Lilly Daché

Lilly Daché, a renowned milliner born in France in 1893, left an indelible mark on the American fashion scene. Establishing her iconic millinery business at 76 East 56th Street in New York, Daché became famous for her innovative and stylish hats, which were beloved by fashionable women throughout the mid-20th century. In 1931, she married Jean Despres, a French-born executive at Coty, Inc., a leading cosmetics and fragrance company of the time. It’s important to note that Despres should not be confused with the legendary perfumer Jean Desprez, the creator of Bal à Versailles. Their marriage was a harmonious blend of mutual respect and professional collaboration, as both Daché and Despres supported each other's careers while cultivating a shared love for the industry.

In 1940, Daché’s collaboration with Coty took a unique turn when she introduced perfumed millinery, a concept that infused the linings and headbands of hats with sachets of popular Coty fragrances like Emeraude, Styx, L'Origan, Chypre, and L'Aimant. This innovative idea allowed wearers to enjoy their favorite scents as part of their daily attire, showcasing Daché's ability to merge fragrance with fashion in a novel way. Following this collaboration, Daché launched her own line of perfumes, starting with Drifting, a floral scent introduced in 1941, which was shortly followed by the fresh, floral oriental fragrance Dashing later that year. Two decades later, in 1962, she released Dachelle, further cementing her presence in the world of fragrance.

Daché’s connection with Coty continued to deepen over the years. In 1954, she took on the role of president of General Beauty Products Corp., a new subsidiary of Coty, Inc. This subsidiary managed three of Coty's major cosmetics and fragrance divisions: Lucien Lelong, Marie Earle, and Rallet Perfumes. As head of this unit, Daché not only brought her own flair to Coty but also managed her personal brand, Lilly Dache Products, under the Coty umbrella.

By October 6, 1961, her cosmetics business, Lilly Dache Cosmetics, Incorporated, was acquired by Lanolin, marking a shift in her entrepreneurial journey. When her husband retired from Coty in 1968, Daché also decided to close her business, thus ending an era marked by creativity, elegance, and a flair for innovation in both millinery and perfumery. Throughout her career, Lilly Daché skillfully navigated the intersections of fashion and fragrance, leaving behind a legacy that celebrated the art of both.

Life and Career:

Lilly Daché, born in Bègles, Gironde, France, began her illustrious career in millinery at the young age of 15. She honed her skills under the mentorship of two renowned milliners, Caroline Reboux and Suzanne Talbot, both of whom were leading figures in Parisian fashion at the time. Although accounts vary on when she emigrated to the United States, it is widely reported that Daché arrived in New York City around 1924. However, according to the 1930 U.S. Census, she may have actually entered the country as early as 1919. Whatever the case, New York became her home and the backdrop for her remarkable career. There, she met and married Jean Despres, an executive at the prominent cosmetics and fragrance company Coty, Inc. Their marriage in 1931 marked the beginning of a supportive partnership, blending both personal and professional lives in a way that was admired by those around them.

Daché quickly rose to fame, becoming one of the most celebrated milliners in the United States. Her glamorous designs were worn by stars of the silver screen, including Marlene Dietrich, Loretta Young, and Carole Lombard. So beloved were her hats that when Daché retired in 1968, Loretta Young reportedly purchased the last thirty hats she ever created. Known for her witty take on glamour, Daché famously remarked, "Glamour is what makes a man ask for your telephone number. But it also is what makes a woman ask for the name of your dressmaker." Her designs, which ranged from draped turbans and brimmed hats molded to the head to half hats, visored caps for war workers, and romantic flower-covered creations, set trends and defined styles throughout the 1940s and 1950s. By 1949, she had expanded her designs to include dresses, lingerie, loungewear, gloves, hosiery, and even a wired strapless bra.

Daché’s reputation extended beyond her clientele, as she became something of a cultural icon. In 1955, she appeared as a mystery guest on the popular television game show What’s My Line?, where her identity was eventually guessed by panelist Arlene Francis. Her influence also touched Hollywood, where she worked as a designer for films, crafting hats and other accessories for the biggest stars of the time.

