Fioret

Fioret was a prestigious perfume house established in 1914 by Simon Jaroslawski, also known as Simon A. Jaroslawski-Fioret. Fioret, along with Jaroslawski's other perfumery ventures, Ybry and Mÿon, contributed to the luxury fragrance market of the early 20th century. The Fioret brand was imported into the United States starting in 1921 by F. Salathe and Co. of New York and was also distributed by The Hartour Company during the 1920s.

The Fioret trademark began its continuous use in the USA on March 2, 1920. By 1923, a trademark for the Fioret logo design intended for packaging was filed, indicating a formal recognition and protection of the brand’s visual identity. The principal office for Fioret, as listed in the 1923 trademark application, was located at 135-141 Madison Avenue in New York City.

Fioret Inc. was renowned for its elegant and refined products, marked by simplicity in design. The finished products, including exquisitely cut glass bottles packaged in beautifully designed boxes, highlighted the sophistication of the perfumes within. This aesthetic of simplicity and refinement was reflected not only in the products but also in the company's offices, with the New York City branch decorated in Fioret's distinctive green-gray and rose color scheme.

Fioret's Fifth Avenue house was a notable and distinctive location among the elegant homes and businesses in the area. One of the company's most popular perfume brands in America was Essence Jouir, which embodied the ethos of enjoyment and sophistication. The Jouir line also included toilet water and face powder, and it was a source of pride for Fioret's salesmen due to its increasing popularity and sales records.

In the spring of 1924, Fioret introduced new products to the market under the line "Le Dernier Roman" (The Last Romance). This line included not only perfume, toilet water, and face powder but also a new Fioret compact that was considered the epitome of elegance and attractiveness. E.D. Gutcheon, the vice president of Fioret Inc. in America, had full charge of the company's business operations in the United States.

Fioret Inc.'s commitment to elegance and refinement in both its products and branding helped establish its reputation in the luxury perfume industry during the early 20th century.

Despite its initial success and prominence in the luxury perfume industry, Fioret went into liquidation in the mid-1940s, marking the end of its operations. The legacy of Fioret, however, remains a part of the rich history of early 20th-century perfumery.

 

The Pharmaceutical Era - Volume 58, 1924:

"Fioret Inc. Elegance exemplified by simplicity marks the finished products from the house of Fioret Inc. The lines of the boxes accelerate the exquisiteness of the cut glass bottles and are an advance indication of the merits of the perfume within. This scheme of simplicity and refinement extends to the offices of Fioret, the New York City branch of the Paris home being done in a special Fioret, green green-gray and rose. The firm's Fifth avenue house is one of the distinctive places along that thoroughfare of elegant home and business buildings. Essence Jouir (to enjoy) is perhaps one of the most popular brands of perfume put out in America by Fioret. It is this line to which their salesmen point with pride and show records of increasing business. Toilet water and face powder are included in the Jouir line. Among the firm's novelties being put before the trade this spring is Le Dernier Roman (the last romance) the line containing besides perfume, toilet water and face powder, a new Fioret compact, a 'last word' in elegance and attractiveness, will go on the market with in a short time. ED Gutcheon is vice president of Fioret Inc. in America and has full charge of the business in this country." 

Fioret, Inc., known for its "Parfums de Distinction," was located at No. 677 Fifth Avenue in New York City. This location held significant historical value as it was the site of the former Cornelius Vanderbilt mansion. After the mansion was razed, the new Cammeyer Building was constructed around 1921, designed by architects W.L. Rouse and L.A. Goldstone. The building, a seven-story structure costing about $400,000, was crafted from buff Indiana limestone and Tinos marble, exemplifying the modern English Renaissance style. The building featured a heavy variegated slate sloping roof with cast lead leader heads, and the top floor was illuminated by roof skylights.

The first floor of the Cammeyer Building was occupied by A.J. Cammeyer, a high-quality shoe retailer for men and women. This floor included a large entrance lobby and a rear salon, designed in the Georgian period style. The walls were paneled in quartered oak and adorned with intricate wood carvings by Grinling Gibbons, adding to the luxurious and refined atmosphere of the space.

Fioret, Inc.'s presence in this prestigious location underscored its status as a luxury perfume house. The historical significance and architectural elegance of the Cammeyer Building provided a fitting backdrop for Fioret's high-end perfumes and products.

