Chanel No.

5
Page issues

Chanel No. 5 is the first perfume launched

by French couturier Gabrielle "Coco"
Chanel. The chemical formula for the
fragrance was compounded by French-
Russian chemist and perfumer Ernest
Beaux.
 No. 5

Bottle of Chanel No. 5, Eau de Parfum version

Fragrance by Coco Chanel

Type Floral-aldehydic
feminine fine fragrance

Released 5 May 1921, to select

clientele in Chanel rue
Cambon boutique

Label Chanel
Chanel No. 5 fragrance

Aesthetic inspiration
Traditionally, fragrance worn by women
had adhered to two basic categories:
respectable women favored the pure
essence of a single garden flower, and
sexually provocative perfumes heavy with
animal musk or jasmine were associated
with women of the demi-monde,
prostitutes or courtesans.[1] Chanel felt the
time was right for the debut of a scent that
would epitomize the flapper and would
speak to the liberated spirit of the 1920s.

Iconography of the No. 5

name
At the age of twelve, Chanel was handed
over to the care of nuns, and for the next
six years spent a stark, disciplined
existence in a convent orphanage,
Aubazine, founded by 12th Century
Cistercians[2] in the Nouvelle-Aquitaine
region of central France. From her earliest
days there, the number five had potent
associations for her. For Chanel, the
number five was especially esteemed as
signifying the pure embodiment of a thing,
its spirit, its mystic meaning. The paths
that led Chanel to the cathedral for daily
prayer were laid out in circular patterns
repeating the number five.[3]

Her affinity for the number five co-mingled

with the abbey gardens, and by extension
the lush surrounding hillsides abounding
with Cistus (rock roses).[4]

In 1920, when presented with small glass

vials containing sample scent
compositions numbered 1 to 5 and 20 to
24 for her assessment, she chose the fifth
vial. Chanel told her master perfumer,
Ernest Beaux, whom she had
commissioned to develop a fragrance with
modern innovations: "I present my dress
collections on the fifth of May, the fifth
month of the year and so we will let this
sample number five keep the name it has
already, it will bring good luck."[5]

Design of the bottle

Chanel envisioned a design that would be
an antidote for the over-elaborate,
precious fussiness of the crystal fragrance
bottles then in fashion popularized by
Lalique and Baccarat. Her bottle would be
"pure transparency ...an invisible bottle." It
is generally considered that the bottle
design was inspired by the rectangular
beveled lines of the Charvet toiletry
bottles, which, outfitted in a leather
traveling case, were favored by her lover,
Arthur "Boy" Capel.[6] Some say it was the
whiskey decanter he used that she
admired and wished to reproduce in
"exquisite, expensive, delicate glass."[7]

The first bottle produced in 1919, differed

from the Chanel No. 5 bottle known today.
The original container had small, delicate,
rounded shoulders and was sold only in
Chanel boutiques to select clients. In 1924,
when "Parfums Chanel" incorporated, the
glass proved too thin to sustain shipping
and distribution. This is the point in time
when the only significant design change
took place. The bottle was modified with
square, faceted corners.[8]

In a marketing brochure issued in 1924,

"Parfums Chanel" described the vessel,
which contained the fragrance: "the
perfection of the product forbids dressing
it in the customary artifices. Why rely on
the art of the glassmaker ...Mademoiselle
is proud to present simple bottles adorned
only by ...precious teardrops of perfume of
incomparable quality, unique in
composition, revealing the artistic
personality of their creator."[8]

Unlike the bottle, which has remained the

same since the 1924 redesign, the stopper
has gone through numerous
modifications. The original stopper was a
small glass plug. The octagonal stopper,
which became a brand signature, was
instituted in 1924, when the bottle shape
was changed. The 1950s gave the stopper
a bevel cut and a larger, thicker silhouette.
In the 1970s the stopper became even
more prominent but, in 1986, it was re-
proportioned so its size was more
harmonious with the scale of the bottle.[9]

The "pocket flacon" devised to be carried

in the purse was introduced in 1934. The
price point and container size were
developed to appeal to a broader
customer base. It represented an
aspirational purchase, to appease the
desire for a taste of exclusivity in those
who found the cost of the larger bottle
prohibitive.[10]

