with bright, crisp opening notes before developing into a sophisticated heart of balanced florals. Noted for its restraint and elegance, it is said to embody “understated American glamour.” 

While most perfumes rely on a dominant accord, Norell's complexity is said to lie in the interplay of its notes: a galbanum-hyacinth opening, a heart of layered, subtly spiced florals, and a woody, mossy base, all converging to create a singular, highly recognizable profile — “almost over the top without being too flamboyant.” A modern, sophisticated, and stylish blend, its notes were as follows:
  • Top:
    • Narcissus
    • Galbanum
    • Hyacinth
    • Lavendar
    • Bergamot
    • Lemon
    • Mandarin Orange
  • Middle:
    • Carnation
    • Iris
    • Jasmine
    • Gardenia
    • Rose
    • Ylang-ylang
    • Orchid
    • Mimosa
    • Arum Lily
    • Cinnamon
    • Cardamom 
    • Coriander
  • Base:
    • Vetiver
    • Oakmoss
    • Sandalwood
    • Cedar
    • Musk
    • Myrrh
    • Vanilla

The Marketing

Norman Norell’s intention to directly challenge European dominance over the world of luxury was a thread that ran from the development of the perfume itself through to its marketing and ultimately its legacy. The 1960s marked a period during which American designers were beginning to assert their independence and establish their own aesthetic identity. In this context, Norell’s launch was not just a brand extension but a bold statement of American fashion’s coming of age.

The fragrance was marketed as luxurious and exclusive, a deliberate and direct contrast to the perception that Chanel No. 5 was becoming, “old fashioned and out of step,” because of its widespread availability which extended to drugstores. This direct competitive maneuver was intended to position Norell as the new standard of luxury, a strategy reinforced by its exclusive launch at the prestigious  Bonwit Teller in New York, aligning with Norell's high-end fashion clientele. 


Fusing fashion branding with mass-market accessibility, in direct contrast to the exclusivity of French couture perfumes, he intended to reach both the upper echelons of society and aspirational consumers. The pricing strategy reflected this goal; at $50 an ounce, a significant premium at the time, Norell was marketed as, “attainable luxury.”

The fragrance served as an extension of Norell’s fashion aesthetic. His designs were known for their clean lines, impeccable tailoring, and understated luxury and the fragrance brought this design philosophy into the olfactory realm, creating a, “complete lifestyle proposition.” This started with the bottle itself, which Norell personally designed to reflect the harmonious blend of simplicity and grandeur that characterized his haute couture roots. It extended to the packaging, marketing materials, and advertising imagery which were crafted to communicate the “couture-standard” elegance and “understated glamour” of his visual style. 

The broader product line further highlighted this “comprehensive luxury brand experience,” with ancillaries including a cologne, perfumed dusting powder, body lustre, lipstick, mirrors, and gift sets, elevating the fragrance beyond its function to an aspirational status symbol. 


The Reception

Norell was an instant success bringing in over $1 million in its first year of sales and tripling to $3 million the following year. Incidentally, this was more than enough for Norman Norell to buy out the silent partners in his fashion business and achieve sole ownership of his fashion house, securing his legacy as a solo fashion designer. This success was significant in no small part because it was the first major test of whether or not American consumers were ready to embrace a luxury fragrance from an American designer. 

The composition itself was praised for its balance, longevity, and elegant development with critics describing it as, “bold and assertive.” Though scorned by some for its green, bitter facets, its seamless transition from aldehydic greenness to lush florals and finally to a refined, soapy, musky drydown garnered praise. Today, it is venerated as an exemplar of sophisticated American perfumery and a benchmark for designer fragrances.


Beyond its financial triumph, and arguably more importantly, Norell achieved a deeper cultural resonance. It quickly became the “olfactory embodiment of new American confidence,” resonating, in particular, with American women who, in asserting greater independence and sophistication during a period of marked social change, sought products that reflected their evolving identity. It was considered “de rigueur” for the rising demographic of female executives throughout the country to prominently display Norell perfume bottles on their desks, transforming the fragrance from a mere product into a powerful symbol of professional success. A tangible representation of the successful entry of women into previously male-dominated spaces and the evolving role of women more broadly, its popularity only grew in the 1970s. 

Norell Today

Despite its initial success and cultural resonance, the original Norell fragrance eventually, “left the public mindset and faded into near oblivion.” This is likely the reason why I had never encountered it before. Though an attempt was made to launch a follow up fragrance, Norell II, in 1979 after Norman Norell’s passing, it was not met with the same enthusiasm or success as its predecessor.

Aside from the obvious slowing commercial performance, shifting consumer tastes, and regulatory restrictions, it would appear that ownership changes may have also been partially to blame for its waning popularity. Revlon would first sell the license to the Norell name to Prestige Fragrances in 1989 after which it was sold on to Five Star Fragrances in 1997, before ultimately landing with its current owner, Parlux Fragrances in 2015. 

This also meant that the original prestige associated with Norell would give way to broader department store availability and period discounter sales as the different licensees adopted varrying strategies pertaining to its production and distribution. The original formula was not spared either because of restrictions on the use of components essential to it like oakmoss and galbanum as well as for cost-associated reasons. 

Nevertheless, 2015 would witness a strategic revival of the fragrance under Parlux’s stewardship. A modern interpretation emerged as a result with a brief that requested the “bones” of the original be respected. IFF perfumer Celine Barel was behind the star of the lineup, renamed Norell New York, with flankers like Norell Elixir and Norell Blushing following in 2016 and 2017 respectively.


