The history of Russian perfumery before the 1917 Revolution is a fascinating blend of foreign influence and artistic craftsmanship. While perfume had been present in Russia for centuries, it was the 19th and early 20th centuries that marked the golden age of Russian fragrance production. Influenced heavily by French perfumery, Russian perfume houses manufactured domestically and developed their own unique scents which became emblematic of the era. However, with the onset of the Russian Revolution, the industry underwent radical changes that reshaped its future. In this first chapter, let’s delve into the evolution of Russian perfumery, its French connections, important historic fragrances, and the profound impact of the Revolution.

The French Influence on Russian Perfumery

We must travel back to the late 18th century to understand the relationship between Russia and France. The French Revolution caused many aristocrats and businessmen to flee the country for safety while also looking for opportunities. Certainly they brought their perfumes with them, and also their savoir faire. Russian aristocracy, closely aligned with European trends, developed a taste for French perfumes, viewing them as symbols of sophistication and refinement.

Indeed, French perfume companies found a lucrative market in Russia, particularly in cities like St. Petersburg and Moscow, where demand for luxury goods was high. By the early 19th century, France had established itself as the capitol of the fragrance world, with celebrated houses like Guerlain and Houbigant setting the global standard. As such, the way was paved for French brands not only to export their creations to Russia but also to set up factories and partner with Russian merchants. Two visionary entrepreneurs, who we will meet in depth in Chapter 2, include Alphonse Rallet, a Frenchman who founded one of the most successful Russian perfumery houses in 1843, and Henri Brocard, whose Moscow-based factory became one of the most influential in the country.

Growth of a Domestic Industry

As was the case in many European countries, “perfumery” in its own right didn’t exist. There were no perfume schools at the time; the craft was learned in an artisanal manner on the job. Chemists and even perfume chemists were employed by companies that produced a range of products including medicine, pharmaceuticals, toiletries and perfume. The wise factory owners sought talent abroad, most notably in France and Germany.

In Russia, the A.M. Ostroumov company, who’s fame stemmed from an anti-dandruff shampoo, went on to found a successful perfume business. His popular Japanese Lilac fragrance alluded to the at-the-time popular Puccini opera, Madame Butterfly. The Staro-Nikolskaya pharmacy of Vladimir Verrein, recognized in the early 20th century as the largest producer of pharmaceuticals, perfumes and cosmetics employed over 1000 people. R. Koehler & Co had soap works and a glass factory.

The story behind glass is quite interesting. Before the 17th century there were no glass manufacturers in Russia. Perfume manufacturers ordered bottles from catalogs and often the same design was available from several companies. Quality glass, sometimes referred to as Bohemian glass, came from neighboring countries such as today’s Czech Republic. Domestic glass production was established in the 19th century and by 1914 there were over 200 glass factories in Russia. The raw materials needed for production – quartz sand, sulfate, refractory clays, potash – were locally available, while metal oxides and items used for glass etching, marking and lead crystal production could be imported. Records indicate that Henri Brocard’s factory produced over 7 million flasks of perfume and Eau de Cologne in 1914.

Russian glassmakers understood the value of presenting a perfume in a beautiful flacon, which were often individually produced. From this period there are artisan designs with filigree or enamel work, silver or gold flasks, sometimes jewel-encrusted. This is, after all, the same period as master jeweler and goldsmith, Peter Carl Fabergé of the legendary Fabergé eggs. The S. Chepelevetsky and Sons Perfumery Factory won numerous design awards at world exhibitions in Milan, Paris, Amsterdam and Madrid while A. Rallet won awards for its products at both the 1878 and 1900 Paris Expositions.

Perfume Usage and Pre-Revolutionary Fragrances

Perfume played an important role in Russian society, particularly among the upper classes. It was not just a cosmetic luxury but a mark of status and personal refinement. Fashionable young ladies preferred fragrances “from Paris” although British brands Floris and Atkinsons were popular. Price points for imported goods varied and could be triple the price of domestic fragrances.

Despite the dominance of aristocratic consumers, perfume was not exclusively reserved for the elite. By the late 19th century, growing industrialization made perfumed products more accessible to the middle class. Local manufacturers began producing affordable scents making perfumery a widespread indulgence.

Locally produced scents were inspired by the country’s rich history – the dynasty of the Tsars, the military campaigns, key personalities – but also by the rural, pastoral life where a country girl or even a bucolic landscape are put in the limelight. Before 1900 A. Rallet listed over 100 perfume references in their catalog and by 1913 the Verrein firm had over 200! Among the many pre-revolutionary Russia perfumes, two stood out for their distinct compositions and enduring popularity: Bouquet de Napoleon and Severny.

