Parfums Charbert

Parfums Charbert, Inc., was a New York-based company located at 730 5th Avenue. The firm was established in 1933 by William Gaxton, Charles Einfield, and Herbert Harris, under the name Parfums Charbert. The company's focus was on creating perfumes and cosmetics tailored to the American middle market, offering products that combined accessible luxury with affordability.

The name "Charbert" is believed to have originated as a blend of the names Charles Einfield and Herbert Harris, with "Char" derived from Charles and "Bert" from Herbert. This naming approach highlighted the partnership and personal connection between the founders, which was a common branding strategy during that era.

Charbert's products reflected the growing demand for elegant and fashionable cosmetics that resonated with the aspirations of middle-class American consumers. Positioned as a domestic alternative to European luxury brands, Parfums Charbert played a significant role in the American beauty industry during the mid-20th century.

 

Herbert Harris was a producer and financial backer of musical comedies before transitioning into the perfume business. He worked closely with Charles Einfield, and together with his nephew Joseph Fields and Joseph's wife, Dorothy Fields, they formed a successful team. This group was behind several iconic productions, including Of Thee I Sing, My Sister Eileen, Doughgirls, and Junior Miss. Harris's background in theater played a significant role in shaping the creative direction of his later ventures in perfumery.

William Gaxton, a celebrated actor who starred in Of Thee I Sing, was a close friend of Harris and reputedly one of New York City’s wealthiest actors at the onset of the Great Depression. One evening at the Central Park Casino, Gaxton shared his desire to invest in a chicken farm as a fallback plan for his retirement. Harris, dismissing the idea, suggested a more glamorous pursuit—the perfume business. This conversation led to the founding of Parfums Charbert, Inc., with Of Thee I Sing as their debut fragrance.

This was not Harris and Fields' first foray into perfumery. In 1916, they had briefly operated an import-export business, focusing on European perfumes. Joseph Fields, stationed in Paris, encountered Narcisse Noir by Caron, a perfume that captivated him so deeply he secured the rights to export it to the United States. The scent became a sensation, with American women clamoring for this Parisian luxury, generating profits of $800,000 in its first year. However, Caron eventually entered the American market directly, ending their arrangement and prompting Harris and Fields to reinvest their profits into theater productions, including Connecticut Yankee and Peggy Ann.

By 1930, still eager to remain in the perfume industry, Harris partnered with Gaxton to form Parfums Charbert. Harris became president, while Gaxton served as vice president and chief salesman. The pair brought Joseph and Dorothy Fields into the venture, leveraging their theatrical expertise to inspire creative marketing and product names. Despite challenges during World War II, such as workforce shortages, the Fields family actively participated in operations, with Dorothy even working in a laboratory to mix scents when imports from Paris were interrupted.

Gaxton played a pivotal role in promoting Charbert’s products. He traveled across the country, showcasing the line to Hollywood’s elite and securing placements in prestigious stores like I. Magnin, Bullock-Wilshire, and Saks Fifth Avenue in Beverly Hills. As part of his promotional efforts, he autographed perfume bottles during store appearances, blending his celebrity with salesmanship.

Charbert’s creations reflected its theatrical roots, drawing inspiration from Broadway productions. For example, the perfume De Toi Je Chante (Of Thee I Sing) debuted in 1933, named after the musical that starred Gaxton. Designed by Madeleine Cameron, Gaxton’s wife, this fragrance was housed in a stunning Czech crystal bottle crafted by the Ingrid firm, featuring a frosted nude relief. The perfume also had a men’s line, including eau de cologne, aftershave lotion, and talcum powder.

Even as the war raged onward, Charbert found innovative ways to adapt. Harris noted that the submarine warfare conducted during the conflict increased the availability of ambergris, a prized perfumery ingredient, which became the basis for their successful fragrance Amber. This adaptability, coupled with their theatrical flair, allowed Parfums Charbert to thrive and leave a lasting impression in both the perfume and entertainment worlds.