Norell New York was updated through the addition of notes like pear to give it a modern twist, with the galbanum that defined the original, though listed among the notes, almost entirely absent from the scent profile. The result was what reviewers described as, “an initial barrage of flowers and pear with a hint of citrus, drenched in a nearly gourmand toasted sweetness,” lending a more, “transparent radiance.” Norell Blushing is an unapologetically fruity floral while Norell Elixir is a darker, spicier take featuring plum, pink pepper, pimento, and Indian tuberose. 

The aim here was to, “reinvent a timeless classic,” to appeal to contemporary tastes and align with regulatory realities. The campaign surrounding its launch leaned heavily on the iconic heritage of the original. Riley Keough, Elvis Presley’s grandaughter, served as its face, dressed in original Norell designs, while Michael Avedon, grandson of Richard Avedon, would photograph in a deliberate effort to reference this heritage and create a sense of continuity. Also noteworthy was the return of its luxury positioning — a limited edition Extrait offered in a bespoke Baccarat bottle retailed for $1,500 with a total of only 500 bottles produced. 

While this effort did not achieve the mass market penetration of some contemporary designer offerings, the fragrances maintain a niche, respected position in the luxury fragrance market. Norell New York, in particular, was lauded by critics for daring to remain a proud, sophisticated green floral, though more luminous and fluid than the original, in an era dominated by, “sweet, fruity florals or watery musks.” 

My Thoughts


In my perfume cabinet, I now have the original Norell in parfum form by Norell Perfumes Inc., the perfume spray from Prestige Fragrances, the cologne spray from Five Star Fragrances, and 2015’s Norell New York from Parlux as a mini splash. I can honestly say, more than any other reformulation or rebrand I’ve come across, that each of these is largely a completely different fragrance.

The original Norell parfum is much like it is described; a sharp green complemented by a mossy, musky, woody dry down. I do note the similarity to Fidji though it is slightly more polished in my opinion. It also reminds me ever so slightly of the original Miss Dior but I suspect that is the, “love it or hate it,” galbanum heavily featured in both perfumes. Though I do detect the galbanum in the perfume spray from Prestige Fragrances, it very quickly dried down to a fancy, classic hotel soap on my skin. Five Star Fragrances’ cologne spray is, by far, my least favourite. To me, it smelled more like a budget Chanel No. 5 knock off mixed with Johnson’s Baby Shampoo. 

To my disappointment, the word I would use to describe Norell New York is, “blah.” I don’t find it to be green at all though it is described as such in some circles. To me, it is actually just another sweet floral. Don’t misunderstand me, it isn’t displeasing by any means. It’s just boring. I may actually be glad I shelled out a negligible amount for this 7.5 ml bottle and I have no intention of repurchasing it at any point. 

The Legacy

Norell's legacy is a long list of historic firsts: the first American designer perfume, the first declaration that American fashion had achieved sufficient prestige to support a luxury fragrance venture, the blueprint that would open the floodgates for countless other American designers, and one of the first green florals. As this story shows, the list could go on and on…

Norell was the first American designer to launch a namesake fragrance, a groundbreaking achievement that positioned the perfume as the “epitome of American haute couture,” in the realm of scent. This distinction alone would be enough to secure its place in history, however, the success of Norell would also set an important precedent that fundamentally changed the industry landscape. It provided a blueprint and the confidence for American designers to assert their own olfactory identities. 

By creating the first American designer fragrance, Norman Norell established a new paradigm, one that reshaped both the American fashion and fragrance industries. It marked a new chapter in the country’s cultural confidence, validating both the commercial viability and the prestige potential of American-designed fragrances. The fact that American perfumery could achieve international recognition and commercial success helped establish New York as a legitimate fragrance centre alongside Paris and other European capitals. According to fashion historians, it marked a crucial moment in the evolution of American fashion from being derivative of European trends to the establishing its own distinct identity. 

A harbinger of the designer fragrance boom to come, Norell’s creation pioneered a path that would become a standard business expansion strategy for fashion houses. The subsequent entry of Calvin Klein, Ralph Lauren, Oscar de la Renta, and countless others into the fragrance market provides ample evidence of this. Responsible for a transformation that shaped the way American consumers related to both clothing and perfume, Norell is often cited as the scent that made, “ready-to-wear,” synonymous with, “ready-to-scent.”

The collaboration model behind Norell’s development would also become a template for fashion-fragrance partnerships. A prestigious fashion designer such as Norman Norell joining forces with a major cosmetics company like Revlon and a master perfumer like Josephine Catapano became the standard model for luxury designer fragrance development. It would define countless subsequent launches, from Halton and Bill Blass to Oscar de la Renta, and help to create the multi-billion dollar designer fragrance industry we know today. 


In an era when consumers sought 'lighter, less cloying scents,' the crisp, sometimes bitter greenness of Norell offered a fresh, contemporary alternative to traditional heavy florals and aldehydes. It effectively defined a trend rather than following one, solidifying the green floral as a symbol of modern luxury and elegance and shaping the olfactory landscape for an entire decade. Widely credited as the progenitor of the, “American green floral chypre,” it spurred a new wave of similar scents including Aliage by Estée Lauder, Aromatics Elixir by Clinique, and even No. 19 by Chanel.  


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