Parfums Boue Soeurs

Boué Soeurs, a renowned couture house, was established in 1899 by two French sisters, Sylvie and Jeanne Boué, whose creative vision and entrepreneurial spirit would leave an indelible mark on the world of fashion. While their early personal backgrounds remain less documented, Sylvie and Jeanne were celebrated for their ability to merge artistry with business acumen, a combination that fueled the success of their maison for over five decades. From their initial atelier in Paris, the sisters expanded their influence globally, opening ateliers in prominent cities such as New York, Palm Beach, San Francisco, London, and Bucharest, operating from 1899 to 1953.

The hallmark of Boué Soeurs’ creations lay in their unparalleled craftsmanship and romantic aesthetic. Their couture pieces were entirely handmade, showcasing an exquisite blend of transparent lace, shimmering silver and gold lamé, and intricate passementerie. Signature elements, such as dainty ribbonwork rosettes and gathered silk ribbons, lent an ethereal quality to their garments. The sisters’ ability to incorporate light-reflecting materials and delicate embellishments epitomized the feminine elegance and sophistication of the Belle Époque and Art Deco eras. Each piece was a testament to their meticulous attention to detail and their commitment to creating wearable works of art.

In addition to their fashion creations, Boué Soeurs ventured into the world of perfumery, seamlessly aligning fragrances with their couture designs to offer a complete luxury lifestyle. This move solidified their brand as not just a fashion house but a comprehensive purveyor of refinement and elegance. Their foray into perfumery is documented in a notable 1926 incorporation in New York City. Under the name "Parfums Boué," the venture was registered in Manhattan with a capital of $100,000, as noted in official records: "New Incorporations: Parfums Boue, Manhattan Borough, New York City, toilet articles, $100,000; J.M. Lupus, A Muscovici-Rogers, A.A. Arditti, (Attorney, S.M. Ostroff, 233 Broadway)." This expansion highlights their strategic intent to diversify their offerings and establish an international presence in both fashion and fragrance industries.

The legacy of Boué Soeurs is a testament to their pioneering spirit, blending artistry with commerce and achieving acclaim that spanned continents. Their creations remain a cherished part of fashion history, celebrated for their timeless beauty and enduring influence on couture and perfumery.

The perfumes of Boue Soeurs:

• 1920 Origamine 
• 1922 Quand les Fleurs Revent
• 1923 Pour L’Amour
• 1924 Lilas de Minuit
• 1924 Sylvie
• 1924 Slyvita
• 1924 Sylviette
• 1924 Cantique du Roy
• 1925 Cytherea
• 1925 Bacchanale
• 1925 La Rose Sylvie
• 1925 Parfums Boue
• 1926 Jasmin
• 1926 Florale
• 1926 Hyacinth

Boué Soeurs introduced their first fragrance, Quand les Fleurs Rêvent (When Flowers Dream), subtitled, "the perfume of distinction", in 1922. This debut perfume encapsulated the romantic elegance for which the couture house was renowned, aligning perfectly with their ethereal and finely crafted fashion aesthetic. The fragrance was created at their Château de Maison Rouges, an ancient and picturesque estate located outside Paris. The choice of this historical location underscored the brand’s dedication to artistry, tradition, and a sense of timeless luxury.

Quand les Fleurs Rêvent (When the Flowers Dream), one of Boué Soeurs' signature fragrances, was described as "sweet, haunting, reminiscent of an old-fashioned garden at dusk, just as the dew begins to fall." This poetic depiction evokes an intimate and nostalgic olfactory journey, capturing the ephemeral beauty of a twilight garden steeped in serenity and romance.

The name suggests a dreamy, almost otherworldly quality, as though the flowers themselves are alive in their fragrant reverie. The perfume’s "sweet" and "haunting" character points to a composition rich in soft florals and delicate, lingering accords. Its inspiration from an "old-fashioned garden" hints at traditional floral notes such as rose, lilac, and violet, which were emblematic of early 20th-century perfumery.

Rose, with its timeless elegance and slightly honeyed aroma, would have formed the heart of the fragrance, while lilac could have contributed a powdery, nostalgic touch. Violet, often associated with delicate sweetness and a hint of green, would have added depth and complexity. To enhance the "dusk" imagery, notes of heliotrope or orris root might have provided a creamy, almond-like undertone.