The bottle, over decades, has itself

become an identifiable cultural artifact, so
much so that Andy Warhol chose to
commemorate its iconic status in the mid-
1980s with his pop art, silk-screen, Ads:
Chanel.[11]

Battle for control of Parfums

Chanel
In 1924, Chanel made an agreement with
the Wertheimer brothers, Pierre and Paul,
directors of the eminent perfume house
Bourjois since 1917, creating a corporate
entity, "Parfums Chanel." The Wertheimers
agreed to provide full financing for
production, marketing and distribution of
Chanel No. 5. The Wertheimers would
receive a seventy percent share of the
company, and Théophile Bader, founder of
the Paris department store, Galeries
Lafayette, would receive twenty percent.
Bader had been instrumental in brokering
the business connection by introducing
Chanel to Pierre Wertheimer at the
Longchamps races in 1922.[12] For ten
percent of the stock, Chanel licensed her
name to "Parfums Chanel" and removed
herself from involvement in all business
operations.[13] Displeased with the
arrangement, Chanel worked for more than
twenty years to gain full control of
"Parfums Chanel." She proclaimed that
Pierre Wertheimer was "the bandit who
screwed me." [14]
World War II brought with it the Nazi
seizure of all Jewish owned property and
business enterprises, providing Chanel
with the opportunity to gain the full
monetary fortune generated by "Parfums
Chanel" and its most profitable product,
Chanel No. 5. The directors of "Parfums
Chanel," the Wertheimers, were Jewish,
and Chanel used her position as an "Aryan"
to petition German officials to legalize her
right to sole ownership.

On 5 May 1941, Chanel wrote to the

government administrator charged with
ruling on the disposition of Jewish
financial assets. Her grounds for
proprietary ownership were based on the
claim that "Parfums Chanel" "is still the
property of Jews" and had been legally
"abandoned" by the owners.[15]

I have, an indisputable right of

priority ...the profits that I have
received from my creations since
the foundation of this
business ...are disproportionate ...
[and] you can help to repair in
part the prejudices I have suffered
in the course of these seventeen
years.[16]
Chanel was not aware that the
Wertheimers, anticipating the forthcoming
Nazi mandates against Jews had, in May
1940, legally turned control of "Parfums
Chanel" over to a Christian, French
businessman and industrialist Felix Amiot.
At the end of World War II, Amiot turned
"Parfums Chanel" back into the hands of
the Wertheimers.[12][17]

Chanel maneuvers for control

Coco Chanel, 1920

By the mid-1940s, the worldwide sale of

Chanel No. 5 amounted to nine million
dollars annually; some two hundred forty
million dollars a year in twenty-first century
valuation. The monetary stakes were high
and Chanel was determined to wrest
control of "Parfums Chanel" from the
Wertheimers. Chanel's plan was to destroy
customer confidence in the brand, tarnish
the image, crippling its marketing and
distribution. She let it be known that
Chanel No. 5 was no longer the original
fragrance as created by "Mademoiselle
Chanel", it was no longer being
compounded according to her standards
and what was now being offered to the
public was an inferior product, one she
could no longer endorse. Further, Chanel
announced she would be making available
an authentic Chanel No. 5, to be named
"Mademoiselle Chanel No. 5",[12] offered to
a group of select clients.[18]

Chanel possibly was unaware that the

Wertheimers, who had fled from France to
New York in 1940, had instituted a process
whereby the quality of Chanel No. 5 would
not be compromised. In America the
Wertheimers had recruited H. Gregory
Thomas as European emissary for
"Parfums Chanel". Thomas' mission was
to establish the mechanisms required to
maintain the quality of the Chanel
products, particularly its most profitable
fragrance, Chanel No. 5. Thomas worked
to ensure that the supply of key
components, the oils of jasmine and
tuberose, obtained exclusively in the
French town of Grasse, remain
uninterrupted by warfare. Thomas was
later promoted to position as president of
Chanel US, a position he held for thirty-two
years.[12]