The Fioret boutique, situated on the second story of the Cammeyer Building at 677 Fifth Avenue in New York City, was positioned just above the entrance to A.J. Cammeyer's office. On the ground floor of the building, specifically the two left center windows (as indicated by the visible curtains), displayed the Fioret signage, making it easily recognizable to passersby. This strategic placement ensured visibility and attracted potential customers to explore the boutique upstairs.

Inside the Fioret boutique, the perfumes were showcased against a backdrop designed in turquoise and pink hues. This color scheme not only complemented the elegance and sophistication of Fioret's products but also created an inviting atmosphere for customers. The use of such colors likely enhanced the visual appeal of the boutique, making it a memorable and distinctive location along Fifth Avenue.

Fioret's careful attention to both exterior signage and interior design underscored its commitment to luxury and refinement, catering to a clientele seeking distinctive and high-quality perfumes in the heart of New York City's upscale shopping district.

The retail space at 677 Fifth Avenue, once home to Fioret, Inc., has undergone several transformations over the years. Originally known for its luxurious Fioret boutique, the space later housed other prestigious brands such as Fendi, maintaining its status as a destination for high-end fashion and luxury goods.

However, as trends and retail landscapes evolved, the space eventually transitioned into something different. Today, it houses a Microsoft retail store, marking a shift from luxury fashion to technology and digital experiences. The transformation reflects broader changes in consumer preferences and the retail industry's adaptation to new technologies and shopping behaviors.

While the space may no longer resemble its former elegance and identity as Fioret's boutique, its history as a landmark on Fifth Avenue continues to resonate with those familiar with its rich legacy in luxury retail.

In Addition To Perfumes:

Fioret, renowned for its exquisite perfumes, also curated a line of high-end cosmetics that complemented its fragrance offerings. Among these were finely crafted lipsticks, known for their quality and presented in luxurious packaging to appeal to discerning tastes. The range of shades catered to varied preferences, ensuring a perfect match for any occasion.

Additionally, Fioret offered a selection of rouge designed to enhance natural beauty with a subtle flush or contour to the cheeks. These products were crafted to meet the standards of luxury that Fioret upheld, appealing to a clientele seeking both elegance and effectiveness in their cosmetics.

The brand's compacts were another hallmark of sophistication, combining practicality with aesthetics. These cases housed pressed face powders or blushes, often accompanied by mirrors for convenient touch-ups on the go. Each compact was meticulously designed to reflect Fioret's commitment to providing a complete beauty experience that harmonized with their acclaimed perfumes.

Fioret's face powders further exemplified their dedication to luxury beauty, featuring finely milled formulations that imparted a smooth, flawless finish to the complexion. These products not only enhanced one's appearance but also embodied the brand's ethos of elegance and refinement across its entire range of cosmetics.

Fioret's vanity cases and octagonal powder compacts were not just functional beauty tools but epitomized luxury and craftsmanship. These items were heavy triple gold plated and intricately etched, reminiscent of fine jewelry from esteemed houses like Cartier or Tiffany. Each compact was delicately stored in its own flannel bag, enhancing its allure as a precious possession.  

A notable feature of these compacts was a ring affixed to them, allowing them to be suspended from a ribbon or cord, adding to their versatility and elegance. Inside, users would discover a tiny silk-backed lambswool puff and a mirrored lid, embodying the attention to detail and quality that characterized Fioret's products.

Despite their acclaim and popularity, these compacts were discontinued in 1927. To clear existing inventory, Fioret dramatically reduced their prices, offering a rare opportunity for aficionados of luxury beauty items to acquire these coveted pieces at a discounted rate. This move marked the end of an era for these iconic compacts, yet they remain a testament to Fioret's legacy of blending sophistication with practicality in the world of high-end cosmetics.

Fioret's metal lipstick cases were another example of their commitment to luxurious design and meticulous craftsmanship. These cases were crafted from gold-plated metal and featured intricate engine-turned details, showcasing a blend of artistry and functionality.

What set Fioret's lipstick cases apart was their novel square-shaped design. Unlike traditional cylindrical cases, the square shape added a distinctive touch to the aesthetic appeal of the product. This unique design not only contributed to the overall elegance of Fioret's cosmetics line but also reflected their innovative approach to beauty accessories.

The gold plating and engine-turned patterns enhanced the tactile and visual appeal of the lipstick cases, making them coveted items among those who appreciated fine craftsmanship and luxury in their everyday beauty routine. Fioret's attention to detail ensured that even the packaging of their cosmetics exuded sophistication and reflected the brand's esteemed reputation in the luxury market.