The mention of dewfall suggests a fresh, aquatic quality, possibly achieved through subtle green notes or the inclusion of delicate muguet (lily of the valley). A soft, mossy base—such as oakmoss or vetiver—could have grounded the composition, adding an earthy element that evokes the coolness of the evening garden.

Quand les Fleurs Rêvent came in one of Boué Soeurs’ exquisitely designed flacons, perhaps adorned with lace-like details, silk rosettes, and pastel ribbons that mirrored the romantic essence of the fragrance. This scent would have appealed to women seeking a perfume that was both timeless and evocative, encapsulating the tranquil beauty of nature as day transitions into night.

The bottles designed for Boué Soeurs’ perfumes were as exquisite and meticulously detailed as their couture creations. Each flacon featured a long, slender neck and a unique base shaped like a pannier, evoking the silhouettes of Parisian fashions inspired by the pre-Revolutionary elegance of Marie Antoinette’s era. This nod to historical French opulence was a perfect reflection of the house's romantic and refined aesthetic.

The decoration of these bottles was equally enchanting. They were adorned with paper crafted to resemble delicate lace, mirroring the intricate textiles used in their fashion designs. To further enhance the visual connection to their couture, the flacons were embellished with tiny silk rosettes and pastel ribbons, echoing the signature adornments found on their garments. This attention to detail made each perfume bottle a small masterpiece, blending the art of perfumery with the house’s celebrated style.

A 1923 excerpt from Arts & Decoration magazine highlights the immediate allure of the brand's first fragrance, Quand les Fleurs Rêvent:

"The charm of Boué Soeurs creations is now enhanced by the original Boué Soeurs perfume, Quand Les Fleurs Rêvent. This exotic fragrance, expressive of the originality and taste of Boué Soeurs, has attained the immediate success customary to the creations of this house."

This review emphasizes the fragrance’s exotic character and its alignment with the sophistication and creativity that defined Boué Soeurs. The bottles, with their harmonious design and elaborate embellishments, were not just vessels for perfume but expressions of the house’s artistic identity, serving as keepsakes that perfectly encapsulated the romantic allure of their brand.

Launched in the early 20th century, Cantique du Roy (Song of the King) was one of Boué Soeurs' most distinguished perfumes. The name conjures images of regal splendor and opulence, perfectly aligning with the house's aesthetic of timeless elegance and romantic refinement. This oriental blend was described as "rich, heavy, spicy, a sophisticated fragrance," suggesting a composition designed to evoke luxury and grandeur.

As an oriental fragrance, Cantique du Roy likely featured a base of warm and resinous notes such as amber, benzoin, and patchouli, which would have given it a sumptuous and long-lasting depth. The spiciness mentioned in its description hints at the inclusion of exotic spices like clove, cinnamon, or nutmeg, adding warmth and intrigue. These would have been complemented by floral or powdery heart notes, perhaps rose or jasmine, which were popular choices in sophisticated perfumes of the era. The blend might have also included a touch of vanilla or tonka bean to round out the composition with a creamy sweetness.

Cantique du Roy was offered in several forms, including Parfum (pure perfume), Eau de Toilette (a lighter concentration), and even as a face powder. The availability of the fragrance in multiple formats suggests that it was not only a signature scent but also a versatile part of the wearer’s daily ritual, integrating fragrance into both personal adornment and beauty routines.

The flacon for Cantique du Roy likely continued Boué Soeurs' tradition of artistic and opulent design, possibly featuring their signature pannier-shaped base and embellishments like lace-patterned paper, pastel ribbons, and delicate silk rosettes. This attention to detail ensured that the perfume was not merely a product but a complete sensory experience, encapsulating the romance, sophistication, and artistry that defined the Boué Soeurs brand.

Lilas de Minuit (Midnight Lilac) was a fragrance from Boué Soeurs that epitomized delicate femininity and elegance. Described as "sweet, light – the exquisite crystallization of femininity," this perfume likely captured the soft and romantic essence of lilac blooms at their most enchanting. The name itself evokes a serene, moonlit garden where the air is perfumed with the subtle yet captivating aroma of lilacs.

The fragrance's composition would have centered on lilac as its star note, a scent known for its gentle sweetness and powdery, slightly green nuances. To enhance its ethereal quality, the blend may have included soft floral notes such as heliotrope or violet, which could add a creamy, almond-like undertone and a hint of vintage charm. The lightness of the perfume suggests the use of airy citrus top notes like bergamot or neroli, lending freshness and brightness to the opening.