Lilly Daché’s impact on the fashion industry went beyond her own work. She was instrumental in the careers of other influential figures, such as Halston and famed hairstylist Kenneth Battelle. Daché brought Halston to New York in 1958 to manage her wholesale hat division, providing him a valuable stepping stone to his own celebrated career. Her legacy also includes her contributions to literature; she published Lilly Daché’s Glamour Book in 1956, followed by an autobiography, Talking Through My Hats, in 1946, offering insights into her world of fashion and style.

Throughout her career, Daché received numerous accolades, including the prestigious Neiman Marcus Fashion Award in 1940 and the inaugural Coty American Fashion Critics Award for millinery in 1943. By the 1960s, she had diversified her business into couture clothing, cosmetics, and accessories, proving her versatility and business acumen. When she retired in 1968, her daughter Suzanne took over the millinery business, continuing the legacy her mother had built. Daché spent her final years in Louveciennes, France, where she passed away. Today, her designs remain highly valued by vintage collectors, a testament to her enduring influence on the world of fashion. Her grandson, John Gordon Gauld, continues the family's artistic tradition as a painter, preserving the creative spirit that Lilly Daché embodied throughout her life.

The perfumes of Lilly Dache:

• 1941 Drifting (a floral perfume)
• 1941 Dashing (fresh, floral oriental perfume)
• 1944 Fan-Freluches
• 1945 Because
• 1953 Drifting Night and Day Fragrances
• 1953 Dashing Night and Day fragrances
• 1962 Dachelle

Bottles:

Drifting:

Lilly Daché's 1941 fragrance, Drifting, was a deeply personal creation, named after her beloved white French poodle. The name "Drifting" brings to mind a gentle, unhurried movement—perhaps the slow, peaceful float of clouds across the sky or the tranquil, effortless glide of a sailboat over calm waters. The word, rooted in the English language, suggests a kind of serene detachment, an escape from hurried reality. In the context of a fragrance, Drifting evokes images of a fragrance that is meant to envelop the wearer in a languid, almost dreamlike state, where time feels suspended and senses are heightened. It is an ideal name for a perfume that aims to transport its wearer to a place of gentle, indulgent allure, particularly suited for the evening, when one might seek respite from the day’s busyness.

Drifting is characterized as heavy, sweet, and “softly languorous,” inviting thoughts of luxuriating in a warm, dimly lit room, far from the rush of the outside world. The composition opens with aldehydes and bergamot, notes that lend an initial brightness and sparkling quality, much like the first breath of cool evening air. Spicy hints of cinnamon and clove emerge next, adding warmth and depth. The heart notes are a bouquet of intoxicating florals—rose, jasmine, tuberose, and ylang-ylang, rounded out by orange blossom, which add layers of sweetness and sensuality. The floral accord is rich and indulgent, designed to evoke the lushness of a garden in full bloom at twilight. The base notes bring together warm, resinous amber, creamy sandalwood, and animalic nuances from musk, civet, castoreum, and labdanum, punctuated by the exotic sweetness of benzoin, vanilla, and opoponax. This intricate base adds a seductive earthiness and luxurious depth, creating a fragrance that lingers and unfolds as the evening progresses.

When Drifting was launched in the early 1940s, the world was in the throes of World War II, a time marked by significant upheaval and uncertainty. Perfume in this era often served as a refuge—a touch of luxury and escapism from the harsh realities of daily life. During this time, women sought fragrances that were comforting yet empowering, and many popular scents leaned toward the rich, heavy, and animalic profiles, offering a sense of warmth and stability. Fragrances of this period, such as Shalimar by Guerlain or Tabu by Dana, were bold and opulent, appealing to the desire for something luxurious and transporting.

However, Drifting offered something uniquely evocative with its languid, almost narcotic quality, which distinguished it from the sharper or more overtly oriental fragrances of the time. Its composition emphasized softness and sensuality, making it particularly appealing as an evening fragrance, one that could drape the wearer in a kind of ethereal, amorous glow. Women of the time would have seen Drifting as an embodiment of sophisticated allure, something to wear when they wanted to feel captivating and effortlessly chic. The perfume’s softly sweet yet potent character likely resonated deeply with women seeking to express a timeless elegance and femininity, even in an era overshadowed by global conflict. Drifting would have stood out in this landscape, with its delicate balance of floral opulence and musky warmth, embodying a sense of tranquility and romantic escape that was much needed in the wartime era.