In 1938, The New Yorker highlighted Charbert's inventive packaging and romantic fragrances, particularly noting Grand Prix. The perfume was presented in a miniature leather riding boot complete with spurs, priced at $14. This whimsical and sophisticated design appealed to men for its uniqueness and to women for its deep, romantic, and thoroughly feminine scent.

In 1938, The New Yorker praised Charbert’s creativity and elegance, particularly highlighting the Grand Prix perfume, which was presented in a striking leather riding boot package. At $14, it was positioned to capture widespread appeal with its unique presentation and luxurious scent. Charbert’s already renowned fragrances, such as His Gardenia and Of Thee I Sing, were noted for their exceptional quality, available in deluxe bottles for $22.50, catering to an upscale market.

Additionally, Charbert offered expansive decanters of cologne in distinctive floral scents like Carnation, described as "exceptional," and Sweet Pea, among others. These colognes exemplified Charbert's dedication to producing high-quality, versatile fragrances in impressive packaging that elevated everyday toiletry items to the level of indulgence and refinement. The company’s innovative approach and theatrical inspirations underscored its appeal to both connoisseurs and casual fragrance enthusiasts alike.

 By 1939, The New Yorker reported on a smaller version of Grand Prix at $5, reflecting the brand's ability to adapt its offerings to various price points. Charbert’s earlier successes, such as Of Thee I Sing (light and feminine), Drumbeat (rich and heavy), and the renowned Carnation, continued to be popular. Their cologne line featured creative presentations, such as a square decanter doubling as a liqueur bottle for $7.50, and a tête-à-tête set of two small decanters in a wooden tantalus, catering to couples with scents tailored for men, women, or both.

Charbert’s product line also included cleverly named items inspired by the theater, such as Call Me Mister, Let’s Face It, Junior Miss, and The French Touch. Interestingly, The French Touch, co-written by Joseph Fields and Jerome Chodorov, achieved more fame as a perfume than as a play, illustrating Charbert’s knack for reimagining theatrical concepts into commercial successes.

Herbert Harris, the company’s co-founder, passed away in 1949 at just 52 years old. The following year, William Gaxton sold his shares in Charbert to Jacqueline Cochran, a cosmetics mogul and trailblazing aviator. Ironically, by 1940, Gaxton had fulfilled his earlier retirement dream of owning a chicken farm on Long Island. He passed away in 1963.

Charbert was prolific in its heyday, producing over 200 toiletry and cosmetic products, including perfumes, dusting powders, bath salts, toilet waters, lipsticks, and face powders. They collaborated with notable manufacturers such as Monsanto Chemical Company’s plastics division for luxury containers, the Waterbury Manufacturing Company for aluminum kettledrum shaving bowls, and W. Braun of Chicago for the oval glass bottles used for Breathless Cologne.

Despite its innovation and theatrical branding, Charbert closed its doors in 1960. Today, collectors and enthusiasts can find vintage Charbert bottles and products online, keeping the legacy of this glamorous and inventive perfume house alive.

The perfumes of Charbert:

• 1933 Breathless  
• 1933 De Toi Je Chante (Of Thee I Sing)  (light and feminine aldehydic spicy floral)
• 1933 Of Thee I Sing men's fragrance
• 1933 Notre Eleanor
• 1934 Mechant (exotic)
• 1935 Drumbeat (rich and heavy with gardenia and carnation )
• 1935 Grand Prix de Paris
• 1935 Gardenia (a sweet, green floral, true gardenia perfume)
• 1936 Drumstick Set presentation
• 1936 Carnation (a spicy floral perfume)
• 1936 Amber (ambergris and musk perfume)
• 1936 Yours Sincerely (a woodsy fragrance)
• 1937 Bridle Path
• 1937 "21 W 52"
• 1937 Skyline
• 1938 Grand Prix (a spicy floral perfume)
• 1939 Mimosa
• 1939 Grand Perfume
• 1939 Mountain Greenery
• 1939 Three Cheers Eau de Cologne presentation (A miniature cardboard White House)
• 1939 Major Drum Set presentation (compact, perfume, lipstick)
• 1939 Flower Garden presentation (holds 3 perfumes)
• 1939 Tisket-A Basket presentation (holds 2 floral perfumes and Of Thee I Sing perfume)
• 1940 Hold Everything (a presentation)
• 1940 Gaiety
• 1940 Cologne Corsage
• 1940 Deep Lilac
• 1940 Cologne Bouquet
• 1940 Trumpet Set (a presentation)
• 1941 Expressly Yours (possibly a presentation)
• 1941 Junior Miss
• 1941 Fabulous (a sweet and spicy floral perfume)
• 1942 They're Off (a presentation)
• 1943 As You Were (a presentation)
• 1943 Tonight
• 1945 "730"
• 1945 Outrageous
• 1945 Indian Summer
• 1945 Censored
• 1945 Fabulous
• 1945 High Spirits
• 1945 Deep Purple
• 1946 Amorous
• 1947 French Touch (a floral perfume, touch of spice)
• 1948 Let's Make Up (possibly a presentation)
• 1948 Warning
• 1951 Consent
• 1952 Breathless Mist
• 1953 Three Star Cast
• 1954 Yours Sincerely
• 1960 Imperial Russe

 

Of Thee I Sing:

Launched in 1933, De Toi Je Chante, "Of Thee I Sing) was described as a light aldehydic spicy floral fragrance for women. It had dominant notes of sparkling aldehydes and the pungency of carnation.

• Top notes: aldehydes, lemon, neroli, galbanum. 
• Middle notes: carnation, rose, jasmine, ylang ylang, clove, nutmeg, eugenol. 
• Base notes: musk, sandalwood, vanilla, benzoin, ambergris, oakmoss

Scent Profile:

The opening of Of Thee I Sing greets the senses with a vivid effervescence, a radiant burst of aldehydes that sparkles like sunlight on crystal. The aldehydes bring a soapy, clean brilliance, reminiscent of crisp linen drying in a gentle breeze. This brightness is layered with the zest of lemon, its citrusy tang sharp yet cheerful, cutting through the air like a freshly peeled rind. A delicate thread of neroli, soft and honeyed, weaves in, offering a touch of floral sweetness that tempers the sharper citrus edges. Finally, galbanum introduces a verdant undertone, green and slightly bitter, like crushed leaves underfoot, grounding the airy top notes with its earthy bite.

As the perfume blooms, the heart reveals its complex floral and spicy character. Carnation dominates, its clove-like pungency both bold and sophisticated, conjuring the image of a vibrant bouquet spiked with fiery spices. This spiciness is underscored by eugenol, intensifying the carnation’s drama with its warm, clove-rich aroma. Rose softens the edges with its velvety, classic sweetness, a tender counterpoint to the carnation’s sharpness. Jasmine adds a lush, heady depth, subtly indolic and deeply floral, while ylang-ylang brings a creamy, exotic richness, like petals warmed by the sun. A sprinkling of clove and nutmeg enhances the spicy interplay, their aromatic warmth enveloping the florals in a sensual embrace, creating a heart that is simultaneously bright, spicy, and tenderly floral.

The dry-down introduces a sensual warmth, as the base notes settle like a soft velvet cloak on the skin. Musk provides a clean, slightly animalic foundation, its warmth wrapping around the composition like a second skin. Sandalwood, smooth and creamy, lends a milky, woody softness that balances the lingering spice. The sweetness of vanilla and benzoin adds a subtle powdery touch, evoking the comfort of soft cashmere and fine powder. Ambergris, with its salty, oceanic nuance, whispers of mystery and depth, while oakmoss anchors the fragrance with its earthy, slightly mossy aroma, reminiscent of forest floors and damp bark.

Of Thee I Sing unfolds like a beautifully orchestrated melody, starting with sparkling, citrusy effervescence, transitioning into a bold, spicy floral crescendo, and finishing with a warm, sensuous harmony that lingers delicately on the skin. It is a symphony of contrasts, blending light and warmth, sharpness and softness, in a composition as complex and evocative as the era it hails from.