To ground the delicate floral bouquet, subtle base notes such as white musk or sandalwood might have been incorporated, providing a soft, velvety finish. These elements would have balanced the composition, ensuring it remained light and tender while offering a lingering trace of refinement.

The description of Lilas de Minuit as "the exquisite crystallization of femininity" reflects its intent to be a quintessentially feminine and graceful scent. This perfume would have resonated with women who appreciated understated elegance and the timeless beauty of nature-inspired fragrances. Like the house’s couture creations, it likely came in a beautifully designed bottle, perhaps adorned with pastel ribbons and delicate rosettes, to complement the fragrance’s delicate and romantic personality.

Sylvita, one of the enchanting creations by Boué Soeurs, was described as "sweet, light, the fragrance of lilting laughing life and youth." The name itself, likely derived from the Latin "sylva," meaning forest or woodland, suggests a natural, fresh, and youthful energy. It embodies a playful vitality, evoking the carefree spirit of youth and the joy of life.

The "sweet, light" character of the perfume hints at a delicate composition, likely built around fresh and radiant floral notes. Lily of the valley, with its bright, green, and slightly sweet aroma, might have been a key component, symbolizing purity and happiness. Orange blossom could have added a sparkling, citrusy freshness, enhancing the fragrance’s lighthearted nature.

To evoke the "laughing life" described, the perfume may have included cheerful, fruity nuances such as pear, peach, or apricot, contributing a juicy sweetness that complements the floral heart. Hints of heliotrope or violet might have added a soft, powdery touch, imbuing the composition with a youthful charm.

The base notes were likely kept subtle, perhaps featuring light musk or creamy sandalwood, which would provide a smooth, understated finish without overpowering the perfume's airy, joyful personality. These ingredients would harmonize to create a scent that was both radiant and gentle, perfect for embodying the essence of youth.

Sylvita would have been housed in one of Boué Soeurs’ elegant flacons, adorned with pastel ribbons and tiny silk rosettes, mirroring the fragrance’s tender and uplifting character. This perfume appealed to women who sought a scent that celebrated life's vibrancy and the freshness of new beginnings.

Valencia, a fragrance by Boué Soeurs, was described as "continental, joyous, gay, bewitching as a summer night under starlit skies." The name itself is a tribute to the Spanish city of Valencia, located on the country’s eastern coast along the Mediterranean Sea. Known for its vibrant culture, historical charm, and lush orange groves, Valencia evokes imagery of warm evenings filled with the heady aromas of Mediterranean flora.

The description suggests a luminous, festive fragrance that captures the essence of a sultry Spanish summer. The national flower of Spain, the red carnation (clavel), is symbolic of passion and beauty and may have played a role in this perfume’s composition. Carnation's spicy, clove-like scent would have added a warm and slightly exotic character, aligning with the fragrance's "bewitching" nature.

Jasmine, another flower deeply associated with Spain, may have been a key note, contributing its sweet, narcotic richness to the blend. Jasmine is often featured in perfumes to evoke romance and sensuality, which complements the idea of a "summer night under starlit skies." Orange blossom, an iconic scent of the Valencia region, might have provided a fresh and luminous quality to the fragrance, linking it directly to the city’s famed citrus heritage.

The inclusion of spices such as cinnamon, clove, or nutmeg could have enhanced the perfume's depth and warmth, while subtle woody or amber notes might have served as a grounding base. Together, these ingredients would have created a harmonious blend that was both joyful and sophisticated.

The imagery evoked by Valencia and its description reflects the vibrancy and allure of Spanish culture. The perfume’s packaging was likely as enchanting as its scent, perhaps featuring motifs or embellishments that echoed the romance and charm of its namesake city. This fragrance would have appealed to women seeking a playful yet elegant scent that transported them to the heart of a starlit Mediterranean night.

 

The Pharmaceutical Era - Volume 58 - Page 467, 1924:

"Boue Soeurs showed some attractive gowns as well as perfumes. In between the time she was creating fashions, one of the Boue sisters of Boue Soeurs Inc., took time to make an individual perfume for her own use. All of their exclusive clientele were interested and curious to know how she made it. Mme. Boue for a time offered her own perfume as gifts to their customers. When the demand for the novelty odors became so insistent and her friends insisted on an opportunity to buy them, MMe. Boue was obliged to start manufacture of the perfumes. The business grew so rapidly that a special place was given to the perfumes in the establishment and a factory was purchased and the manufacture launched in a commercial sense. The factory is situated at Pantin, a suburb of Paris. 