Drifting was described as heavy, sweet and "softly languorous" and was particularly suited for evening.  Drifting's perfume pyramid:

• Top notes: aldehydes, bergamot, cinnamon, clove
• Middle notes: rose, jasmine, tuberose, ylang ylang, orange blossom
• Base notes: amber, sandalwood, musk, patchouli, benzoin, vanilla, civet, castoreum, labdanum, opoponax

The 1941 perfume Drifting by Lilly Daché came in a strikingly surrealistic bottle that captured attention with its bold, imaginative design. The bottle was inspired by the female form, with a shape reminiscent of a woman’s breasts, which symbolically merged into green leaves at the base, suggesting nature’s interplay with feminine beauty. From the stopper sprang bright pink and yellow feathers, giving the impression of an exuberant heart and bust combined with elements of movement and vivacity. The flacon was initially marketed as a "crystal heart flacon," which, in conjunction with a 1940s advertisement, referenced “green flames of envy consuming a woman’s heart.” This hinted at the alluring, passionate nature of the fragrance, and added an evocative layer to the design concept.

The bottle itself was constructed from tinted Stonite, a form of celluloid renowned for its unique ability to hold color and intricate details, but also highly flammable due to its pyroxylin and camphor composition. Stonite, a trade name under the Celanese Corporation's broader line of plastics, was commonly used by New York-based Irving Schwartz for creating ornate decorative items and display pieces. The decision to use this material added a textural, almost ethereal quality to the bottle, which complemented the fantasy-like theme of the fragrance. Set within a kelly green satin-covered presentation box, the bottle's pink, green, and yellow color scheme evoked a whimsical, surrealistic charm. Affixed securely to a cardstock base, the bottle held two ounces of parfum and retailed for $28 in 1941, a luxury price at the time.

Beyond the figural heart bottle, Drifting was available in a variety of other flacons, reflecting a versatile and sophisticated product line. Smaller square glass bottles with faceted stoppers and crystal decanter-style bottles offered alternative presentations for those purchasing the fragrance in varying concentrations. The parfum was available in sizes ranging from half an ounce to four ounces, each housed in elegant satin-covered boxes that continued the signature green theme. The Eau de Cologne options, with bottle sizes up to eight ounces, featured inner glass stoppers and satin-covered overcaps. These caps were originally kelly green, although many have faded over the decades, subtly shifting the appearance of these vintage pieces. The Eau de Cologne bottles were also adorned with green and gold paper labels, which added to the overall cohesive and luxurious presentation of Drifting.

Lilly Daché’s Drifting was available in both Parfum and Eau de Cologne concentrations, with bottle heights and shapes carefully chosen to add a tactile appeal to the fragrance experience. The half-ounce parfum in the square bottle stood at 3.25 inches, while the one-ounce decanter flacon stood at 4.75 inches. The centerpiece of the collection, the figural heart bottle, reached 5.75 inches, while the larger four-ounce parfum bottle stood at five inches. Eau de Cologne bottles ranged from four to eight ounces and stood between 5.25 and 6.25 inches. The meticulous attention to bottle design, paired with Daché's unique fragrance, ensured that Drifting remained a memorable and treasured fragrance from the 1940s.

Discontinued around 1954.

Dashing:

Lilly Daché launched her fragrance Dashing in 1941, naming it after her lively French poodle, Dashing. The word "dashing," derived from English, means spirited, bold, and elegant—a perfect fit for a scent that was designed to be invigorating and uplifting, much like the playful charm of her beloved pet. The term evokes a sense of charisma, swiftness, and an adventurous spirit. The idea of "dashing" conjures up images of quick movements and captivating presence, which Daché sought to capture in the perfume. This vibrant energy, interpreted through scent, would suggest a fragrance full of brightness and effervescence, ideal for the confident woman on the go.

Dashing was described as a "tangy, sharp" floral, perfectly suited for daytime wear. Its light, refreshing character set it apart from the heavier, opulent perfumes often associated with evening wear. The perfume's top notes were a lively mix of osmanthus, violet leaf, lemon, bergamot, petitgrain, aldehydes, neroli, and bitter orange peel. These ingredients contributed to a fresh and zesty opening, full of citrusy brightness and green nuances. The middle notes included a delicate floral bouquet of geranium, lily of the valley, hyacinth, rosemary, carnation, rose, iris, lily, jasmine, and ylang-ylang. Together, they created a harmonious blend of floral scents, balancing the sharpness of the top notes with an enchanting softness. The base notes of vetiver, cedar, galbanum, oakmoss, amber, vanilla, sandalwood, and musk grounded the fragrance with earthy warmth and a touch of sensuality.