Amber:

Charbert's Amber was a deep oriental scent with dominant notes of natural ambergris, Mysore sandalwood and musk. It was described as "worldly wicked, wonderful. The perfume for night life. Deep, exciting musky scent that guarantees high voltage come-hither." I highly recommend the Amber scent as, in many cases, it seems to have held up due to its excellent natural fixative properties of ambergris, vanilla and musk.

• Top notes: neroli, orange blossom, bergamot. 
• Middle notes: clove, nutmeg, cinnamon, frankincense, myrrh, rose, jasmine.
• Base notes: vanilla, musk, Mysore sandalwood, ambergris, benzoin, labdanum, patchouli, cedar, civet, oakmoss

Scent Profile:

As I inhale the rich tapestry of Charbert's Amber, the scent unfurls with the intoxicating vibrancy of its top notes. The delicate, honeyed sweetness of neroli dances with the luminous, slightly creamy aroma of orange blossom, creating an uplifting introduction that whispers of exotic lands. Bergamot adds a sparkling, citrusy sharpness, refreshing yet fleeting, like the crisp shimmer of twilight before the evening descends.

In the heart, the fragrance deepens into a warm and opulent medley of spices and florals. The clove’s sharp, peppery heat mingles with the sweet, woody warmth of cinnamon and the earthy nuttiness of nutmeg, creating a spiced veil that feels simultaneously comforting and thrilling. Frankincense and myrrh rise like ancient smoke, their resinous, slightly medicinal qualities lending a meditative calm, but also a sense of intrigue—like an ancient, sacred ritual. The florals unfurl luxuriously in this spicy haze: rose, lush and velvety, exudes a deep crimson beauty, while jasmine, creamy and narcotic, adds a radiant glow. Together, these elements weave a hypnotic spell, their richness tempered by the soft, exotic whispers of the spices.

The base notes, however, are where Amber truly reveals its seductive power, anchoring the fragrance with a decadent and lasting warmth. Mysore sandalwood dominates, its creamy, milky richness smooth as polished silk, enveloping the composition with a sense of luxury and serenity. The animalic warmth of musk and the salty-sweet, slightly oceanic depth of natural ambergris create an aura of sensuality, as if the scent is alive and breathing. Vanilla, with its soft, gourmand sweetness, balances the darker tones, blending seamlessly with the balsamic, caramelized facets of benzoin. Labdanum contributes a leathery, resinous richness, smoky and slightly sweet, while patchouli introduces an earthy, damp complexity that feels grounding and mysterious. Cedar lends a dry, slightly smoky woodiness, offsetting the creamy warmth of sandalwood.

Hints of civet add an unmistakable animalic edge, a primal whisper that amplifies the scent's carnal allure, while oakmoss provides a mossy, forest-floor depth, grounding the fragrance in an earthy elegance. Together, these elements linger on the skin like a warm, glowing ember, evoking the smoky, amber-lit interiors of late-night lounges and the sultry, velvet-draped charm of forbidden rendezvous. This is a scent of indulgence, of mystery, of "high-voltage come-hither," leaving an unforgettable trail of worldly, wicked, and wonderful decadence.

Gardenia:

Gardenia was a true to scent soliflore fragrance for women. It was fresh and dewy, with a green top note, a narcotic white floral heart and a soft, trailing sweetened base note. 

• Top notes: cassie, French geranium, neroli
• Middle notes: rose, ylang ylang, tuberose, jasmine
• Base notes: musk, storax, civet

Scent Profile:

Charbert’s Gardenia opens with a fresh, dewy brilliance, capturing the lush vibrancy of a garden bathed in morning light. The green top note is alive with cassie, whose powdery mimosa-like sweetness carries a subtle spicy undertone, evoking the freshness of tender blossoms in spring. The crisp, slightly lemony brightness of French geranium weaves through, balancing the sweetness with its green, herbal edge, while neroli contributes a radiant, citrusy shimmer, its soft honeyed nuances lending an immediate sense of uplift.