Fioret's most renowned face powder was housed in a meticulously designed packaging that epitomized elegance and artistry. The box itself was covered in embossed paper, adorned in a palette of white, gold, and jade colors. The design featured stylized tree trunks and branches, intricately crafted to evoke a sense of natural beauty and refinement.

Nymphs danced around the sides of the box, adding a whimsical and enchanting touch to the overall aesthetic. The lid of the box was designed to simulate a large, fluffy swansdown powder puff, enhancing the tactile experience and luxurious appeal of the product. To complete the presentation, a jade-colored ring was attached to the lid, allowing for easy handling and adding a decorative element that echoed the sophistication of Fioret's brand.

This meticulous attention to detail in both design and functionality underscored Fioret's commitment to providing not only high-quality cosmetics but also an exquisite beauty experience that resonated with their discerning clientele. The packaging itself was a work of art, reflecting the brand's status as a leader in luxury beauty during its time.

Fioret offered bath crystals infused with their popular Jouir fragrance, available in shades of green and pink. These bath crystals were presented in fancy glass jars, emphasizing both the luxury of the product and the aesthetic appeal of the packaging. The colors green and pink not only complemented the fragrance but also added a visual allure to the bath crystals, making them a delightful addition to a luxurious bath experience.

The use of fancy glass jars further enhanced the appeal of Fioret's bath crystals, suggesting both practicality and elegance in storing and using the product. This attention to detail and presentation ensured that Fioret's bath crystals in the Jouir scent stood out as a sophisticated choice for those seeking to indulge in a pampering and fragrant bathing ritual.

Bottles:

During the 1919 and throughout the 1920s, Fioret's perfume bottles were distinguished by embossed gilded paper labels adorned with Art Nouveau lettering. This design choice reflected the artistic trends of the time, emphasizing intricate details and ornate embellishments that conveyed luxury and sophistication.

As the 1930s approached, Fioret's packaging evolved slightly. The paper labels became simpler, transitioning to gold foil with black lettering. This updated design maintained an air of elegance but adopted a more streamlined and modern aesthetic compared to the elaborate Art Nouveau style of the previous decade.

These changes in labeling mirrored broader shifts in design preferences and consumer tastes over the decades. However, throughout these transitions, Fioret remained committed to presenting its perfumes and cosmetics in packaging that upheld the brand's reputation for quality and refinement in the luxury market.

The initial perfume flacons introduced by Fioret in 1919 were crafted by the prestigious glassmaker Baccarat. These flacons were notable for their design: tall, stark rectangular column-shaped bottles made of clear crystal, specifically known as design number 444 by Baccarat.

Each flacon was adorned with a hinged gilded brass cap, which added a touch of opulence and served to secure the inner ground glass stopper. This design not only emphasized the elegance and sophistication of Fioret's perfumes but also reflected the quality craftsmanship associated with both Baccarat and Fioret.

The combination of clear crystal, gilded brass, and precise glasswork underscored Fioret's commitment to luxury and attention to detail from the outset, establishing a standard of excellence that would define their perfume offerings throughout their history.

Fioret's perfume line included notable fragrances such as Le Dernier Roman, La Muse, Prevert, and Gardenia, among others. Initially, these perfumes were housed in bottles crafted by Baccarat, known for their exquisite crystal work. However, due to the high cost associated with Baccarat's craftsmanship, Fioret later opted to have their bottles manufactured by Cristalleries de Nancy, a renowned glassmaker in France.

These bottles came in various sizes to cater to different preferences and needs: 0.5 oz, 1 oz, 2 oz, 2.25 oz, and 3 oz. This range of sizes allowed customers to choose according to their usage and preference, while maintaining the elegance and quality expected of Fioret's products.

The shift to Cristalleries de Nancy for bottle production maintained the aesthetic and quality standards set by Baccarat, ensuring that Fioret's perfumes remained synonymous with luxury and sophistication. Each bottle, regardless of size, continued to reflect the brand's commitment to craftsmanship and exquisite design, making them coveted items among perfume enthusiasts and collectors alike.

Fioret's Toilet Waters were elegantly housed in square crystal containers, which came in sizes of 4 oz and 6 oz. These containers were characterized by their tall, columnar shape and featured flip-top caps, adding a touch of convenience and refinement to the design.