Chanel escalated her game plan by

instigating a lawsuit against "Parfums
Chanel" and the Wertheimers. The legal
battle garnered wide publicity. The New
York Times reported on 3 June 1946:

The suit asks that the French

parent concern [Les Parfums
Chanel] be ordered to cease
manufacture and sale of all
products bearing the name and
restore to her the ownership and
 sole rights over the products,
formulas and manufacturing
process [on grounds of] 'inferior
quality'.[18]

The Wertheimers were cognizant of

Chanel's far from exemplary social
entanglements and conduct during the
Nazi occupation. The progress of legal
proceedings would of necessity lead to
revelations best kept from public scrutiny.
Forbes magazine summarized the
Wertheimers’ dilemma: [it is Pierre
Wertheimer's worry] how "a legal fight
might illuminate Chanel's wartime
activities and wreck her image—and his
business".[19]

Ultimately, the Wertheimers and Chanel

came to an agreement, re-negotiating the
original 1924 contract. On 17 May 1947,
Chanel received wartime profits of Chanel
No. 5 in an amount equivalent to some
nine million dollars in twenty-first century
valuation, and in the future her share
would be two percent of all Chanel No. 5
sales worldwide. The financial benefit to
her would be enormous. Her earnings
would be in the vicinity of twenty-five
million dollars a year, making her at the
time one of the richest women in the
world.[20] The new arrangement also gave
Chanel the freedom to create new scents,
which would be independent of "Parfums
Chanel," with the proviso that none would
contain the appellation number "5" – she
never acted on this opportunity.[12]

Advertising and marketing

1920s and 1930s

Chanel's initial marketing strategy was to

generate buzz around her new fragrance
by hosting a promotional event. She
invited a group of elite friends to dine with
her in an elegant restaurant in Grasse
where she surprised and delighted her
guests by spraying them with Chanel
No. 5. The official launch place and date of
Chanel No. 5 was in her rue Cambon
boutique in the fifth month of the year, on
the fifth day of the month: 5 May 1921.
She infused the shop's dressing rooms
with the scent, and she gave bottles to a
select few of her high society friends. The
success of Chanel No. 5 was immediate.
Chanel's friend Misia Sert exclaimed: "It
was like a winning lottery ticket."[21]

"Parfums Chanel" was the corporate entity

established in 1924 to run the production,
marketing and distribution of the fragrance
business. Chanel wanted to spread the
sale of Chanel No. 5 from beyond her
boutiques to the rest of the world. The first
new market was New York City, the
cultural and commercial center of America
with the clientele for luxury goods. The
inaugural marketing was discreet and
deliberately restricted. The first ad
appeared in The New York Times on 16
December 1924. It was a small print ad for
"Parfums Chanel" announcing the Chanel
line of fragrances now available at Bonwit
Teller, an upscale department store. In the
ad, all the bottles were indistinguishable
from each another, displaying all the
Chanel perfumes available, #9, #11, #22,
and the centerpiece of the line, #5. This
presentation of the product line was the
extent of the advertising campaign in the
1920s and appeared only intermittently. In
America, the sale of Chanel No. 5 was
promoted from perfume counters at high-
end department stores by enthusiastic
sales staff. The strategy in Europe was no
less restrained. The Galeries Lafayette, a
notable department store, was the first
retailer of the fragrance in Paris. In France
itself, Chanel No. 5 was not advertised
until the 1940s.[22]

The first real marketing blitz was planned

for 1934–35. The first truly solo
advertisement of Chanel No. 5, as the
most important Chanel perfume,
comparable to her legend as a couturiere,
ran in The New York Times on 10 June
1934.[23]