As the heart reveals itself, the fragrance transforms into a narcotic symphony of white florals, capturing the intoxicating essence of blooming gardenias. Ylang ylang exudes its creamy, banana-like sweetness, a velvety smoothness that drapes the composition with richness. Tuberose, lush and opulent, emerges with its buttery, almost waxy floral depth, radiating sensual warmth. The delicate spiciness of jasmine intertwines, its indolic character adding a heady, carnal allure, while rose blooms gently in the background, contributing a soft, velvety sweetness that tempers the boldness of the white florals. Together, these notes create a lush, almost hypnotic heart that feels alive with petals.

As the fragrance settles, the base unfolds a soft and trailing sweetness, grounding the florals in warmth and subtle sensuality. Musk lends a clean, skin-like warmth, blending seamlessly with the earthy, balsamic depth of storax, whose resinous sweetness adds a soft smokiness to the composition. The faint animalic purr of civet emerges in delicate whispers, adding a touch of raw, untamed allure that enhances the naturalistic quality of the scent. The base lingers, subtly sweetened and softly textured, as though the creamy floral heart is cradled by an earthy, warm embrace.

Gardenia feels like an olfactory painting of its namesake flower—fresh, green, and vibrant at first, then deeply narcotic and intoxicating in its bloom, before trailing into a soft, skin-like sweetness that lingers with quiet elegance. It is the gardenia in all its forms: bright and dewy, lush and sensual, and softly mysterious as it fades into memory.

Charbert’s Gardenia perfume, introduced in 1935, was presented in a breathtaking bottle that exemplifies the glamour and sophistication of the Art Deco era. The bottle’s exterior was sheathed in elegant panels of mirror, each meticulously backed by green foil that cast a luminous glow, adding depth and vibrancy to the reflective surface. The stopper was a continuation of this mirrored motif, capped with an extravagant, large faceted faux emerald jewel. This striking adornment lent the bottle a regal air, its emerald-green brilliance complementing the verdant hues of the mirrored panels. Together, the elements created a visual harmony of light, reflection, and color—a design as captivating as the fragrance within.

This mirrored bottle was housed in a presentation box that only enhanced its allure. The box, covered in plush green velvet, featured a stepped base, a nod to the geometric motifs characteristic of the Art Deco style. Adding to its tactile elegance, a silken tassel completed the design, draping over the box with a soft and luxurious finish. The interplay of textures—velvet, silk, and glass—invited admiration and indulgence, making the entire presentation a work of art in its own right.

Equally impressive was the presentation of Charbert’s Of Thee I Sing, which featured pink mirrored panels in its design. The choice of delicate pink mirrors exuded a softer, romantic aesthetic, offering a contrast to the bold green glamour of Gardenia. Both designs demonstrated Charbert’s commitment to creating not just perfumes, but complete sensory experiences, where the fragrance and the vessel became inseparable expressions of beauty and luxury.

Today, bottles of Gardenia can still be found, but the rare mirrored presentation remains highly sought after by collectors. Its scarcity, combined with its distinctive design and historical significance, makes it a true treasure of vintage perfumery—a timeless reminder of the artistry and opulence that defined the golden age of fragrance.

Carnation:

Charbert's Carnation was a delightfully spicy floral fragrance. In my opinion, it rivalled Caron's Bellodgia in terms of its sultry floral warmth and long lasting capabilities on the skin.