The use of crystal for these bottles underscored Fioret's commitment to luxury and quality, ensuring that even their Toilet Waters were presented in vessels that reflected the brand's prestige. This attention to detail in packaging complemented the high-end nature of Fioret's fragrances and cosmetics, appealing to discerning customers who sought both aesthetic appeal and functional elegance in their beauty products.

Advertisements from the era often showcased these exquisite bottles, highlighting their design and the luxurious nature of the contents within. This combination of practicality and sophistication further cemented Fioret's reputation as a leading name in the luxury perfume industry during the early 20th century.

Fioret's relationship with Baccarat for their perfume bottles was characterized by a variety of designs that showcased both elegance and functionality. Initially, Baccarat produced tall, stark rectangular column-shaped bottles for Fioret's perfumes, as mentioned earlier. These bottles were fitted with hinged gilded brass caps over inner ground glass stoppers, embodying a classic and luxurious style.

In addition to the rectangular column bottles, Baccarat also crafted cylindrical or round bottles for Fioret. These bottles typically featured conical disk-shaped gilded metal caps that covered the inner ground glass stoppers. The combination of crystal clarity and gilded metal accents reflected the artistry and craftsmanship associated with both Baccarat and Fioret.

The round crystal bottles crafted by Baccarat for Fioret perfumes were meticulously designed with specific dimensions that highlighted their elegance and functionality. Standing at 2 3/4 inches tall, these bottles were approximately 8 inches in circumference at their widest point. This size allowed for a substantial amount of perfume to be stored while maintaining a compact and visually appealing shape.

The gilded brass lids that adorned these bottles were 1/2 inch in diameter and 1/2 inch tall. These lids not only added a decorative element but also served a practical purpose in securely sealing the bottle with an inner ground glass stopper. The combination of crystal clarity and gilded brass accents reflected the luxurious aesthetic that Fioret aimed to achieve with its perfume packaging.

These dimensions and design details contributed to the overall allure of Fioret's perfumes, appealing to collectors and connoisseurs who appreciated both the craftsmanship and the visual appeal of vintage luxury perfumery items.

The interchangeability of bottles and caps, as seen in the 1922 newspaper ad with the mention of a "Chinese mandarin top for a gilt stopper," suggests a flexibility in design and a willingness to incorporate diverse aesthetic influences into Fioret's packaging. This adaptability allowed Fioret to cater to different tastes while maintaining the high standards of quality and luxury that defined their brand.

Overall, whether in rectangular, cylindrical, or round forms, Fioret's perfume bottles by Baccarat exemplified a commitment to exquisite design and craftsmanship, making them coveted pieces among collectors and enthusiasts of vintage luxury perfumery.

 

Fioret also utilized beautifully crafted bottles made by Cristal Nancy, showcasing a more modern and minimalist design compared to the ornate Baccarat bottles. These bottles were square-shaped with beveled fronts, exuding simplicity and elegance.

A distinctive feature of these Cristal Nancy bottles was their frosted glass stoppers, which were molded with a stylized daisy flower pattern. This detail added a touch of artistry and sophistication to the bottles, enhancing their appeal as luxury perfume containers.

The square shape with beveled edges, combined with the frosted glass stoppers adorned with the stylized daisy pattern, reflected a blend of contemporary design and timeless beauty. These bottles by Cristal Nancy provided a stylish and refined packaging option for Fioret's perfumes, appealing to those who appreciated understated luxury and artistic craftsmanship in their choice of fragrance containers.

Rene Lalique, a renowned glassmaker and designer, indeed created exquisite perfume bottles that were celebrated for their beauty and artistry. Lalique's bottles often featured intricate designs, incorporating elements inspired by nature such as flowers, leaves, and animals. These bottles were not only containers for perfume but also works of art in their own right, reflecting Lalique's mastery of glasswork and design.

In addition to perfume bottles, Lalique also crafted stunning frosted glass medallions that were sometimes incorporated into luxury presentation cases. These medallions added a distinctive touch of elegance and sophistication to the overall presentation of Lalique's creations, enhancing their appeal as luxurious and desirable items.

The presentation cases themselves were crafted with meticulous attention to detail, often using materials like red or blue silk satin for a luxurious feel. Other cases were made from ivory or gray, providing a neutral yet elegant backdrop that complemented Lalique's exquisite glasswork.

