Fontanis

Fontanis of Paris and Neuilly was established in 1919 by Daniel Jaquet, situated at 38 Boulevard de la Saussaye, Neuilly-sur-Seine, France. The company quickly made a name for itself in the realm of perfumes and cosmetics, reflecting the burgeoning industry of its time. Alongside Fontanis, Daniel Jaquet also founded Madhva in 1923, expanding his footprint in the fragrance market.

Despite its promising start, Fontanis faced a brief existence, being sold to Volnay in 1927. This acquisition marked a pivotal moment for the company, leading to a collaborative effort between Fontanis and Volnay for their final creations. Notably, Prelude and Blue Îles were the last two perfumes attributed to Fontanis, produced in association with Volnay.

The story of Fontanis encapsulates the dynamism and consolidation characteristic of the perfume industry in the early 20th century. It highlights the entrepreneurial spirit of Daniel Jaquet and the evolution of perfume houses during a transformative period in French cultural and economic history.

American Perfumer & Essential Oil Review, 1927:

"Fontanis is a very pushing perfumery firm that tried to introduce its products more specially on the American market. Its presentation was always very accurately made up and the perfumes prepared in the factory at 39 Boulevard de la Saussaye, in Neuilly, were compounded with high grade elements. Mr. Jamet, who acted as general manager, died some time ago, and Mr. [Roger]Foy, who was in charge of the sales department has succeeded him."

In 1927, the American Perfumer & Essential Oil Review provided insights into Fontanis, highlighting its ambitious efforts to establish a presence in the American market. Fontanis, a proactive perfumery firm, was known for its meticulous approach to product presentation and the use of high-quality ingredients in its perfumes. The company operated from its factory located at 39 Boulevard de la Saussaye in Neuilly, France.

At the time of the review, Fontanis was undergoing a transition due to the passing of Mr. Jamet, who served as the general manager. Following his death, Mr. Roger Foy took over leadership of the sales department, stepping into a key role to continue Fontanis' commercial efforts, both domestically and internationally.

This excerpt from the American Perfumer & Essential Oil Review reflects Fontanis' strategic initiatives and the changes in leadership that shaped its trajectory during the early 20th century, underscoring its commitment to quality and expansion into global markets, notably the United States.

A famous poster for Fontanis perfumes, renowned for its artistic representation, was illustrated by Maurice Berty. Maurice Berty was a notable French illustrator known for his work in advertising and poster art during the early 20th century. His artistic style and skill contributed significantly to the visual appeal and branding of Fontanis perfumes, capturing the essence of the brand and its products through captivating imagery. Berty's contributions to the advertising world, particularly in the realm of perfumery, underscored his talent in creating iconic and memorable visuals that enhanced the allure and prestige of brands like Fontanis.

The perfume "Un Soir de Mai" was associated with Lillian Savre, a perfumer originally from Alexandria, Egypt, who was active during the period spanning from around 1920 to 1930. Savre contributed to the fragrance landscape of her time with notable creations that captured the essence of various cultural influences and trends.

In 1922, Fontanis introduced a new line of perfumes titled "Les Fleurs Romantiques." This collection likely aimed to evoke a sense of romanticism through its fragrances, aligning with the artistic and cultural movements prevalent in the early 20th century. Fontanis, under the direction of Daniel Jaquet, sought to cater to the evolving tastes and preferences of consumers, leveraging both traditional and innovative approaches in perfumery to distinguish itself in the competitive market of the era.

These developments highlight Fontanis' strategic efforts to expand its product offerings and appeal to a broader audience, reflecting the dynamism and creativity characteristic of the perfume industry during that period.

"Vivette," a creation by Fontanis of Paris, represented an innovative fragrance characterized by a distinct new scent profile. The packaging was adorned with blue daisies, both scattered over the box and as a decorative stopper on the bottle, emphasizing a cohesive design theme that extended from the outer presentation to the perfume itself.

 Fontanis achieved notable recognition for its perfumery craftsmanship and luxurious presentations, earning a prestigious gold medal at the 1925 Art Deco Exposition held in Paris. This accolade underscored Fontanis' commitment to excellence in both artistic design and olfactory composition, aligning with the Art Deco movement's emphasis on elegance, sophistication, and modernity.

The award-winning display at the exposition likely showcased Fontanis' dedication to aesthetic innovation and quality in perfume manufacturing. Such recognition not only elevated the brand's prestige within the industry but also reinforced its standing as a leading perfumery firm renowned for creating perfumes that combined artistic flair with exceptional olfactory experiences.