1940s

Chanel N°5 Elixir sensuel

In the early 1940s, when other perfume
makers were increasing brand exposure,
"Parfums Chanel" took a contrary track
and actually decreased advertising. In
1939 and 1940, ads had been significant.
By 1941, they had been cut back
dramatically so that there was almost no
print advertising. The directors of
"Parfums Chanel" may have felt the
expenditure was not needed. Sales of
fragrance had flourished during the years
of World War II. Perfume sales in the
United States from 1940 to 1945 had
increased tenfold; Chanel No. 5
flourished.[24]
It was during the war years that the
directors of "Parfums Chanel" came up
with an innovative marketing idea. The
intent to expand the sale to a middle-class
customer had been instituted in 1934 with
the introduction of the pocket flacon. The
plan was now to extend the market by
selling the perfume at military post
exchanges, the PX. It was a risky move
that may have hurt the exclusive status of
the brand, but they went ahead and this
marketing plan proved viable. It did not
destroy the cachet of the brand, instead it
came to epitomize a world of luxury and
romance, a souvenir the soldier coveted
for his sweetheart back home.[25]
At the end of World War II, Coco Chanel's
wartime collaboration with the enemy
menaced her with the exposure of her
treasonous activities. In an attempt at
damage control, she placed a sign in the
window of her rue Cambon boutique,
announcing that free bottles of Chanel
No. 5 were available to American GIs.
Soldiers waited in long lines to take a
bottle of Paris luxe back home, and "would
have been outraged if the French police
had touched a hair on her head."[26]

1950s
In the 1950s the glamour of Chanel No. 5
was reignited by the celebrity of Marilyn
Monroe. Monroe's unsolicited
endorsement of the fragrance provided
invaluable publicity. In a 1954 interview,
when asked what she wore to bed, the
movie star provocatively responded: "Just
a few drops of Chanel No. 5."[27]

1960s

In the 1960s the glossy fashion magazines

such as Vogue and Bazaar presented
Chanel No. 5 as a required accessory to
every woman's femininity. Print advertising
for Chanel No. 5 was staid and
conservative in both visuals and text,
eschewing the energy and quirky aesthetic
of the burgeoning youth culture. Two catch
phrases alternated as ad copy: "Every
woman alive wants Chanel No. 5" and
"Every woman alive loves Chanel No. 5."[28]

1970s and 1980s

During the 1950s the ads had diminished

the allure of Chanel No. 5, identifying it
with a scent for sweet, proper co-eds
whose style bibles were teenage fashion
magazines. In the 1970s the brand name
needed revitalization. For the first time in
and its long history it ran the risk of being
labeled as mass market and passé. The
fragrance was removed from drug stores
and similar outlets. Outside advertising
agencies were dropped. The remaking was
re-imagined by Jacques Helleu, the artistic
director for "Parfums Chanel." Helleu
chose French actress Catherine Deneuve
for the new face of Chanel. The print ads
showcased the iconic sculpture of the
bottle. Television commercials were
inventive mini-films with production values
of surreal fantasy and seduction. Directed
by Ridley Scott in the 1970s and 1980s,
they "played on the same visual imagery,
with the same silhouette of the bottle,"
Under Helleu's control the vision to return
Chanel to the days of movie glamour and
sophistication was realized.[29]

1990s

Chanel N°5 perfume

In the 1990s, more money was reportedly

spent advertising Chanel No. 5 than was
spent for the promotion of any other
fragrance brand.[30] Carole Bouquet was
the face of Chanel No. 5 during this
decade.[31] It has been estimated, as of
2011, that between $20 to $25 million is
spent annually on marketing for Chanel
No. 5.[32]

Since 2000

In 2003, actress Nicole Kidman was

enlisted to represent the fragrance. Film
director Baz Luhrmann, brought in to
conceive and direct a new advertising
campaign featuring her, described his
concept for what he titled No. 5 the Film
as "a two-minute trailer ... for a film that
has actually never been made, not about
Chanel No. 5 but Chanel No. 5 is the
touchstone".[30] The eventual commercial,
produced in two-minute and 30-second
versions, cost 18 million English pounds,
with Kidman paid US$3.7 million for her
work.[30]

In May 2012, the company announced that

Brad Pitt would be the first male to
advertise Chanel No. 5.[33]

In 2013 Chanel ran an advertising

campaign using a recorded interview with
Marilyn Monroe in which she is asked
about her use of Chanel No. 5 fragrance. It
featured Ed Feingersh's photograph of the
actress splashing herself with a bottle of
the perfume.[34]

In October 2014, Luhrmann again

collaborated with Chanel, creating a
second advertising campaign for No. 5,
this time starring Gisele Bündchen and
Michiel Huisman. Throughout the film,
singer Lo-Fang performs his slower
romantic rendition of You're the One That I
Want.