Overall, Lalique's contribution to the world of perfume packaging and presentation was significant, setting a standard for beauty and craftsmanship that continues to be revered today. His collaboration with luxury perfume houses, including potentially Fioret among others, further solidified his legacy as a master artisan in the realm of decorative arts.

R. LALIQUE "Chose Promise" pendant for Fioret, circa 1924, in clear and frosted glass with gray patina, with black silk cord. Molded R. LALIQUE FIORET PARIS. M p. 937. Diam. 1 1/4 in (3.3 cm). 

Photo by Rago Arts.

The perfumes of the Fioret line:

• 1914 Chypre
• 1919 Jouir
• 1919 Prevert
• 1920 Les Parfums des Jardins
• 1920 Qui dit Tout
• 1921 Chose Promise
• 1921 L'Elan
• 1921 Legourde
• 1921 Sweet Pea
• 1921 Prince Rival
• 1921 L'Impromptu
• 1922 Priere
• 1922 Ambre Byzantin
• 1922 La Fleur Sacree
• 1922 Monar
• 1922 Paris de Fioret
• 1922 Rose de Fioret
• 1922 Hommage A La Femme
• 1922 Fatalitas
• 1922 L'Au-Dela
• 1923 La Muse
• 1923 Le Roi de Paris
• 1923 Votre Sourire
• 1923 Le Dernier Roman
• 1923 L'Ensorceleur
• 1923 Eau de Cologne des Jardins
• 1923 Les Visions
• 1924 Le Muguet
• 1924 Violette
• 1924 Le Lilas
• 1924 Jasmin
• 1924 Orchid
• 1924 Gardenia
• 1924 Perle Noir
• 1924 Priere
• 1924 Chose Promise
• 1925 Beaujolais
• 1927 Ambre
• 1927 Rose Lilas

Spotlight on Perfumes & Their Bottles:

Jourir:

Fioret's perfume "Jouir," which translates to "To Enjoy," was a re-branded fragrance originally known as "Le Dernier Roman," created by Simon Jaroslawski. This fragrance gained prominence for its association with the joyousness and atmosphere of David Belasco's play "Tiger Rose" at the Belasco Theatre in New York City in 1926. During the production, Jouir perfume was reportedly sprayed throughout the theatre, enhancing the audience's sensory experience.

The perfume was presented in a distinctive tall, stark rectangular column-styled bottle made of clear crystal, crafted by Cristalleries de Baccarat under design number 444. This design choice underscored Fioret's commitment to luxury and elegance, offering a visually striking vessel for their exquisite fragrance.

In the media of the time, Fioret and its perfumes, particularly Jouir, were praised for their innovative and enchanting qualities. The American Hebrew and Jewish Tribune in 1925 described Fioret as an innovator in the perfume industry, likening Simon Jaroslawski to an impressionist who composed with fragrances rather than traditional artistic mediums. Jouir was lauded as a delicate idyll of happiness, capturing the essence of joy in its scent.

American Hebrew and Jewish Tribune, 1925:

"Fioret, innovateur," they call him there . . . impressionist who composes with fragrances, instead of with words, or colors, or musical sounds. Instead of with words, or colors, or musical sounds. Fioret, creator of Jouir, the most fascinating perfume given to the world in years. It is a delicate idyl of happiness translated into an odeur. Fioret is maker also of the exquisite “Prevert”. Fioret ... 8 Rue Ybry, Paris 677 Fifth Avenue, New York.

American Hebrew and Jewish Tribune, 1926:

"MOST enchanting goal of all, that 'marvelous fragrance . What can it be? It reminds him of Paris. Ah. . . now he knows. It is the fragrance Jouir de Fioret . Powders and toiletries as superlatively fine as the famous Fioret perfumes."

Hearst's, 1927:

"And the powder Fioret is scented with the exquisite fragrance "Jouir" ....Perhaps the Most Famous of all the delightful scent of secrets Fioret of France. Purpose. The Most endearing virtue of Fioret face powder is the way it clings, clings, clings."

Furthermore, the Hearst's publication in 1927 highlighted Jouir as one of the most famous and delightful scents offered by Fioret. The fragrance was celebrated for its enduring appeal and association with luxury, reflected not only in its perfume but also in Fioret's range of powders and toiletries.

