My Sin by Lanvin c1924

The design house of Lanvin was a pioneer in the perfume industry, among the first to offer fragrances as part of a broader collection. One of its most intriguing and evocative creations was My Sin, launched in 1924. Initially trademarked in Paris under the name Mon Péché, the perfume was reintroduced to the United States under the name My Sin in 1925, where it became an immediate success. But why choose the name "My Sin"? What does it convey? The phrase is an English expression, pronounced as “my sin”. The word “sin” typically refers to an immoral act or a transgression against divine law, which imbues the name with a sense of forbidden allure. The term evokes imagery of guilt, temptation, and indulgence, appealing to the more decadent, daring side of femininity. It suggests a transgressive pleasure, as if the wearer is embracing a small, personal rebellion or flirtation with the idea of excess.

The name would have stirred emotions of both allure and danger. The word “sin” in this context could be seen as a metaphor for the powerful and irresistible appeal of the fragrance, suggesting something that women might be tempted to wear to make a statement or to evoke a sense of mystery and sophistication. The emotions it evokes are undoubtedly complex — combining the allure of something forbidden with the excitement of indulging in one’s desires. The name could have resonated with women seeking an expression of both independence and sensuality in the 1920s, a time when women were breaking free from previous social constraints and embracing new, liberated identities.

1924, the year My Sin was created, was during the roaring 1920s, a period characterized by exuberance, hedonism, and a dramatic shift in societal norms. Known as the Jazz Age, this time period saw women, dubbed flappers, shedding the restrictive fashions of the previous century and embracing shorter hair, shorter skirts, and more relaxed styles. The era was marked by the rise of the Art Deco movement, which celebrated modernity, innovation, and sleek, geometric designs. Women during this period were becoming more liberated, both socially and sexually, embracing their freedom to express themselves in new ways. My Sin, with its bold name and daring fragrance, would have resonated strongly with these women, who were willing to experiment with their appearances and behavior, making a statement that combined sophistication with a hint of rebellion. To wear My Sin would be to embrace the sensual, confident, and sometimes audacious spirit of the time.

My Sin was created through a collaboration between Firmenich and Madame Maria Zede, an experienced nose working with Gabilla Perfumerie. Gabilla had originally introduced the perfume in 1920, but it was under the direction of Jeanne Lanvin that it became a global sensation. Lanvin's keen understanding of the American market, combined with her ability to work with experienced perfume houses, helped My Sin transcend its initial failure in Paris and become a hit in the United States. According to Charles Panati in Extraordinary Origins of Everyday Things, Lanvin took what had initially failed in Paris and "capitalized on the American desire for French perfumes," renaming it My Sin and turning it into a resounding success in America. The perfume's success was not just due to its scent but also its association with French glamour, luxury, and artistry, making it immensely appealing to American women during the 1920s.

The bottle design for Gabilla's My Sin also carried its own allure. It featured a round black glass flacon, molded with flowers and richly gilded, complete with a matching gilt stopper. The design was created by Julien Viard and manufactured by C. Depinoix, the same artisans behind another Gabilla perfume from the 1920s, Minne. Fashion houses like Lanvin often relied on established perfume companies like Gabilla to assist in creating and presenting their fragrances, as they lacked the in-house perfumery expertise. Gabilla operated in anonymity, their involvement only becoming clear through the choice of names and the distinctive bottle designs used for various perfumes.

So, how would My Sin be interpreted through its scent? Classified as a floral fragrance, it contains an intoxicating blend of notes that mirror its name and the emotions it evokes. The top notes open with a fresh, crisp aldehydic blast, followed by delicate hints of bergamot, heliotrope, acacia, and mimosa. These give way to the heart of the perfume, where the complex bouquet blooms with gardenia, rose, ylang-ylang, hyacinths, violet, orange blossom, and lilac. The florals are lush, sweet, and opulent, exuding femininity in its most enchanting and seductive form. The base notes provide depth and warmth, with a sensual mix of oakmoss, sandalwood, musk, vanilla, patchouli, and civet, creating an earthy, balsamic foundation that lingers on the skin.