• Top notes: cassie, rose geranium, clove, neroli, pimento, cinnamon, petitgrain
• Middle notes: orange blossom, rose, carnation, tuberose, jonquil, jasmine, orris, ylang ylang
• Base notes: vanilla, styrax, tolu balsam, musk, benzoin, patchouli, sandalwood, civet, ambergris

Scent Profile:

As you first inhale the top notes of Charbert’s Carnation, a complex and spicy mélange unfurls, awakening the senses. The effervescent warmth of cassie, with its powdery, sweet, and slightly floral character, immediately envelops you. This is quickly joined by the herbal bite of rose geranium, a green, slightly peppery note that adds a fresh sharpness to the blend. Piquant clove follows, its rich, aromatic heat lingering in the air, paired with the gentle, citrusy brightness of neroli. Pimento contributes a further layer of spice, an intriguing balance of sweet and peppery, while cinnamon adds a touch of deep warmth and fire, its woody, comforting scent mingling with the zest of petitgrain, which brings a crisp, slightly bitter citrus note to the opening. Together, these top notes create a vibrant, spicy layer that teases the senses, preparing you for the heart of the fragrance.

The heart of Carnation is a rich, opulent floral bouquet, deep and sultry, with the unmistakable warmth of carnation leading the way. Its peppery, clove-like nuance intertwines with the sweet, honeyed notes of rose, creating a sensual, almost intoxicating floral accord. Orange blossom, with its delicate, heady sweetness, swirls through, adding layers of freshness and romance. Tuberose, rich and narcotic, pulses through the composition, lending a creamy, heady richness to the fragrance, while jonquil’s soft, green-floral essence provides an intriguing contrast. Jasmine’s lush, velvety floral aroma adds depth, as orris—the iris root—gives a powdery, almost violet-like sweetness, smoothing the edges of the bouquet. Ylang-ylang, with its tropical, sweet floral scent, wraps the heart in an exotic and sensual finish, intensifying the overall warmth and depth of the perfume.

As the fragrance begins to settle into the skin, the base notes emerge, rich and earthy, with a seductive, lasting presence. The sweet, creamy warmth of vanilla melds beautifully with the resinous, slightly smoky styrax and tolu balsam, offering an almost balsamic richness that supports the florals. Musk, soft and sensual, lingers like a whisper on the skin, while benzoin adds a touch of sweet, resinous depth. Patchouli provides an earthy, woody grounding, its rich, almost herbal scent adding a layer of complexity. Sandalwood, smooth and creamy, enhances the fragrance’s warmth with its soft, woody texture, while civet imparts a musky, animalic undertone that adds a layer of sultriness. Ambergris, with its deep, salty, and musky scent, ensures that the perfume holds close to the skin for hours, imparting an enigmatic, enduring warmth that lingers long after the fragrance has faded from the air.

Together, these notes create a fragrance that is undeniably sensual and warm, with layers of spice, floral opulence, and deep, resinous richness. Much like Caron’s Bellodgia, Charbert’s Carnation offers a sultry, enduring warmth that evokes both intimacy and sophistication, a perfect blend for those who crave a fragrance that commands attention while enveloping them in a luxurious, spicy floral embrace.

Grand Prix:

Charbert's Grand Prix was an enchanting and dynamic fragrance, a true reflection of the bold and exhilarating spirit it sought to embody. As described, it captured "the exciting spirit of thundering hoofbeats" and "the pulse of heartbeats," evoking the rush of wind and the raw energy of movement. Housed in charming leather-covered flasks or miniature leather riding boots complete with spurs, the presentation was as unique and adventurous as the fragrance itself. These vessels, as audacious as they were functional, hinted at the perfume’s vibrant and spirited nature, making it not just a scent, but a symbol of untamed vitality.

At the heart of Grand Prix was its special base, known as Melysflor—a Firmenich or, in some cases, Givaudan’s Melittis accord. This distinctive blend was a true marvel of perfumery craftsmanship, a sophisticated combination of ingredients that balanced freshness with warmth and spicy florals. Central to this accord was benzyl salicylate, which imbued the fragrance with a sweet, balsamic undertone, while offering a soft, powdery and slightly floral edge. Alongside this, patchouli lent an earthy, green richness, grounding the fragrance with its woody, smoky depth. The presence of clove—through eugenol—added a spicy warmth, a tingle that invited the wearer into a world of gentle yet intoxicating heat, while the essence of cinnamon brought a touch of fiery sweetness, further enhancing the spicy floral character.