Fontanis, known for its exquisite perfumes, sourced its bottles from prestigious glassmakers, each renowned for their craftsmanship and artistic flair. Many of Fontanis' perfume bottles were manufactured by Baccarat, a renowned French crystal manufacturer celebrated for its quality and elegance. Baccarat's involvement ensured that Fontanis' perfumes were housed in bottles that reflected luxury and sophistication.

Additionally, Fontanis utilized bottles from Depinox and Cristalleries de Nancy, both esteemed glassmakers known for their intricate designs and dedication to quality. These collaborations allowed Fontanis to offer a diverse range of bottles that catered to different aesthetic preferences while maintaining a high standard of craftsmanship.

One standout bottle, notably for the perfume "Faune," was designed by René Lalique. Lalique, a master glassmaker and artist, was renowned for his Art Nouveau and Art Deco creations, which often featured intricate designs inspired by nature and mythology. The Lalique-designed bottle for Faune exemplified Fontanis' commitment to combining artistic excellence with their fragrances, creating a complete sensory and visual experience for their customers.

On the other hand, "Chypre" by Volnay represents a re-branded version of Fontanis' original "Violette" perfume. Following Volnay's acquisition of Fontanis, they reintroduced "Violette" under their own branding as "Chypre." This fragrance retained its essence while being presented in a flacon crafted by René Lalique et Cie. René Lalique, a master glassmaker renowned for his intricate designs and Art Deco influences, provided bottles that complemented the fragrance's character and reflected the luxurious image of the Volnay brand.

These strategic re-branding efforts and collaborations with esteemed glassmakers not only preserved the heritage of the original fragrances but also enhanced their appeal to a discerning clientele. By combining renowned perfumes with iconic packaging, these perfume houses ensured their products stood out in both olfactory experience and visual presentation, catering to the sophisticated tastes of their consumers.

These partnerships with esteemed glassmakers underscored Fontanis' dedication to quality and aesthetic appeal, ensuring that their perfumes were not only celebrated for their olfactory compositions but also for the exquisite craftsmanship of their packaging.

The Fontanis vignette, a significant design element associated with the brand, was crafted by Heymann. This vignette design was prominently featured on labels and bronze metal plaques, serving as a distinctive visual representation of Fontanis' identity and branding.

In addition to Heymann's contribution, Roger Foy, associated with Fontanis, also created another plaque in 1919. This suggests that Foy played a role in the artistic and promotional aspects of the company, likely contributing to its visual identity and possibly its marketing strategies.

These design elements—such as the vignette by Heymann and the plaque by Roger Foy—underscore Fontanis' commitment to incorporating artistic excellence into its brand representation. Such efforts not only enhanced the aesthetic appeal of Fontanis' products but also reinforced its reputation as a forward-thinking and visually distinctive perfumery firm during its time.

The rectangular bronze plaque shown above has a lustrous gold finish, and features a hinged easel stand. On the front of the plaque are three rectangular friezes, each depicting twp Neo-Classical women dressed in robes in the process of making perfumes. The bottom of the plaque is inscribed with "PARFUMS FONTANIS," indicating its association with the Fontanis perfumery.

This particular plaque was manufactured by René Lalique, a renowned French glass designer and master of Art Nouveau and Art Deco styles. Lalique's involvement suggests a high level of craftsmanship and artistic design, typical of his work which often combined elegance with intricate detailing.

Accompanying the plaque are components of its packaging: the cardboard box bottom and top, both inscribed with "parfums fontanis." These elements further emphasize the branding and presentation associated with Fontanis products, highlighting their attention to detail and aesthetic appeal.

The item's inclusion in the collection of Elaine and Stanford Steppa, as indicated by the Corning Museum of Glass, underscores its significance as a collectible piece reflecting the intersection of art, design, and perfumery during its era.

 

 

Poudre Fontanis:

In 1925, Fontanis expanded its product offerings beyond perfumes by launching a new face powder called "Poudre Fontanis." This introduction marked a significant diversification for the brand, entering the cosmetics market with a product designed to complement their existing line of perfumes.

"Poudre Fontanis" was likely crafted with the same attention to quality and elegance that characterized Fontanis' perfumes. The launch of face powder reflected the brand's strategic effort to cater to a broader range of beauty needs, appealing to consumers who sought not only luxurious fragrances but also premium cosmetics.

By leveraging their established reputation in perfumery, Fontanis aimed to establish a presence in the competitive cosmetics industry, offering a seamless extension of their brand ethos of sophistication and refinement. This move allowed Fontanis to further solidify its position as a comprehensive beauty brand, catering to the desires and preferences of its discerning clientele.