In the context of other fragrances of the time, My Sin was both part of a larger trend and ahead of its time. Aldehydes, which had become a hallmark of Chanel No. 5, launched just a few years prior, were widely used in the 1920s for their ability to add a clean, fresh opening to fragrances. My Sin shared this characteristic with other perfumes of the period, but its combination of floral richness, sweet balsamic undertones, and daringly exotic notes like acacia and civet set it apart. It was more complex and daring than many other floral perfumes of the time, capturing the bold and dynamic spirit of the 1920s while also offering something novel and irresistible.

In conclusion, My Sin was not only a fragrance but an emotional experience. It was a scent designed to evoke both attraction and rebellion, embodying the spirit of the Jazz Age while also tapping into the fantasies and desires of women eager to embrace a more liberated, sensual existence. My Sin was a perfume of mystery, enchantment, and allure — a perfect expression of the transformative decade in which it was launched.

 

Original Fragrance Composition:

So what does it smell like? It is classified as a floral fragrance for women with a dominant acacia note with aldehydic character. It begins with a fresh aldehydic top with additional notes of bergamot, heliotrope, acacia and mimosa, followed by a sweet floral heart of gardenia, rose, ylang ylang, hyacinths, violet, orange blossom, and lilac, layered over a sweet, balsamic, woody base with oakmoss, sandalwood, musk, vanilla, patchouli and civet.

• Top notes: saxifrage, aldehydes, lemon, clary sage, seringa, neroli, peony, dianthus, delphinium, carnation, bergamot, heliotrope, acacia, mimosa, white hyacinth
• Middle notes: magnolia, elderberry, gardenia, white narcissus, clove, orris, orange blossom, lily, Grasse jasmine, violet, oriental rose, tuberose, lily of the valley, white lilac, iris, jonquil, ylang ylang
• Base notes: oakmoss, leather, vanilla, Virginia cedar, ambergris, vanilla, tolu balsam, styrax, patchouli, Tibetan musk, vetiver, civet, Mysore sandalwood, privet, saxifrage, shore grasses 

 

Le Petit Parisien : journal quotidien du soir, 1941:

"More tender and intimate, My Sin blends the subtle aromas of gardenia and heliotrope with the more captivating notes of vanilla and tuberose, creating a fragrance that feels deeply personal and alluring."

L'Amour de l'art, 1950:

"My Sin by Lanvin: A fragrance we adore yet keep to ourselves, its delicate and precise blend of gardenia, heliotrope, vanilla, and tuberose revealing the depth of your personality."

Combat, 1955:

"Mon Péché Parfum by Lanvin – The fragrance of an endless bouquet surrounds a young blonde adorned with flowers. The sharpness of mock orange mingles with the delicacy of white hyacinths. Warm, smooth notes of heliotrope, tuberose, and gardenia blend seamlessly with the leafy freshness of ylang ylang and white lilac. The morning breeze stirs the ecru lace of privet and elderberry. The debutante pulls her ballet costume up over her chest, embracing the freshness without the need for the dilution of eau de cologne."

Scent Profile:

In the top notes of My Sin, you are first greeted by the crystalline freshness of aldehydes, their sharp, almost soapy clarity gliding through the air with an uplifting, effervescent quality. This fresh, sparkling introduction is immediately softened by the subtle, citrusy warmth of bergamot, which adds a touch of brightness and zest, like the first rays of sunlight cutting through the morning mist. 

Then, the delicate, almost powdery nature of heliotrope drifts in, its soft, almond-like sweetness intertwining with the scent of acacia. The acacia, with its honeyed, floral profile, evokes the delicate whisper of yellow blooms in a sunlit garden, while the mimosa adds a silky, slightly green texture, its sweet floral scent reminiscent of fresh spring air. White hyacinth enters the composition with a lush, clean fragrance that brings to mind the scent of newly opened flowers, sweet and slightly soapy, enhancing the overall freshness of this opening.