The heart of the fragrance was brightened by lily of the valley, a quintessentially floral note, which added a fresh, green sweetness to the composition. Traditionally created via the aromachemical hydroxycitronellal, it provided that signature "muguet" effect—bright, dewy, and uplifting—perfectly encapsulating the feeling of "a beautiful June day" as described in the perfume’s poetic allure. Coupled with this, woody notes added a layered complexity, reinforcing the fragrance’s depth and structure, while coumarin, with its sweet, hay-like scent derived from tonka beans, gave the fragrance a warm, comforting, and almost gourmand quality, balancing the freshness with soft sweetness.

All of these elements, woven into the Melysflor base, made Grand Prix a scent that conjured images of vast fields of blossoms swaying in the summer breeze, each note moving in harmony with the rhythm of nature. It was more than just a perfume; it was a fragrant snapshot of a perfect June day, bursting with floral splendor and tingling with the freshness of life itself. With its vibrant composition and beautifully unique presentation, Grand Prix embodied the thrill of victory and the timeless allure of the outdoors. Its striking blend of spicy florals, crisp greens, and woody undertones created a scent that was both exhilarating and enduring—a fragrance that could truly capture the essence of celebration and the heart of adventure.

• Top notes: coriander, cardamom, aldehydes, seringa, bergamot, neroli, lemon, lavender, lily of the valley, geranium, orange, orange blossom
• Middle notes: jonquil, wallflower, hay, clove, mimosa, gardenia, bay leaf, hyacinth, tuberose, jasmine, narcissus, carnation, Bulgarian rose, ylang ylang, cinnamon, lilac
• Base notes: civet, patchouli, vetiver, oakmoss, Virginia cedar, benzoin, sandalwood, musk, tonka bean

Gift Presentations:

About Face (1938):

The About Face gift presentation from 1938 epitomized sophisticated elegance for the discerning gentleman. The set featured Of Thee I Sing Talcum and Of Thee I Sing After Shaving Lotion, encased within a charming faux leather-covered flask. The flask, with its smooth, dark leather exterior, had a masculine yet refined appearance, evoking the spirit of the time with its subtly luxurious, travel-ready design. Its clean lines and understated craftsmanship provided a perfect vessel for the fragrant contents, which were equally designed to elevate a gentleman’s grooming ritual. The talcum powder and aftershave lotion were thoughtfully paired in this compact, well-curated presentation, making it a perfect gift for any occasion. This presentation not only encapsulated the gentle, floral notes of Of Thee I Sing but also offered a tactile experience, with the soft touch of leather, embodying both practicality and prestige in a single gift.


Let's Face It (1940s):

By the 1940s, Charbert refined its offerings with the Let’s Face It presentation for men, a distinguished packaging for Of Thee I Sing Talcum and Of Thee I Sing After Shaving Lotion. This presentation was a nod to the growing desire for elegance in men’s grooming products, delivering both functionality and finesse. The talcum powder and aftershave lotion were housed in sleek, sophisticated containers that emphasized simplicity and refinement. While the exact materials of the packaging may have varied, the emphasis on clean, streamlined design reflected the era’s aesthetic sensibilities. The Let’s Face It set allowed the wearer to indulge in the luxurious and soothing qualities of the fragrance while presenting itself as a truly timeless gift for the modern man. It was a complete grooming set, carefully designed to invoke a sense of well-being and self-care, a perfect companion for the stylish, refined gentleman of the 1940s.


