Parfums Madhva

Parfums Madhva, subtitled "Parfums des Divinites de l'Inde," was founded in 1923 by Daniel Jaquet, swiftly gained recognition within the perfume industry during its era of growth. Before establishing Madhva, Daniel Jaquet had founded Fontanis Fontanis in 1919. This sequence of entrepreneurial ventures underscores Jaquet's significant presence and influence in the perfume sector during the early 20th century.

The Sanskrit word "Madhva" typically refers to a follower or adherent of the Dvaita Vedanta philosophy, which was founded by Madhvacharya (also known as Anandatirtha or Purnaprajna). Madhva was a prominent Hindu philosopher and theologian who lived in the 13th century in South India. His philosophy, Dvaita Vedanta, posits a dualistic view of reality, asserting the ultimate distinction between the individual soul (Jiva) and the supreme reality (Brahman), as well as between Brahman and the material world.

So, in essence, "Madhva" refers to someone who follows the teachings and philosophy of Madhvacharya, particularly within the framework of Dvaita Vedanta.

The Beginning & The End:

One of the distinctive features of Madhva Perfumes was their collaboration with the Polish artist and illustrator Alexandre Rzewuski. Rzewuski was tasked with creating coordinated identities for all of Madhva's perfumes, contributing his artistic vision to enhance the brand's aesthetic appeal and thematic coherence. This collaboration likely resulted in visually striking and culturally resonant designs that complemented the fragrances inspired by Indian divinities.

Alexandre Rzewuski played a crucial role in Parfums Madhva, not only designing coordinated identities but also selecting exotic names for the perfumes. He collaborated closely with designer Julien Viard in the creation of all five of Madhva's perfumes. Specifically, Viard designed the bottle for Damaya, one of Madhva's fragrances, which was then crafted by the prestigious glassmaker Baccarat.

In fact, all the perfume bottles for Madhva were produced by Baccarat, highlighting the brand's commitment to luxury and quality in both fragrance and packaging. This partnership with Baccarat would have ensured that the perfume bottles reflected the elegance and sophistication that Parfums Madhva sought to embody.

It appears that Parfums Madhva ceased its operations around 1931, as indicated by the last newspaper ads available from that time period. This suggests that the brand, despite its initial collaboration with Alexandre Rzewuski and the production of its perfumes in partnership with Baccarat, did not sustain itself beyond the early 1930s. The reasons for its closure could vary, ranging from economic challenges to shifts in consumer preferences or other business-related factors typical of the time.

 

The perfumes of Madhva:

• 1923 Damoya or Damaya (Sub-titled 'Poetry of Love') 
• 1923 Ta Wao (Sub-titled 'High Priest of Llassa') 
• 1923 Tamya (Sub-titled 'Bayaderes of Burma') 
• 1924 Ananya (Sub-titled 'Goddess of Love') 
• 1925 Rahna (Sub-titled "Sacred odor of the Benares'") 

Rahna:

The perfume Rahna, launched in 1925, was subtitled the "Sacred Odor of Benares" and was housed in a luxurious presentation. The bottle itself was made of cut crystal and adorned with silver enamel trim. It featured a fancy ground glass stopper that was also silvered, enhancing its elegance. Additionally, the bottle was embellished with a golden silk tassel, adding to its opulence. The perfume, contained in this exquisite bottle, held approximately 2 ounces of parfum.

Furthermore, the presentation of Rahna was completed with a heavy coral silk-covered presentation box, which further highlighted the luxurious nature of the perfume. This description underscores the attention to detail and the premium quality associated with perfumes produced by Parfums Madhva during their operational years in the early 20th century.

The term "Rana, Sacred Odor of Benares," when used in the context of a perfume, carries both cultural and evocative significance. In the Indian context, "Rana" (राणा) is a title associated with royalty and nobility, especially among Rajput kings and warriors, signifying valor, nobility, and heritage. Associating the perfume with such a term invokes a sense of regal luxury and tradition. Benares, also known as Varanasi, is one of the oldest continuously inhabited cities in the world and holds significant spiritual importance in Hinduism. Situated on the banks of the Ganges River, it is renowned for its temples and spiritual atmosphere, often associated with the fragrances of flowers, incense, and sacred offerings.

The phrase "sacred odor" suggests that the perfume captures the essence of the divine and the sacred, implying the scent of rituals, temples, and spiritual practices integral to Benares. By using the term "Rana," (spelled Rahna, probably for easy pronunciation), the perfume aims to evoke a sense of nobility and exclusivity, suggesting a fragrance fit for royalty or those who appreciate the finer things in life.