As the fragrance evolves into its heart, the floral bouquet becomes richer and more intricate. The lushness of gardenia envelops you, its creamy, almost waxy sweetness blending with the subtle, rosy undertones of violet. Here, the blend of flowers takes on a dreamy, soft femininity. Rose adds its timeless, romantic appeal, while ylang ylang brings an exotic, almost fruity richness to the heart of the fragrance. This tropical flower, with its heady, sweet aroma, flirts with the sweet-spicy nature of clove, adding depth and complexity to the fragrance. 

Orange blossom, with its ethereal, citrusy sweetness, floats in like a soft breeze, while the light, tender sweetness of lilac creates a soft, powdery balance. The floral opulence continues with white narcissus and lily of the valley, whose clean, crisp green notes add a touch of brightness to the floral mélange. The rich depth of Grasse jasmine adds a warm, sensual note, almost velvety, while tuberose gives the composition a creamy, heady floral richness. The floral heart swells with complexity, weaving together a narrative of delicate femininity, warmth, and depth.

Finally, the fragrance settles into its base, where the balsamic richness of oakmoss and the creamy smoothness of sandalwood form a warm, woody foundation. The oakmoss provides an earthy, green depth, grounding the floral notes with its rich, musky aroma, while the Mysore sandalwood adds its signature smooth, milky woodiness. 

The deep, animalic richness of civet and the subtle smoky notes of patchouli give the fragrance a darker, more complex undertone, adding a touch of intrigue and sensuality. Vanilla, soft and sweet, wraps the composition in a comforting warmth, while ambergris lends an almost salty, musky depth that enhances the perfume's luxurious feel. The addition of tolu balsam and styrax introduces a balsamic sweetness, creating a sense of smoothness and depth. 

Vetiver, with its dry, earthy qualities, adds a sophisticated edge, and the hint of leather evokes a smooth, tactile warmth, blending with the richness of Virginia cedar. This final base is anchored by the scent of privet and saxifrage, which give a fresh, green finish to the composition, leaving a lingering impression of nature’s raw beauty and sensuality.

Bath and Body Preparations:

In 1971, Lanvin expanded its bath and body preparations to complement two of its most iconic fragrances, My Sin and Arpège. These luxury products were designed to extend the experience of the perfumes beyond just the bottle, allowing for a more immersive and lasting fragrance experience.

The "bath & body perfume" was somewhat misleading in its name. This product was actually a metered aerosol spray, containing what appeared to be a non-alcoholic version of the perfume. Intended for application directly onto the skin rather than for use in the air, it provided a lighter, more subtle scent compared to the traditional alcohol-based perfumes. While the exact strength of the fragrance was not disclosed, it was understood to be gentler than the regular eau de parfum, offering a softer, more intimate way to wear the fragrance throughout the day.

The Emollient Bath Salts were another notable offering. These bath salts were designed to soften the water, leaving a delicate film of bath oil floating on the surface. The fragrance carried in these bath salts was medium in strength—strong enough to provide a lingering presence in the water, but not overpowering. The scent would subtly infuse the skin, offering a more subtle experience of My Sin or Arpège as one relaxed in the bath. Similarly, the Foaming Milk Bath product was designed to generate rich, fragrant suds, and carried the fragrance at a similar medium strength level, filling the bath with soft bubbles and an inviting aroma that enveloped the body.

For those who preferred a more traditional, straightforward bath product, the Perfumed Bath Oil was also available for both fragrances. This bath oil offered a smooth, luxurious way to indulge in a fragrant soak, leaving the skin softened and lightly scented. Lanvin also offered a Spray Dusting Powder for both My Sin and Arpège, contained in a sleek 4 oz cylinder. Perfect for travelers, this dusting powder was a convenient and elegant way to lightly scent the skin with fragrance while on the go.

By 1977, Lanvin had introduced even more options for bath and body indulgence. The newly released Foaming Fragranced Bath Concentrate in My Sin or Arpège turned bath time into an aromatic experience, transforming the water into a pool of scented bubbles. The Fragranced Body Moisturizer added a touch of luxury with its rich, silky texture that moisturized the skin while leaving it softly scented. This new range of products allowed fragrance lovers to fully immerse themselves in the world of Lanvin, wrapping their skin in the same elegant and evocative notes of My Sin or Arpège from head to toe.