Fioret's dedication to crafting exceptional perfumes and its innovative approach to fragrance marketing positioned the brand as a leader in the perfume industry during the early 20th century. The legacy of Jouir and other Fioret fragrances continues to resonate among collectors and enthusiasts of vintage perfumery today.

 The "Jouir" perfume by Fioret was housed in a distinctive flacon known as the "Travelette flacon." This presentation featured a curved flask-shaped crystal bottle, approximately 2 1/4 inches tall, 1 3/4 inches wide, and 1 1/2 inches deep. The bottle was adorned with a gilded brass hinged cap that covered an inner glass stopper, combining functionality with ornate design.

This particular bottle style was crafted by both Baccarat and Cristalleries de Nancy, renowned for their expertise in glassmaking and decorative arts. The choice of crystal for the bottle underscored Fioret's commitment to luxury, providing a visually appealing container for their prestigious perfumes.

The Travelette flacon was available in a 1/2 oz size, originally priced at $2.75 in 1928, making it accessible yet still reflecting its luxurious nature. Additionally, Fioret offered this bottle shape in a larger 2 oz size, priced at $9.00, catering to those who desired more of their favorite fragrances.

Beyond "Jouir," this elegant bottle design was also used for other Fioret perfumes including "Le Dernier Roman," "La Muse," "Jasmin," "Le Lilas," "Violette," "Muguet," "Chypre," and "Prevert." Each fragrance was carefully curated to embody distinct scents that appealed to the sophisticated tastes of Fioret's clientele.

The New Yorker, 1928:

"square flacons of Fioret Perfume in dainty leather cases at $2.75"

The inclusion of a red leather case marked with "Les Jardins De Fioret Paris" further enhanced the presentation of these perfumes, emphasizing the brand's Parisian roots and adding a touch of luxury to the overall experience of owning and using Fioret's fragrances. This combination of meticulous packaging, quality craftsmanship, and exquisite scents solidified Fioret's reputation as a leader in the perfume industry during the early 20th century.

Le Dernier Roman:

"Le Dernier Roman," originally known for its delicate scent of narcissus, was initially presented in a tall, stark rectangular column-styled bottle made of clear crystal by Cristalleries de Baccarat, under design number 444. This design choice highlighted Fioret's dedication to elegance and luxury in its perfume packaging.

As noted earlier, "Le Dernier Roman" was later rebranded and renamed as "Jouir," maintaining its appeal while perhaps broadening its market presence under a new name. This rebranding strategy was not uncommon in the perfume industry, often reflecting shifts in marketing strategies or updates in fragrance formulations to align with evolving consumer preferences or trends.

The use of Baccarat crystal for the bottle underscored Fioret's commitment to quality and craftsmanship, ensuring that each bottle not only contained a luxurious fragrance but also served as a testament to the brand's prestige. The transition from "Le Dernier Roman" to "Jouir" marked a continuation of Fioret's legacy of offering sophisticated and desirable perfumes that captured the essence of luxury and refinement.

Ambre Byzantin:

The perfume "Ambre Byzantin" by Fioret was housed in an elegant square bottle that measured approximately 1 3/4 inches square by 3 1/4 inches high. This bottle design featured a glass inner stopper, which was covered by a gilded metal stopper cover. Around the neck of the cover, the bottle was adorned with "Fioret, Paris," adding a touch of sophistication and branding to the presentation.

The presence of a gold, embossed foil paper label further enhanced the aesthetic appeal of the bottle, underscoring Fioret's attention to detail in packaging their perfumes. This label not only provided information about the fragrance but also contributed to the overall luxurious appearance of the bottle.

The combination of glass, gilded metal, and embossed foil reflected Fioret's commitment to quality and craftsmanship, ensuring that each bottle of "Ambre Byzantin" not only contained a desirable fragrance but also served as a collectible piece of artistry. Such meticulous packaging contributed to Fioret's reputation as a purveyor of fine perfumes during its era, appealing to discerning consumers who valued both the scent and the presentation of their fragrances.

Prevert:

"Prevert," a fragrance created by Simon Jaroslawski, was known for its significance in French, meaning "poet." This perfume was presented in exquisite flacons crafted by Cristalleries de Baccarat, known for their mastery in glassmaking.

Initially, "Prevert" was housed in a flacon featuring design number 445 from Cristalleries de Baccarat. This design reflected a specific aesthetic chosen to complement the essence of the fragrance, ensuring both beauty and functionality in the presentation of the perfume.