The combination of "Rana" and "Benares" brings an exotic and mystical appeal to the fragrance, blending historical richness with spiritual depth. Associating the perfume with Benares ties it to the rich cultural and spiritual traditions of India, appealing to consumers drawn to unique and meaningful fragrances. The name itself is beautiful and melodious, enhancing the allure of the perfume. In summary, "Rana, Sacred Odor of Benares" as a name for a perfume blends cultural richness, exotic appeal, and an aura of nobility and spirituality, suggesting that the fragrance captures the essence of Benares with its sacred scents and historical significance, making it a luxurious and evocative choice.

Ananya:

Describing the perfume Ananya, subtitled "Goddess of Love," it was presented in a lavish and ornate manner. The bottle itself was crafted from Baccarat crystal and featured a gilded ground glass stopper, adding to its luxurious appeal. A fancy knotted silk tassel adorned the bottle, enhancing its aesthetic charm. Inside this opulent vessel was approximately 2 ounces of parfum, indicating a substantial quantity of the fragrance.

To complement the exquisite bottle, Ananya was housed in a white brocaded silk container. This container was further adorned with amber beads and a gold tassel, emphasizing its deluxe presentation. This description paints a picture of Ananya as a fragrance that was not only designed to evoke the essence of the "Goddess of Love" but also to be presented as a symbol of luxury and refinement, appealing to discerning customers of Parfums Madhva during its operational years in the early 20th century.

The word "Ananya" comes from Sanskrit and means "unique," "incomparable," or "without equal," conveying the idea of something extraordinary and unparalleled. In the context of a perfume, this name suggests that the fragrance is one-of-a-kind, making it stand out in the market. The subtitle "Goddess of Love" evokes feelings of romance, beauty, and divinity, implying that the perfume embodies the essence of love and femininity. Associating the perfume with the concept of a goddess of love, such as Aphrodite in Greek mythology or Radha in Hindu mythology, enhances its appeal by linking it to timeless and revered qualities of attraction and pure, divine love.

Using "Ananya" for a perfume name appeals to emotions, as it creates a powerful emotional connection, evoking memories, emotions, and a sense of identity. The name aligns well with the marketing of high-end, luxury perfumes, suggesting that the fragrance is a rare and precious find. The subtitle "Goddess of Love" adds romantic and sensual imagery, attracting consumers looking for a fragrance that enhances their allure and embodies love. Additionally, the cultural and linguistic roots in Sanskrit add an element of mystique and sophistication, appealing to consumers interested in exotic and culturally rich products. Thus, "Ananya, subtitled 'Goddess of Love,'" combines the ideas of uniqueness, exclusivity, and divine romance, making it a luxurious and emotionally resonant choice for a perfume.

Tamya:

Tamya was housed in a cut crystal bottle adorned with thick, colorful enameling at the shoulders. This enameling likely added vibrant and decorative elements to the bottle, enhancing its visual appeal. The fancy ground glass stopper, matching the bottle's enamel decoration, further contributed to its ornate design. The bottle was accented with a green silk tassel, adding a touch of elegance and charm to the overall presentation.

The perfume was presented in a black silk presentation box decorated with a green jade and gold ornament. This box not only provided a luxurious housing for the bottle but also continued the theme of exoticism and elegance associated with Burma and its bayaderes.

Tamya exemplifies the attention to detail and luxurious presentation that characterized perfumes from Parfums Madhva during their operational years in the early 20th century. The use of exotic themes and high-quality materials in both the bottle and its packaging aimed to appeal to sophisticated customers seeking both aesthetic beauty and cultural inspiration in their perfumes.

In the context of the perfume Tamya, subtitled "Bayaderes of Burma," the name evokes imagery of these exotic and graceful dancers, perhaps hinting at the inspiration behind the fragrance. The word "Tamya" likely doesn't have a direct translation or widely recognized meaning, suggesting it may be a unique or coined term chosen by Parfums Madhva to evoke a sense of exoticism and allure. Paired with "Bayaderes of Burma," the name creates an evocative narrative tied to traditional Burmese temple dancers known for their grace and cultural significance, often performing elegant routines that included storytelling through movement and gestures. These "Bayaderes" were integral to religious ceremonies and royal courts, celebrated for their skilled performances and elaborate costumes.  

Using "Tamya, Bayaderes of Burma" as a perfume name merges cultural richness with an exotic appeal. It suggests that the fragrance captures the essence of these sophisticated dancers and their artistic heritage. The name conjures images of graceful movements and sensory experiences associated with Burmese traditions, appealing to consumers seeking a fragrance that embodies both luxury and cultural intrigue. By leveraging these evocative associations, the perfume aims to offer a sensory journey and a narrative of elegance, making it a compelling choice for those drawn to unique and culturally resonant scents.