Bottles:

Lanvin's My Sin (also known as Mon Péché) parfum extrait was presented in a striking round black glass bottle, known as La Boule, designed in 1923 by the renowned French designer Armand Rateau. Crafted in France by Cristal Romesnil, this bottle quickly became an iconic symbol of the Lanvin fragrance line. The La Boule flacon is a beautiful example of art deco elegance, with its smooth, spherical form that suggests both luxury and simplicity. The bottle featured two distinct gilded stoppers: one in the shape of a raspberry, offering a tactile, organic feel, while the other was a round, ribbed ball, which evoked a sense of modernity and precision. Both stoppers were finished with gilded details that complemented the sleekness of the bottle, making each version unique and opulent.

The front of the bottle was adorned with a gilded logo designed by the artist Paul Iribe. The logo depicted a stylized portrait of Jeanne Lanvin and her daughter, creating an evocative scene of them preparing for a masked ball. This whimsical yet elegant design tied directly to Lanvin’s legacy in fashion and her role as a leading figure in French couture. The logo became an emblem not just of the perfume, but also of the Lanvin house’s spirit—chic, refined, and always stylish. Rare versions of the bottle exist in clear glass with the gilded logo, an all-over gilded glass bottle with black logo accents, and even more elusive editions crafted from Sevres porcelain. These limited-edition porcelain bottles, released in 1926, came in rich hues such as burgundy, turquoise, and cobalt blue, elevating the perfume experience into something of both visual and olfactory artistry.

The black La Boule bottles were adopted as the standard flacon for all of Lanvin's parfum extraits, serving as the signature vessel for a variety of the house’s fragrances. These bottles were often paired with simple, unembellished labels, which were discreetly placed on the base to identify the fragrance inside. The presentation boxes were covered in cream-colored paper, adding to the sense of understated luxury, with each perfume’s box being trimmed in a different accent color to correspond with the fragrance's identity. For example, My Sin was packaged in a box with navy blue trim, while Arpège featured black trim, Scandale was trimmed in red, Pretexte in black, and Rumeur in brown. This carefully curated packaging not only reflected the fragrance's personality but also emphasized Lanvin’s attention to detail and commitment to quality, ensuring that each element of the presentation matched the elegance of the scent contained within.

There is even a hard to find early powder box made in the shape of La Boule, and made with papier mache.

Other bottles you will commonly find are the tall rectangular or shorter square shaped clear glass bottles, the "flacons carre," that hold the colognes, eau de parfums and eau de toilettes. These bottles were made in France by Verreries Brosse. The earlier bottles have either a black glass or bakelite stopper, and later black plastic, impressed with the Lanvin logo. Some bottles have a simple gold foil label others can be found with either a red or black label.

It is also possible to find dusting powder, bath oil, perfume mist, talc, Eau de Lanvin My Sin, and soap online.

"My Sin..a most provocative perfume"

The New Yorker - Volume 23, 1947:

"Lanvin — "Rumeur," for a young vivacious person; a brunette perfume. "Arpege," for the young blonde. "Mon Peche," or "My Sin," for the very young. "Scandal," smells of sandalwood."

If your vintage box of My Sin is unopened and you need to know what's inside, use this handy guide I have compiled for you to decipher what the numbers mean (remember, Extrait means Parfum):

• No. 005 - 2/3 oz  Extrait
• No. 07 - 2 oz Eau de Lanvin (Toilet Water) Spray
• No. 28 - 1 oz - Extrait (carre flacon)
• No. 31 - 1/2 oz  Bath Oil
• No. 51 -  Bath Soap Trio
• No. 61 - 1 oz Extrait (boule noir/cristal)
• No. 62 - 2 oz - Extrait (boule noir/cristal)
• No. 68 - 1/4 oz Extrait (carre flacon)
• No. 69 - 1/2 oz Extrait (carre flacon)
• No. 70 - Extrait (carre flacon)
• No. 71 - Extrait (carre flacon)
• No. 77 - 1/8 oz Extrait
• No. 85 - 1/4 oz  Parfum Spray Mist
• No. 87 - 2.7 oz Extrait
• No. 13.011 - 4 oz Eau My Sin  Eau de Toilette
• 2 oz Eau de Lanvin
• 1/8 oz Extrait (Lanvinette golden purse flacon)
• 3.5 oz Talc de Lanvin