Later, in 1924, "Prevert" was also presented in another flacon designed by Cristalleries de Baccarat, this time under design number 543. This demonstrates Fioret's commitment to updating and refining their packaging to enhance the appeal and marketability of their perfumes while maintaining the high standards of craftsmanship and luxury associated with Baccarat glassware.

The use of Baccarat flacons for "Prevert" underscored Fioret's dedication to offering perfumes that not only delighted the senses with their scents but also captivated with their exquisite packaging. These bottles became sought-after collector's items, embodying the intersection of artistry, fragrance, and luxury that defined Fioret during its time as a prestigious perfume house.

Les Parfums des Jardins:

"Les Parfums des Jardins," a collection of fragrances, was presented in bottles crafted by Cristalleries de Nancy. Cristalleries de Nancy, like Baccarat, was renowned for its expertise in glassmaking and decorative arts during the early 20th century in France.

The bottles from Cristalleries de Nancy would have reflected the company's distinctive style and craftsmanship. These bottles were likely designed to complement the essence of the fragrances they contained, combining aesthetic beauty with functional elegance.

Each bottle from Cristalleries de Nancy would have contributed to the overall luxurious presentation of "Les Parfums des Jardins," aligning with Fioret's reputation for offering high-quality perfumes in meticulously crafted packaging. This partnership highlighted Fioret's commitment to excellence in both fragrance creation and packaging design, appealing to discerning customers who appreciated luxury and artistry in their perfume choices.

Qui dit Tout:

"Qui dit Tout," translated from French, means "Who says Everything." This perfume by Fioret was presented in a bottle crafted by Cristalleries de Nancy, a distinguished glassmaker known for its artistic designs and craftsmanship.

The bottle from Cristalleries de Nancy would have been chosen to complement the essence and concept behind "Qui dit Tout." It likely reflected the style and aesthetic sensibilities of the time, combining functionality with artistic beauty.

Fioret's decision to use bottles from Cristalleries de Nancy for "Qui dit Tout" underscored their commitment to offering perfumes that were not only exquisite in fragrance but also presented in packaging that enhanced their allure. This collaboration highlighted Fioret's reputation for luxury and sophistication, appealing to customers who valued both the scent and the artistry of their perfume bottles.

Sweet Pea:

"Sweet Pea," a fragrance offered by Fioret, was presented in a bottle crafted by René Lalique et Cie. René Lalique, a renowned French glassmaker and designer, was celebrated for his exquisite creations during the early 20th century.

The bottle designed by Lalique for "Sweet Pea" would have embodied his distinctive style, often characterized by intricate designs inspired by nature, such as flowers, leaves, and other organic motifs. Lalique's bottles were not just containers for perfume but works of art in their own right, showcasing his mastery of glasswork and artistic craftsmanship.

The choice of Lalique bottles for "Sweet Pea" underscored Fioret's commitment to offering perfumes that were not only luxurious in fragrance but also presented in packaging that exuded elegance and sophistication. Lalique's collaboration with Fioret would have added a prestigious touch to the presentation of "Sweet Pea," appealing to discerning customers who valued both the quality of the fragrance and the artistic beauty of its container.

Priere:

"Prière," in French, translates to "Prayer." This fragrance, created by Simon Jaroslawski, was presented in a flacon crafted by Cristalleries de Baccarat. Baccarat, renowned for its exceptional crystal craftsmanship, provided the perfect vessel for Fioret's luxurious perfumes.

The flacons from Baccarat would have been chosen to complement the essence and concept behind "Prière." These bottles typically featured elegant designs that highlighted both the beauty of the crystal and the sophistication of the perfume they contained. The collaboration between Fioret and Baccarat ensured that each bottle not only housed a prestigious fragrance but also served as a symbol of luxury and refinement.

Simon Jaroslawski's creation of "Prière" reflected his artistry in capturing themes and emotions through fragrance, aligning with Fioret's reputation for offering perfumes that were both evocative and high-quality. The use of Baccarat flacons further elevated the presentation of "Prière," appealing to collectors and enthusiasts who appreciated the combination of fine fragrance and exquisite craftsmanship.

Chose Promise:

"Chose Promise," in French, translates to "Promised Thing." This perfume, created by Simon Jaroslawski, was an orange blossom fragrance presented in a bottle design that combined the craftsmanship of Cristalleries de Baccarat with the artistic flair of René Lalique.