Bouquet de Napoleon

In 1912, Alphone Rallet’s perfumery house released Bouquet de Napoleon to commemorate the centenary of the Battle of Borodino, Napoleon’s last victory during his Russian campaigns. The name itself evoked a sense of European grandeur and history, appealing to Russian consumers who admired Napoleon’s legacy despite his fraught relationship with Russia. The fragrance, created by Ernest Beaux who was the company’s technical director, was characterized by rich, floral notes blended with spices and woody undertones, making it a bold and sophisticated choice. It became one of the most famous fragrances of the era,

One year later Beaux created Bouquet de Catherine, a tribute to the three hundred year anniversary of the Romanov dynasty. We’ll come back to this fragrance in Chapter 2.

Severny

Severny (meaning "Northern") was produced by the Brocard factory around 1911, several years after expeditions reached the North Pole. The iconic bottle was commissioned around 1910 with the future Suprematism artist Kazimir Malevich. It depicts an Arctic landscape where a polar bear, citizen of the North Pole, is positioned atop a large iceberg. As in nature itself, the iceberg surface was full of cracks, thanks to frosted crackle crystal, while the figure of the bear showed a fine attention to detail with textured strands of fur, distinct, separate paws, a muzzle and a tail. Some say the fragrance wasn’t popular for the scent but rather for the packaging.

The scent itself was developed with fresh, crisp notes reminiscent of pine forests and icy winds. With its earthy and musky undertones, Severny symbolized strength and resilience, the perfume was particularly popular among Russian men, offering a contrast to the heavier, more floral scents favored by women. Advertisements from the time refer to it as “strong and refreshing”, and the price is listed at 2 rubles, 75 kopecks.

Severny was produced from 1911 until the middle of the 1990’s, although it appears to have been suspended during the Civil War (1917 – 1922). The Malevich designed bottles were used until the mid-1920’s or 1930’s. After this period significant design changes were made.

The Russian Revolution and the Decline of the Perfume Industry

The 1917 Russian Revolution brought an abrupt and dramatic shift to the perfume industry. The overthrow of the Tsarist regime and the rise of the Soviet government led to the nationalization of private enterprises, including the thriving perfume houses. Many prominent perfumers, particularly those with French ties, fled the country, leaving behind their businesses and legacies, though often taking their formulas with them.

Factories that once produced exquisite fragrances were either shut down or repurposed for utilitarian goods.* Brocard, the soap and perfume works established by Frenchman Henri Brocard in Moscow in 1861, had been renamed upon nationalization, "Soap and Perfume Works No. 5." The Bolsheviks viewed luxury items like perfume as symbols of bourgeois excess, and production priorities shifted toward practical and essential commodities. The fragrance industry, which had flourished under private ownership, struggled under state control, leading to a decline in both quality and innovation.

Despite these challenges, some remnants of the pre-revolutionary perfume culture survived. Soviet authorities recognized that perfumery had economic potential and allowed limited production, albeit with significant state oversight. Former private brands were absorbed into state-run enterprises, leading to the creation of Soviet-era perfumes that, while lacking the opulence of their predecessors, maintained elements of Russia’s rich fragrance heritage.

End of an Era

The pre-revolutionary perfume industry in Russia, initially dependent on French expertise, gradually developed its own identity and was able to leave a lasting imprint on the country’s cultural and economic landscape. That era serves as a reminder of Russia’s once-thriving perfume culture, an industry that combined artistry, luxury, and national identity in a way that speaks of days gone by.

The Revolution may have disrupted the industry, but it could not erase its legacy.

In Chapter 2 we will meet some of the key individuals who shaped Russia’s perfume industry

*See Chapter 2 for more details.

IN GRATITUDE

My most sincere thanks go to Felix Segal for his generosity with images and information regarding Kasimir Malevich and the Severny fragrance. For more information, please visit his website http://www.43info.com/kazimir_malevich_bottle_cologne_severny/

I am deeply grateful to Olga Petrouchenko who inspired me to write this article. Her passion, knowledge and enthusiasm for this subject is infectious. She was always available with information and images.

I also want to thank Lutz Hermann for his suggestions, his encouragement and for sharing his passion.

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Photo Credits: Thank you to Felix Segal and Olga Petrouchenko for their contributions.