 

The perfumes of Fontanis:

• 1919 Sous la Charmille 
• 1920 Lilas
• 1920 Jasmin
• 1920 Muguet
• 1920 Oeillet
• 1920 Chypre
• 1920 Violette 
• 1920 Mimosa
• 1920 Ambre
• 1920 Cyclamen 
• 1920 Rose
• 1920 Vivette 
• 1921 Quel Délice 
• 1921 Fleurs de Bagdad 
• 1922 Daisette 
• 1922 Les Fleurs Romantiques 
• 1923 Amberia
• 1923 C'est Paris 
• 1923 Coraya
• 1923 Gardenia 
• 1923 Jadya
• 1923 Les Désenchantées
• 1923 Orchidee 
• 1923 Parfum de Madame 
• 1923 Pois de Senteur 
• 1923 Rahna 
• 1923 Tamya 
• 1923 Un Soir de Mai 
• 1924 Tawao 
• 1924 Le Parisienne 
• 1924 Ananya 
• 1924 Damoya 
• 1925 Ambrodor 
• 1925 Chyprodor 
• 1925 Daisette 
• 1925 Gloriosa 
• 1925 Faune 
• 1925 Iris 
• 1925 Livette 
• 1925 Voici l'Hiver 
• 1926 Sourire de France 
• 1928 Prelude 
• 1946 Blue Îles 

Quel Delice:

Sketch, 1925:

"Women of taste appreciate the delicacy and charm of Quel Delice perfume. It creates a faint joyeuse aura that never cloys or grows stale. Quel Delice is by Fontanis of Paris, and can now be obtained of all leading English perfumers." 

 In 1925, "Sketch" magazine highlighted the allure of "Quel Délice" perfume by Fontanis of Paris, portraying it as a choice appreciated by women of refined taste. The perfume was described as embodying delicacy and charm, creating a subtle, joyous aura that remained fresh and never became tiresome. This characterization positioned Quel Délice as a sophisticated fragrance suited for discerning individuals.

Furthermore, the advertisement noted that Quel Délice was available through prominent English perfumers at the time, indicating Fontanis' efforts to expand its reach beyond its Parisian origins to a broader international market. This strategic distribution aimed to make the perfume accessible to cosmopolitan consumers who valued elegance and quality in their fragrance choices.

Overall, the advertisement in Sketch magazine not only promoted Quel Délice as a distinctive perfume from Fontanis but also underscored the brand's commitment to catering to the preferences of stylish women across different cultural and geographical contexts.

Jasmin:

Sous La Charmille:

"Sous la Charmille," which translates to "Under the Arbor" in English, was originally marketed as "Qui M'Aime" by Chamy before undergoing a re-branding process. The fragrance aims to evoke a romantic and serene atmosphere, reminiscent of being beneath a leafy canopy or trellis as seen on the packaging. Fontanis chose to present this perfume in a flacon designed by Cristalleries de Baccarat, specifically using design #257. Baccarat, renowned for its exceptional crystal craftsmanship, ensured that the bottle reflected the luxurious and elegant qualities associated with both the fragrance and the brand.

Fleurs de Bagdad:

Another notable fragrance from Fontanis was "Fleurs de Bagdad," which captured the aromatic richness of Arabian scents, infused with spicy notes that evoked the exoticism of Baghdad. This perfume was distinguished not only by its olfactory composition but also by its delicate aesthetic featuring motifs of blue roses adorning both the bottle and its packaging.

These descriptions underscore Fontanis' commitment to creating perfumes that appealed not only through their aromatic profiles but also through their visual allure. By integrating thematic elements such as blue daisies and blue roses into their designs, Fontanis aimed to enhance the sensory experience of their fragrances, offering consumers a blend of artistic elegance and olfactory sophistication. 

The Spatula, 1922

"In presenting the motion picture " The Thief of Bagdad" the power of perfume was not neglected. Fleurs de Bagdad by Fontanis was chosen as the perfume most suited to the spirit of the production and this scent is allowed to permeate the theatre."  

In 1922, Fontanis made a significant impact in the world of fragrance by linking their perfume "Fleurs de Bagdad" with the motion picture "The Thief of Bagdad." This cinematic association was strategic, aligning the aromatic essence of the perfume with the thematic spirit of the film. "Fleurs de Bagdad," chosen specifically for its evocative qualities, was intended to enhance the audience's sensory experience during screenings of the movie.

By allowing the fragrance to permeate the theatre during the showing of "The Thief of Bagdad," Fontanis effectively utilized scent as a means to immerse viewers more deeply into the narrative and atmosphere of the film. This innovative approach not only underscored the power of perfume in shaping emotional and sensory experiences but also highlighted Fontanis' ability to intertwine their product with popular culture and entertainment of the era.