The bottle for "Chose Promise" was styled by Cristalleries de Baccarat and featured a classical stopper designed by René Lalique. Lalique, known for his intricate and nature-inspired glasswork, originally conceived the concept of this design in 1911. The collaboration between Baccarat and Lalique resulted in a bottle that was celebrated as one of the greatest designs of its decade, praised for its elegance and understated beauty.

This partnership between Baccarat and Lalique exemplified the merging of artistic vision and technical mastery, creating a perfume bottle that not only housed a prestigious fragrance but also stood as a work of art in its own right. The combination of Lalique's timeless design and Baccarat's crystal craftsmanship ensured that "Chose Promise" was presented in a vessel that resonated with luxury and sophistication, appealing to collectors and connoisseurs of fine perfumery.

Le Muguet:

"Le Muguet," in French, translates to "The Lily of the Valley." This fragrance, created by Simon Jaroslawski, was presented in a flacon crafted by Cristalleries de Baccarat, specifically under design number 543.

The choice of Baccarat for the flacon underscored Fioret's commitment to using high-quality materials and craftsmanship in the presentation of their perfumes. Baccarat, known for its exquisite crystal creations, provided a fitting vessel for "Le Muguet," ensuring that the fragrance was not only luxurious in scent but also housed in a bottle that exuded elegance and sophistication.

The design number 543 from Baccarat would have featured a style and aesthetic that complemented the essence of "Le Muguet." Baccarat's collaboration with Fioret reflected a shared dedication to blending artistic design with practical utility, resulting in perfumes that were as visually captivating as they were delightful in fragrance.

Overall, "Le Muguet" by Fioret, presented in a Baccarat flacon, stood as a testament to the brand's reputation for offering perfumes of exceptional quality and artistry, appealing to those who appreciated both the beauty of scent and the craftsmanship of their perfume bottles.

Jasmin:

Chypre:

A Chypre perfume is a distinctive fragrance category characterized by its complex and sophisticated composition. Typically, Chypre perfumes include citrus top notes, followed by a floral or woody middle notes, and a base note of oakmoss, patchouli, and labdanum (a resin with a rich, amber-like scent). These elements combine to create a fragrance that is earthy, mossy, and often has a slightly fruity or floral undertone.

The name "Chypre" comes from the French word for Cyprus, as the fragrance style was inspired by the Mediterranean island's landscape. Chypre perfumes gained popularity in the early 20th century and became particularly fashionable during the 1920s and 1930s.

Created by Simon Jaroslawski, Fioret's "Chypre" perfume was likely crafted to capture the essence of this fragrance family. It would have been designed to appeal to individuals who appreciated complex and sophisticated scents, often associated with elegance and refinement.

Fioret's decision to offer "Chypre" in various perfume flacons, including those crafted by Baccarat and Cristalleries de Nancy, reflects their commitment to providing luxurious packaging that complemented the quality and character of their perfumes. The use of different flacons allowed Fioret to cater to different aesthetic preferences while maintaining the high standards associated with their brand.

In summary, Chypre perfumes like Fioret's "Chypre" were indeed popular during their time, appreciated for their rich and complex compositions that appealed to individuals seeking distinctive and sophisticated fragrances.

Gardenia:

 

Lawsuit:

 Fioret Sales Co., Inc., a perfume distributor based in New York, was instructed by a legal order to stop suggesting, directly or indirectly, that their perfumes were manufactured in France or any other foreign country. This directive came about because Fioret had been using phrases like "Les Parfums des Jardine de Fioret" and other foreign language terms that implied their perfumes were imported rather than locally made. The case was heard in court on November 21, 1938, and the ruling in favor of the Federal Trade Commission was issued on December 5, 1938.

The court's decision was based on evidence that Fioret did not import complete perfumes but instead imported some ingredients, which were then combined with American alcohol to create the final product. It was emphasized that Fioret predominantly sold perfumes diluted with American alcohol, not just concentrated perfume essences. The ruling affirmed that by misrepresenting their products as imported, Fioret was engaging in unfair competition. The court reasoned that consumers would naturally assume an imported perfume meant the entire product was imported, not just a small portion of its ingredients.

The legal action aimed to protect consumers from being misled and to ensure fair competition in the perfume market. It also highlighted the importance of accurate representation in advertising and labeling, particularly in industries where origin and import status are significant factors influencing consumer choice.