Dashing was described as a "tangy, sharp" floral. It was used for daytime, mostly, because it is lighter. Dashing's perfume pyramid:

• Top notes: osmanthus, violet leaf, lemon, bergamot, petitgrain, aldehydes, neroli, bitter orange peel
• Middle notes: geranium, lily of the valley, hyacinth, rosemary, carnation, rose, iris, lily, jasmine and ylang ylang
• Base notes: vetiver, cedar, galbanum, oakmoss, amber, vanilla, sandalwood and musk

Women of the early 1940s would likely have embraced Dashing as a chic and modern daytime perfume, one that echoed the spirited independence of the era. During this time, the fragrance market was populated with perfumes that were either incredibly lush and heavy, intended for evening allure, or delicate and powdery, crafted for subtlety. Dashing offered something different—a fragrance that was both lively and refined, embodying the optimism and resilience of the period. It stood out for its sharpness and tangy freshness, appealing to women seeking an invigorating scent that matched their active lifestyles.

At the time, floral compositions were popular, yet Dashing brought a twist with its bright, almost effervescent quality. In contrast to the romantic or heavily floral fragrances typical of the 1930s, Dashing leaned into a bold, modern aesthetic. The inclusion of citrus and herbal notes like rosemary, alongside the soft florals and a base of vetiver and sandalwood, made it a distinctive scent. In a market where perfumes often fell into either ultra-feminine or ultra-sophisticated categories, Dashing struck a balance by embracing both freshness and elegance, making it unique and in line with the trend of creating fragrances that resonated with the changing roles of women during this transformative time.

The perfume Dashing was presented in a delightful bottle designed to resemble a white French poodle, capturing the playful and charming spirit of the fragrance. Made from stonite, a celluloid-like plastic, the poodle-shaped bottle featured a sculpted white exterior molded around an inner glass container. The design included a distinctive blue bow, cleverly forming the top of the stopper, which came equipped with a full-length glass dauber, ensuring that every drop of the perfume could be reached. The bottle held two ounces of Dashing parfum and was packaged in a luxurious presentation box covered in vibrant fuchsia satin. Secured to a satin-covered cardstock base, the entire presentation exuded a playful elegance that resonated with the whimsical spirit of the time. The parfum was originally priced at $28 in 1941, a testament to its luxurious appeal. One unique presentation even featured a trio of the poodle bottles, each standing approximately 3 3/8 inches tall, offering a charming set of three petite poodles.

Other variations of the Dashing parfum were housed in more traditional yet equally elegant bottles. The square clear glass flacon with a faceted stopper was a classic choice, nestled in fuchsia satin-lined boxes. The larger, four-ounce version came in a sophisticated fold-out box, complete with a gathered satin interior and an ornamental satin millinery rose adorning the lid. Another option was the crystal decanter-style bottle, which sat on a satin-covered oval base, giving a sense of stately refinement to the presentation.

The fragrance was offered in both Parfum and Eau de Cologne concentrations, with an array of sizes to suit various preferences. The range included a half-ounce Parfum in the square bottle (3.25 inches tall), a one-ounce Parfum in the decanter bottle (4.75 inches tall), and the iconic two-ounce poodle bottle standing at seven inches tall, excluding its base. Additionally, the four-ounce Parfum square bottle (5 inches tall) was available alongside the Eau de Cologne in two larger sizes: a four-ounce bottle standing at 5.25 inches and an eight-ounce bottle at 6.25 inches tall.

The Eau de Cologne bottles, crafted from clear glass, featured inner glass stoppers and over caps covered in fuchsia satin fabric—a design that tied seamlessly into the vibrant and lively aesthetic of the Dashing line. The caps and labels, embellished with fuchsia and gold paper accents, added a final touch of vintage charm, although they may have slightly faded over the years. Each design choice, from the poodle bottle to the fuchsia satin detailing, underscored Lilly Daché's flair for creating fragrances that were as visually captivating as they were fragrant, embodying a sense of playfulness and sophistication that was distinctive of her brand.

Tricolor, 1944:

"Dashing by Lilly Dache is bottled in crystal (Price: $15 for 1 oz.) as well as in a white plaster poodle wearing a small blue bow."