Fate of the Fragrance:

My Sin by Lanvin was first introduced in 1924, capturing the essence of elegance and allure that defined the early 20th-century Parisian fragrance scene. Created during a time when the world of haute couture and fragrance was flourishing, My Sin quickly became known for its bold and evocative character, featuring a distinctive floral composition with a dominant acacia note and aldehydic nuances. The perfume embodied a sense of sensuality and sophistication, making it popular among fashionable women who sought a fragrance that mirrored their own chic and daring personas. Its appeal was not only rooted in its unique scent but also in its luxurious presentation, including the iconic La Boule bottle, which became a symbol of Lanvin’s perfume legacy.

However, despite its initial success, My Sin was eventually discontinued in 1988, marking the end of an era for the fragrance. The discontinuation reflected shifting trends in the fragrance industry and changing consumer preferences, but My Sin remained a beloved classic among perfume collectors and connoisseurs. Its rich history and lasting impact on the perfume world ensure that it continues to be remembered as one of Lanvin’s most iconic offerings.

Irma Shorell Version:

In 1995, Long Lost Perfumes by Irma Shorell, Inc. acquired the trademark and rights to the My Sin name, but they do not own the original Lanvin formula. Instead, they produced their own version of the fragrance, which was recreated to capture the essence of the classic perfume while adapting it to modern preferences. This version of My Sin is marketed and sold through their website, offering fragrance enthusiasts a chance to experience a modern interpretation of the iconic scent.

The recreated perfume composition:

• Top notes: aldehydes, lemon, bergamot, clary sage, neroli
• Middle notes: jasmine, rose, clove, orris, muguet, jonquil, ylang ylang, lilac
• Base notes: vetiver, vanilla, musk, styrax, civet, woods, tolu

The recreated composition of My Sin maintains the classic floral and aldehydic character but introduces a few differences in its formulation. The top notes open with a fresh and slightly soapy aldehydic brightness, enhanced by the zesty presence of lemon and bergamot, with a hint of clary sage and the soft, aromatic sweetness of neroli. This sharp yet comforting opening gives way to a rich heart of florals: jasmine and rose provide a romantic, dewy bouquet, while clove adds a spicy warmth. Orris, muguet (lily of the valley), and jonquil bring a powdery, green facet, followed by ylang ylang and lilac which add depth and a floral richness.

The base notes of the recreated My Sin are rounded and sensual, with earthy vetiver, creamy vanilla, and musk creating a soft, woody foundation. Styrax and civet add a touch of animalic warmth, while a hint of woods and tolu balsam provide a smooth, resinous finish. Although the recreated fragrance cannot fully replicate the complexity of the original Lanvin formula, it offers a nostalgic nod to the perfume's rich, floral legacy while embracing a more modern olfactory style.

My Sin's iconic and captivating fragrance inspired other perfume houses to create their own interpretations of the scent. In 1945, Lucia Deraine, a relatively lesser-known perfumer, launched her version of My Sin, likely drawing on its rich floral aldehydic character but with her own unique twists. Deraine's version, though not as widely recognized, became a notable copy in the post-war period, a time when perfume trends were evolving to become more sophisticated and modern. Around the same time, Jac de Paris, another perfume house, introduced M, a fragrance in the 1950s that echoed the same lavish floral composition and aldehydic brightness. While M was distinct in its own right, it shared the same alluring qualities that made My Sin so beloved — the combination of lush florals, aldehydes, and a touch of animalic sensuality. Both versions aimed to capture the allure of My Sin, but they also reflected their creators' desire to offer something new and uniquely their own while still paying homage to the original masterpiece.