The Boue Soeurs leading staple, Quand les Fleurs Revent (when flowers dream) is readily recognized by the rose on the ribbon of the container. Another feature of the house's products is the essence of perfume put up in silver cloth purses that fit into the hand bag and have proved popular with the trade. The boxes holding the various lines are so constructed that they may be opened at the top and sides, permitting full view of the containers from the display cases. 

One of the new features being put out this spring is the "bridal" line, this being packages tied in white ribbons and trimmed with the familiar rose of the Boue Soeurs. The powder is packed in boxes covered with paper that looks like velvet or suede, and is ornamented with the Boue Soeurs trade mark — a ribbon sash and roses."

The Kansas City Star, 1924:

 "From Boue Soeurs, Paris, have come the most exquisite packages of perfumes and face powders Kansas City has yet seen. They arrived yesterday "at the the Sign of the Thistle," 202 W. 47th, Country Club Plaza Shopping Center. Flora Michaelis always manages, somehow, to get these exclusive things for gifts. The perfumes come in six odors, at about $6 a bottle, and in flaconettes in a fascinating little shape, attractively boxes, for $1.50. The odors are Lilas de Minuit, Sylvita, Sylvitte, Sylvie, and Boue Soeurs' new odor, Cantique du Roy. The Lilas de Minuit has a long necked stopper checked in silver and blue and packed in a velvety gold and black striped box. The Sylvita comes in an exquisite apricot and silver box, with a silver and black stopper tied with white satin ribbon and rosebuds. The Cantique du Roy comes in an exotic red and gold striped box, with the stopper checked in gold and black and a tiny medallion of red enamel. The exquisite face powders, in odors and packages to match, are $3 and $4 a box."

 

The Jewelers' Circular - Volume 90, 1925:

"Boué Soeurs Inc. Leo V. Newman, sales manager, will be in charge of the display of Boué Soeurs, Inc., 565 Fifth Ave New York (Parfums de Boué Soeurs, Inc., Paris). It is their first appearance in Chicago and they will occupy room No 826. M. Julio Lupus, treasurer of the company will be here from France during the show and will spend some of his time with Mr. Newman in Chicago. This company has three lines - Cantique du Roy (oriental blended perfume) in perfume toilet water and face powder; Sylvita (blend of 20 different flowers) in same sets and a new odor, the name of which is not yet being revealed but will be given out at the show, which is a combination of orient and floral odors. Vanity products, in the form of silk bags and purses of a large assortment will be shown. These will be equipped variously, but with a lipstick in the tassel, and powder, change purse and mirror, also cigarette compartment and rouge. All these products will appear in novelty bottles and boxes."

The Pharmaceutical Era - Volume 61, 1925:

"PARIS COSTUMER COUPLES PHARMACY AND DRESS MAKING -Denver, Col., Nov 25, P.J. Diffley, general manager of Boue Soeurs, Paris designers and importers of women's apparel, has just been here, coming right from France to the Mile high city. He said, "Most of our gowns are by Countess Sylvia Montaguet and Baroness Jeanne d'Etrellis, and you will find the flower design in most of them - the flower motif. You will have the perfume for each gown new odors harmonizing with each creation." Mons. Diffley brought with him the perfumery, too, but it is up to the costumer to tell the wearers of his creations the perfumery that goes with the wonderful gowns - whether it is rose or carnation - that will make the flower design stand out as a living bloom wafting its fragrance on the air. Then enters the pharmacist." 

 

National Drug Clerk, 1927:

"The Syndicate Des Parfums Francais, Inc. This concern is a sales organization to represent in this country, various lines of perfumes and other toilet articles. They have already secured selling rights in this country for such firms as Boue, Valencia, Bernard Je Roger, Marques de Elorza..."

The powder was housed in a black and gold box , decorated with a blue silk ribbon, and a tiny bouquet of silk flowers as shown in the advertisement below.

Marques de Elorza

It is interesting to note that in 1925, the perfume house of Marques de Elorza launched a perfume of Quand les Fleurs Revent, the same name as Boue Soeurs first fragrance, this is because the two houses were associated. In addition to this perfume, Marques de Elorza also launched perfumes such as Sylvie after Sylvie Boue.