The scent
Provenance of the "recipe"
Le nez de Chanel: The perfumer Ernest Beaux (1881–
1961)

Coco Chanel had wanted to develop a

distinctly modern fragrance for some time
by early 1920. At this time, Chanel's lover
was Grand Duke Dmitri Pavlovich
Romanov of Russia, the murderer of
Rasputin. The duke introduced her to
Ernest Beaux on the French Riviera. Beaux
was the master perfumer at A. Rallet and
Company, where he had been employed
since 1898. The company was the official
perfumer to the Russian royal family, and
"the imperial palace at St. Petersburg was
a famously perfumed court."[35] The
favorite scent of the Czarina Alexandra,
composed specifically for her by Rallet in
Moscow, had been an eau de cologne
opulent with rose and jasmine named
Rallet O-DE-KOLON No.1 Vesovoi.

In 1912, Beaux created a men's eau de

cologne, Le Bouquet de Napoleon, to
commemorate the 100th anniversary of
the Battle of Borodino, a decisive battle in
the Napoleonic Wars. The success of this
men's fragrance inspired Beaux to create a
feminine counterpart, whose jumping off
point was the chemical composition of
aldehydic multiflores in Houbigant's
immensely popular Quelques Fleurs
(1912).[36]

His experiments with the aldehydes in

Quelques Fleurs, resulted in a fragrance
that he called Le Bouquet de Catherine. He
intended to use the scent to inaugurate
another celebration in 1913, the 300th
anniversary of the Romanoff dynasty. The
debut of this new perfume proved ill-timed
commercially. World War I was
approaching, and the czarina and the
perfume's namesake, the Empress
Catherine, had both been German-born. A
marketing misfortune that invoked
unpopular associations, combined with
the fact that Le Bouquet de Catherine was
enormously expensive, made it a
commercial failure. An attempt to re-brand
the perfume, as Rallet No. 1 was
unsuccessful, and the outbreak of World
War I in 1914 effectively prevented public
acceptance of the brand.

Beaux, who had affiliated himself with the

Allies and the White Russian army, had
spent 1917–19 as a lieutenant stationed
far north, in the last arctic outpost of the
continent, Arkangelsk, at Mudyug Island
Prison where he interrogated Bolshevik
prisoners.[37] The polar ice, frigid
seascape, and whiteness of the snowy
terrain sparked his desire to capture the
crisp fragrance of this landscape into a
new perfume compound.

Beaux perfected what was to become

Chanel No. 5 over several months in the
late summer and autumn of 1920. He
worked from the rose and jasmine base of
Rallet No. 1. altering it to make it cleaner,
more daring, reminiscent of the pristine
polar freshness he had inhabited during
his war years. He experimented with
modern synthetics, adding his own
invention "Rose E. B" and notes derived
from a new jasmine source, a commercial
ingredient called Jasophore. The
revamped, complex formula also ramped
up the quantities of orris-iris-root and
natural musks.

The revolutionary key was Beaux's use of

aldehydes. Aldehydes are organic
compounds of carbon, oxygen and
hydrogen. They are manipulated in the
laboratory at crucial stages of chemical
reaction whereby the process arrests and
isolates the scent. When used creatively,
aldehydes act as "seasonings", an aroma
booster. Beaux's student, Constantin
Weriguine, said the aldehyde Beaux used
had the clean note of the arctic, "a melting
winter note". Legend has it that this
wondrous concoction was the inadvertent
result of a laboratory mishap. A laboratory
assistant, mistaking a full strength mixture
for a ten percent dilution, had jolted the
compound with a dose of aldehyde in
quantity never before used. Beaux
prepared ten glass vials for Chanel's
inspection. Numbered 1–5 then 20–24,
the gap presented the core May rose,
jasmine and aldehydes in two
complementary series, each group a
variation of the compound. "Number five.
Yes," Chanel said later, "that is what I was
waiting for. A perfume like nothing else. A
woman's perfume, with the scent of a
woman."[38]