Ta-Wao:

Ta Wao, subtitled "High Priest of Llassa," was contained inside a Baccarat crystal bottle designed by Julien Viard. The bottle featured a wide, thin disk-form base that tapered sharply with fluted sides enameled in gold. The black enameled disk-shaped ground glass stopper was designed in the shape of a traditional Chinese mandarin hat, complete with a red glass bead finial. This distinctive design element added an exotic and culturally rich touch to the bottle's aesthetic. Further enhancing its elegance, the bottle was accented with a black silk tassel adorned with red glass beads.This intricate and elegant design reflected the luxurious aesthetic associated with Parfums Madhva. The bottle stood at 2.5 inches tall, emphasizing its compact yet exquisite presentation.

The intricate and elegant design reflected the luxurious aesthetic associated with Parfums Madhva. The use of high-quality materials like Baccarat crystal and the design expertise of Julien Viard ensured that Ta Wao was not only a fragrance but also a work of art, appealing to collectors and connoisseurs of fine perfumes.

The term "High Priest of Llassa" refers to a religious leader or high-ranking spiritual figure in the context of Lhasa, the capital city of Tibet. Lhasa is known as the traditional seat of the Dalai Lama, the highest spiritual leader in Tibetan Buddhism. The Dalai Lama is often regarded as the "High Priest" in a symbolic sense, representing the pinnacle of spiritual authority within Tibetan Buddhism.

In a broader cultural and historical context, Lhasa has been the center of Tibetan Buddhist worship and governance, with the Potala Palace and Jokhang Temple being prominent religious landmarks. The title "High Priest of Llassa" could thus be a reference to the Dalai Lama or another significant religious figure in Tibetan Buddhism who holds a position of high spiritual authority and influence within the region.

If the term is used in a different context, such as in literature, art, or a specific cultural reference, the "High Priest of Llassa" might carry a symbolic or thematic meaning tied to the mystique and religious heritage of Lhasa and Tibetan Buddhism.

Damaya:

Damoya or Damaya, created by Madhva in 1929 and designed by Julien Viard, epitomizes the luxurious craftsmanship of early 20th-century perfumery. Crafted from clear crystal by the esteemed Baccarat, renowned for its precision and brilliance in glassware, the perfume bottle is adorned with intricate silver gilt detailing, adding ornate elegance to its design. A silver silk tassel enhances its opulence, while the presentation box, swathed in deep red silk and embellished with gilded metal filigree, further accentuates its lavish appeal. Standing at 4.5 inches tall, the bottle and its packaging combine artistic sophistication with meticulous craftsmanship, embodying a bygone era of exquisite perfume presentation and luxury.

The name "Damaya," derived from the Hindi word "anandamaya" meaning "joyful," and subtitled "Poetry of Love," is strategically chosen to imbue the perfume with layers of emotional and cultural significance. By drawing from "anandamaya," the perfume aims to evoke feelings of happiness and positivity, appealing to consumers seeking fragrances that uplift and delight. This connection to Hindi language and culture adds depth and international appeal, catering to a diverse audience interested in exploring unique and meaningful scent experiences.

The subtitle "Poetry of Love" further enhances the perfume's allure by evoking romantic imagery and suggesting that the fragrance embodies qualities of love and passion. This artistic and evocative subtitle aligns the perfume with an experience akin to poetry—eloquent, emotional, and sensorially rich. It invites consumers to engage with the perfume not just as a scent, but as a narrative that enhances mood and personal expression.

From a marketing perspective, "Damaya, Poetry of Love" distinguishes itself in a competitive market by offering a blend of cultural sophistication, emotional resonance, and aesthetic appeal. The name and subtitle combination create a compelling brand identity that promises a luxurious, emotionally fulfilling fragrance experience, making it a desirable choice for those seeking fragrances that resonate deeply and evoke a sense of joy and romance. Madhva trademarked the name "Damoya" in 1926.

Madhva - "Damaya" - (1925) - Extremely rare snuffbox bottle made of molded colorless pressed Baccarat crystal with an oval cross-section, curved body, label affixed to one side, neck adorned with a trimming, topped with a gold lacquered stopper featuring a capital of a Hindu temple with an earring, presented in its luxurious octagonal cardboard box dressed in polychrome paper and illustrated with elephants and exotic flowers, and a libation scene in a Hindu temple after a drawing by Alex-Ceslas Rzewuski. h : 7,5cm