Discontinued around 1954.

Dachelle:

Launched in 1962, Dachelle is classified as a soft floral chypre fragrance for women.

• Top notes: bergamot, lemon, aldehydes, galbanum
• Middle notes: rose, jasmine, lily of the valley, orris, ylang ylang
• Base notes: vetiver, oakmoss, civet, labdanum, tonka bean, amber, patchouli, musk, sandalwood, cedar

Dachelle unfolds with a symphony of olfactory notes, beginning with its vibrant top notes that dance upon the senses. The initial burst of bergamot presents itself as a bright, citrusy essence, akin to a sun-drenched grove in early summer. Its zesty brightness is uplifting, offering a refreshing start that awakens the spirit. Complementing the bergamot, lemon adds a sharper, tangy dimension, evoking images of freshly sliced fruit, its invigorating aroma bursting with vitality and clarity. This vibrant duo is softened by the ethereal presence of aldehydes, which introduce a sparkling quality, reminiscent of dewdrops glistening in the morning sun. The aldehydes create an airy, almost effervescent effect, elevating the fragrance with an exhilarating lightness. Finally, galbanum emerges, with its green, herbaceous notes evoking the scent of fresh foliage after a rain. Its slightly bitter undertones add depth and complexity, grounding the opening notes with a subtle earthy richness.

As the fragrance evolves, the heart reveals a lush bouquet of middle notes that envelop the wearer in a warm embrace. Rose takes center stage, exuding a romantic, velvety scent that embodies femininity and elegance. Its intoxicating aroma is rich and full-bodied, evoking images of blooming gardens where petals unfurl at dawn. This floral opulence is beautifully complemented by the sweet, heady scent of jasmine, which weaves a sensuous tapestry of richness and depth. Jasmine's floral nectar-like quality enhances the allure of the composition, imbuing it with a sultry warmth. Adding to this harmonious blend is lily of the valley, its delicate, bell-shaped blossoms offering a soft, fresh sweetness that is both innocent and captivating. The subtle green notes of this flower evoke a sense of spring, filling the air with a whisper of tranquility. Orris joins the bouquet with its powdery, velvety texture, providing an elegant softness that enhances the floral heart. Its gentle, comforting scent creates a serene backdrop, while ylang ylang adds an exotic, luscious sweetness, introducing a hint of tropical flair that enlivens the composition.

The base notes of Dachelle linger, leaving an unforgettable impression that wraps the wearer in warmth and sensuality. The earthy aroma of vetiver emerges first, with its rich, smoky quality reminiscent of damp earth after a rainstorm. This deep, woody note grounds the fragrance, evoking a sense of stability and comfort. It is harmonized by oakmoss, which introduces a damp, green earthiness, evoking the scent of a shaded forest floor. The animalic richness of civet adds an intriguing depth, with its warm, musky notes enhancing the fragrance’s allure and sensuality. Labdanum follows, providing a resinous sweetness that deepens the warmth of the base, evoking the scent of ancient woods and warm amber. The addition of tonka bean brings a comforting creaminess, with its sweet, vanilla-like aroma softening the overall composition. This is harmonized by the radiant warmth of amber, which adds a golden glow and envelops the fragrance in a rich, alluring embrace. Patchouli introduces its characteristic earthiness, evoking images of sun-warmed soil and lush vegetation, while musk rounds out the base with its soft, sensual qualities, imparting a lingering warmth. Finally, sandalwood and cedar enrich the composition with their creamy, woody nuances, creating a sense of balance and tranquility that resonates with the soul.

In its entirety, Dachelle weaves a narrative of femininity and sophistication, inviting the wearer to indulge in its harmonious blend of floral and chypre elements. Each note unfolds like a chapter in a beautifully written story, evoking emotions and images that linger long after the scent has faded.

The lovely crystal bottle for Dachelle is acid marked Made in France in the base. The same bottle also was used for the Dachelle Coeur de Parfum fragrance. 

• 1/4 oz bottle stands 4" tall.
• 1/2 oz bottle stands 4 7/8" tall.
• 1 oz bottle stands 6.5" tall.