The house of Marques de Elorza was established by Marques Julio Lupus de Elorza at 73 avenue Champs-Elysees, Paris in 1926, Christie Mayer Lefkowith mentions that the company was established by Avran Moscovici. Their company as also affiliated to Chenier, Parfumerie Brecher, and Parfums de Paul and associated with Boue Sœurs. You will see the same perfume names used by Boue Soeurs and Marques de Elorza. The company produced interesting and luxurious perfume presentations, but as the 1930s started, their presentations were of lesser quality.

The bottle for Cantique des Cantiques (Song of Songs) was designed by Julien Viard and made by Verreries Leune. The bottles for both Valencia and Argentina were also designed by Julien Viard and manufactured by Depinoix. Argentina, a heavy, oriental style perfume, was not named for the country but rather for a popular opera singer at the time, the perfume was the re-branded fragrance 'Soir de Lune' by Parfumerie Brecher.

The perfume bottle for Marche Nuptiale (Wedding March) a heavy, oriental style perfume, was the re-branded fragrance ‘Marché Nuptiale’ by André Chenier. Presented in a bottle designed by Julien Viard, and manufactured by Depinoix, which featured a bride holding hands with Cupid. The name was taken from a then popular Parisian play.

The perfumes of Marques de Elorza:

• 1925 Bacchanale
• 1925 Bleu-Blanc
• 1925 Blue Ribbon
• 1925 Cantique du Roy
• 1925 Lilac de Minuit
• 1925 Parfums Boue
• 1925 Quand les Fleurs Rêvent
• 1925 Sylvie
• 1925 Sylviette
• 1925 Sylvita
• 1928 Cantique des Cantiques
• 1928 Lyrysis
• 1928 Radior
• 1928 Solarine
• 1928 Sybyl
• 1929 Legion d'Honneur
• 1929 Maitresse
• 1929 Marché Nuptiale
• 1929 Sweet Peas de Printemps
• 1929 Valencia
• 1929 Argentina
• 1950 Ming Jade
• 1951 Aperitiff
• 1951 La Fleur Merveilleuse
• 1951 Spring Madness
• 1951 Taj Mahal
• 1951 White Enchantment
• 1951 Do-Re-Me
• Geicha (1920s)

National Drug Clerk, 1927:

"The Syndicate Des Parfums Francais, Inc. This concern is a sales organization to represent in this country, various lines of perfumes and other toilet articles. They have already secured selling rights in this country for such firms as Boue, Valencia, Bernard Je Roger, Marques de Elorza..."

Official Gazette of the United States Patent Office, 1957:

"Old Empire Manufacturing Chemists, Inc., doing business as Marques de Elorza, Newark, N. J. Perfumes, toilet water, eau de cologne, etc. 586,531, Mar. 9 ; Serial No. 631,759, published Nov. 3, 1953. "

Parfums de Paul

Parfums de Paul was established by D.P. Paul in 366 Fifth Avenue New York and Paris and active between the two World Wars producing novelties and luxury presentations; they were affiliated to Marques de Elorza. 

The bottle for Nuit de Mariage by Parfums de Paul was presented in a bottle, box and label by B.T.C.I.C.. Also in a bottle made by Verrières Viard.


The perfumes of Parfums de Paul:

• 1926 Nuit de Mariage

Benoit Perfumes

Benoit, established in 1926 by Marco Barouh, of Barouh & Hermanos located at 10 boulevard Bonne Nouvelle, Paris in 1926; in association with Garcia Anastasios Somoza established at 77 A Prado St Havana, Cuba; launched a range of fragrances between 1926 and 1942. Affiliated with Brecher.

The perfumes of Benoit:

• 1925 Merry Christmas
• 1926 Orage d'Amour
• 1926 Lune de Miel
• 1928 Nuit de Paques (Easter Evening)
• 1929 Jardin du Mystere
• 1930 Une Corbeille de Fleurs
• 1935 Ange de Jericho
• 1935 Ange de Glorie
• 1940 My Kiss
• 1942 Clair de Lune
• 1942 Maderas de Tropico
• 1942 Muguet de Mai
• 1942 Aromas de Oriente
• 1942 Clavel Rojo
• 1942 Nuit de Paris
• 1942 Aromas de Oriente
• Un Soir de Folie (unknown launch date)
• Chamelle (unknown launch date)