Six short sentences and a bottle, which is the whole of the copy in this 1989 campaign: her laugh, her eyes, her walk, her voice, her touch, her smell. Then the sign-off, for a woman to love and a man to remember. The photograph is black and white, the border is a marbled pink that belongs entirely to the decade, and nowhere on the page does the woman get a name.

So: yes. Tatiana was named after Diane von Furstenberg's daughter, Tatiana von Furstenberg, born in 1971 and still a small child when it launched in 1975. It was von Furstenberg's first fragrance and she made it on almost nothing, using a stock bottle and clipping sample packets to the hangtags of her dresses. Department stores came after that.

James Bell composed it, and what he built was a white floral with no interest in restraint: hyacinth and African orange flower over gardenia, tuberose, jasmine, narcissus and rose, sitting on musk, sandalwood, amber and civet. It was made to carry across a crowded room, which in 1975 meant Studio 54.

The ad is late, though. The scent was fourteen years old by 1989, and Revlon had taken the licence and was relaunching it. Vanity Fair covered that February and got the better story from the girl herself, who as a child had been furious about the whole thing. "Everyone utters my name," she said. "I want it to be only you." She was turning eighteen that month, at Brown, reading comparative literature and thoroughly done with fashion.

Von Furstenberg bought the rights to Tatiana back in 1994, along with the rights to her own name. The scent is discontinued now, which puts it in the same category as most of the big florals that outlived their moment.

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