Dachelle Coeur de Parfum by Lilly Daché means the "Coeur de Parfum" - the heart of the perfume, was advertised as having 2.5 times more pure perfume essence than conventional perfumes and was made without alcohol. I would imagine it was extremely potent and longer lasting than usual parfums. The Coeur de Parfum fragrance was available in 1/4 oz, 1/2 oz and 1 oz sizes. According to an inflation calculator, the 1/4 oz bottle which cost $14 in 1965, would cost $141.25 in 2024's money, the 1/2 oz bottle which cost $24 in 1965, would cost $242.15 in 2024, and the 1 oz bottle which cost $42 in 1965 would cost $423.76 in 2024.

Department Store Economist - 178 days to Christmas, 1964:

"Lilly Dache's new box in grey- green and gold is wrapped with Dachelle perfume in a gold bow."

Vogue, 1966:

" Dachelle Coeur de Parfum by Lilly Dache means that Dache has extracted the heart of the perfume; more than double the essential oils of conventional perfumes; no alcohol: more durability."

Dachelle was available in cologne concentration known as "Cologne Parisienne".

• 2 oz Cologne bottle stands 4.5" tall.
• 3.6 oz Cologne bottle stands 5.75" tall.

The Dachelle line was extended to include Perfume for the Bath (a bath oil in three sizes: 1 oz, 1/2 oz, and 1/8 oz),  an after Bath Powder and a refreshing After Shower Spray in a 2.5 oz size.

In 1965, a trio of gold tone necklaces fitted with solid crème perfume compacts were launched, known as the "Dachelle Lavalieres". Fashioned after an antique clock face, a renaissance era coin or carved Italian intaglio, some were set with rhinestones, faux turquoise or faux topaz stones. The interior of the lid features a mirror.

By 1970, Dachelle seems to have been discontinued.

Obituary for Lilly Dache

Lilly Dache, 97, Creator of Hats For the Fashion Set of Yesteryear

By BERNADINE MORRIS

Published: January 02, 1990 New York Times

Lilly Dache, the milliner who flourished in this country in the decades when women selected their new hats before they chose their new clothes, died Sunday at a nursing home in Louvecienne, France. She was 97 years old.

She was best known for her turbans, which she made by draping the fabric right on her customers' heads.

''I would talk to the woman, ask her where she planned to wear the hat, what kind of dress she would wear it with,'' she told an interviewer at the end of her career. ''If she thought her nose was too long, I would make a hat with a brim and pull it down so you couldn't see the nose so much. I made everything with love, affection and excitement.''

Customers Included Film Stars

Her clients included Hollywood stars like Sonja Henie, Audrey Hepburn, Carole Lombard and Marlene Dietrich. Her last customer was Loretta Young, who arrived at her studio after Miss Dache decided to retire and bought her last 30 hats.

That was in 1968. Miss Dache's husband, Jean Despres, an executive at Coty Inc., the fragrance and cosmetics house, was retiring and she decided to close her business. Until his death last year, she and her husband divided their time between Delray Beach, Fla., and Meudon, France.

She had come to this country from France at the age of 16 and lived with an uncle in Atlantic City at first. But she soon went to New York, saw a sign in a window on a shop on Broadway saying ''Milliner Wanted'' and got the job.

She and another woman working there eventually bought the shop from the owner. She remembered the first hat she made as her own boss: a turban in four shades of blue, made from scraps lying in the shop.

A Leader in Fashion World

She was part of a group of milliners who were better known at the time than dress designers. They included John-Fredericks, Walter Florell, Laddie Northridge and Sally Victor.

In the 1930's depression era, women with limited funds tended to buy new hats instead of new clothes. In the 1940's clothing fabric was in restricted supply because of World War II, and hats continued in demand because they were showy.

But Miss Dache saw that millinery might not continue in fashion indefinitely, so she developed snoods with flowers, veils and bows as alternatives.

At the end of the 1950's she hired a young assistant from Chicago, Halston Frowick, who went on to become known for his own line of clothes. She also hired Kenneth Battell to take charge of her hair salon. By the 1960's elaborate coiffures by Kenneth, as he was known, swept hats off the fashion map.

Miss Dache did not mourn the end of the millinery era. After her retirement, she rarely wore a hat; she preferred wigs.

She is survived by her daughter, Suzanne Dache-Gould, who also became a milliner, and two grandsons. A funeral service will be held in Meudon on Thursday.

CLICK HERE TO FIND LILLY DACHE ON EBAY