Drum Flacons (1935):

The Drum Flacons from 1935 were an exquisite display of craftsmanship and ingenuity in perfume packaging. These deluxe flacons, used for a selection of Charbert’s iconic perfumes—Drumbeat, Of Thee I Sing, Amber, Gardenia, and Carnation—were shaped like miniature drums, echoing the elegance and uniqueness of the time. Available in 1 oz and 1 dram sample sizes, these flacons offered a visual feast, their rounded, cylindrical shape representing both artistry and the whimsical nature of the era’s design. The drum motif evoked a sense of playfulness and celebration, while the rich glasswork and ornamental detailing suggested the luxury of a finely crafted item. The design was not just a clever way to house perfume but a bold statement of style and flair. Even by 1942, these flacons remained a popular and distinctive choice for Charbert’s perfumes, as they continued to appeal to those seeking an extraordinary gift presentation. The Drum Flacons were more than just perfume bottles; they were symbols of decadence, elegance, and the joy of giving a thoughtfully crafted, beautiful object. Whether displayed on a vanity or gifted to a loved one, these flacons were sure to leave a lasting impression, making the fragrance inside as memorable as the vessel itself.

Drum Flacons for Eau de Cologne (1935):

In 1935, Charbert introduced a striking and memorable presentation for their Eau de Cologne line, housed in large drum flacons that perfectly balanced luxury with whimsical design. These bottles were crafted to hold 2 ounces or 8 ounces of Eau de Cologne, making them ideal for both personal use and as prestigious gifts. The drum shape was bold and eye-catching, evoking the rhythmic movement of music and the celebratory spirit of the time. Each bottle, meticulously crafted, had a substantial presence, its round, smooth glass body resembling a miniature barrel. The design was a nod to both late period Art Deco elegance and the playful motifs that defined the era.

Available in a range of fragrances—Drumbeat, Of Thee I Sing, Amber, Sweet Pea, Lavender, Mimosa, Carnation, and Gardenia—each flacon was designed to reflect the unique character of the perfume it contained. The larger 8-ounce bottles, with their ample size, were especially suited for those who desired a long-lasting fragrance experience. The Drum Flacons were more than just vessels for cologne; they were decorative objects, imbued with a sense of personality and charm. Whether adorned with rich detailing or left sleek and simple, the bottles were captivating in their form and function.

The bold, curved body of each drum flacon was finished with a matching cap, often in the same glass or metal finish, ensuring that each piece was a complete work of art. The flacons would have been housed in attractive packaging, sometimes with satin-lined boxes, making them an exquisite gift choice. By 1942, these Drum Flacons had become a recognizable hallmark of Charbert’s Eau de Cologne line, their elegant design still catching the eye and exuding the sense of timeless sophistication that Charbert had cultivated. Whether used for a special occasion or displayed in a vanity collection, these bottles were a perfect expression of both the fragrance inside and the luxurious presentation that defined Charbert’s perfume offerings.

Watering Cans (Easter 1941):

In 1941, Charbert unveiled a charming and whimsical gift presentation that perfectly captured the spirit of spring: miniature wooden watering cans. These delightful pieces, designed for the Easter season, held a small vial of perfume, offering a fresh and imaginative way to present fragrance. The watering cans were crafted from wood, their natural grain adding a rustic charm that made each one feel like a handcrafted treasure. The tiny cans were adorned with baby flowers delicately positioned on top, creating a serene and playful effect that evoked the innocence and renewal associated with springtime.

The perfumes inside these miniature watering cans were among Charbert’s finest, including popular scents such as Of Thee I Sing, Amber, and Gardenia, offering a variety of fragrant experiences within this unique presentation. The vials inside were carefully encased within the wooden can, adding a delightful surprise to the overall packaging. The baby flowers, often designed to resemble daisies, violets, or tiny blossoms, were typically hand-painted or delicately molded to evoke a fresh, springtime garden.

These miniature watering cans were not only collectible but also highly popular as gifts. The appeal of the wooden watering can, combined with the fragrance it contained, created a memorable sensory experience. Each one was a tangible symbol of renewal, much like the flowers of spring, making them an ideal gift for Easter, celebrating the season of growth and rejuvenation. The playful yet elegant nature of the watering cans made them a standout presentation for Charbert’s perfume line, a perfect blend of charm and fragrance that reflected the joyous and hopeful atmosphere of the time.

  

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