According to Chanel, the formula used to

produce No. 5 has changed little since its
creation, except for the necessary
exclusion of natural civet and certain nitro-
musks.[39]

References
Notes

1. Mazzeo 2010, p. 20.

2. Vaughan, Hal, "Sleeping With The
Enemy, Coco Chanel's Secret War," Alfred
A. Knopf, 2011, p. 4
3. Mazzeo 2010, pp. 8–9.
4. Mazzeo 2010, p. 10.
5. Mazzeo 2010, pp. 60–61.
6. Bollon, Patrice (2002). Esprit d'époque:
essai sur l'âme contemporaine et le
conformisme naturel de nos sociétés (in
French). Le Seuil. p. 57. ISBN 978-2-02-
013367-8. "L'adaptation d'un flacon d'eau
de toilette pour hommes datant de l'avant-
guerre du chemisier Charvet"
7. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, p. 103
8. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, p. 104
9. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, p. 105
10. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, p. 121
11. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, p. 199
12. Thomas, Dana, "The Power Behind The
Cologne," The New York Times, 24
February 2002, retrieved 18 July 2012
13. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, p. 95
14. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, p. 153
15. Mazzeo, Tilar J. (2010). The Secret of
Chanel No. 5. HarperCollins. p. 150.
ISBN 978-0-06-179101-7.
16. Mazzeo, pp. 152–53
17. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, p. 150
18. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, pp. 171–172
19. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, p. 175
20. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, pp. 178–177
21. Vaughan, Hal, Sleeping With The
Enemy: Coco Chanel's Secret War, Alfred
A. Knopf, 2011, p. 29
22. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, pp. 111–113
23. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, p. 132
24. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, p. 147
25. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, pp. 148–49
26. Vaughan, Hal, "Sleeping With The
Enemy, Coco Chanel's Secret War," Alfred
A. Knopf, 2011, p. 188
27. [1] Archived 31 December 2013 at the
Wayback Machine.
28. Virginia Postrel (2014-01-03). "At the
Intersection of Imagination & Desire" .
Deep Glamour. Retrieved 2014-02-14.
29. Mazzeo, Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, pp. 197, 199
30. [2] Archived 19 January 2014 at the
Wayback Machine.
31. [3]
32. Freeland, Cynthia A. (2011). Jessica
Wolfendale, Jeanette Kennett, ed. Fashion
– Philosophy for Everyone: Thinking with
Style. John Wiley & Sons. p. 73.
ISBN 9781444345544.
33. "Brad Pitt fronts global Chanel No. 5
push" . AdNews. 2012-10-10. Retrieved
2014-02-14.
34. "On her first cover of Life magazine in
1957, Marilyn Monroe famously said she
only wore Chanel No. 5 to bed. Now, a
newly found recording of her from 1960
discussing the subject further with Marie
Claire's then-editor in chief Georges
Belmont is being used in a new advertising
campaign for the fragrance set to break
this fall. She said people pose questions.
"They ask me: 'What do you wear to bed? A
pajama top? The bottoms of the pajamas?
A nightgown?' So I said, 'Chanel No. 5,'
because it's the truth" she explained. "And
yet, I don't want to say nude. But it's the
truth!" The voice of Monroe who died in
1962 is to be accompanied by a
photograph of her holding a scent bottle,
taken by Ed Feingersh. The ad will run in
publications and on television."
Karimzadeh, Marc. "Memo Pad." WWD 18
October 2013: 11. Popular Magazines
Plus. Web. 17 February 2016.[4]
35. Mazzeo Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, pp. 55, 52
36. Mazzeo Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, p. 55
37. Mazzeo Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, p. 56
38. Mazzeo Tilar J., The Secret of Chanel
No. 5, HarperCollins, 2010, pp. 60, 61–62,
65
39. Mazzeo, Tilar J. The Secret of Chanel
No. 5: The Intimate History of the World's
Most Famous Perfume. New York: Harper,
2010. Print.

Bibliography

Mazzeo, Tilar J. (2010), The Secret of Chanel

No. 5: The Biography of a Scent,
HarperCollins, ISBN 978-0-0617-9101-7

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