Cleopatra's Boudoir: Mori and Valmy Perfumes

Parfums Francais, Inc. of New York operated as an importing company specializing in French perfumery essences, which it blended domestically within the United States to optimize production costs. As part of its cost-effective strategy, the company procured surplus crystal perfume bottles from Baccarat, likely acquired at discounted wholesale prices due to their surplus status and potential discontinuation from production.

Under its umbrella, Parfums Francais managed several prominent French perfumery brands including Mori, Valmy, Parfums d'Anjou, Parfums de Choisy, and Parfums Odeon. Notably, each of these brands shared an identical logo design, possibly indicating a unified branding approach or a cohesive corporate identity across its diverse portfolio of perfumes.

The associated perfume brands shared the same perfumes. The repetition of these names across different brands suggests that Parfums Francais aimed to maximize the recognition and appeal of their popular fragrances by offering them under multiple brand names. This strategy could attract a wider customer base, tapping into various market segments while ensuring that well-received scents were accessible through different lines.

In summary, Parfums Francais, Inc. strategically imported and blended perfumery essences while leveraging surplus acquisitions and brand consolidation to establish a significant presence in the perfume industry during its operational period.

Mori, Paris was originally established in 1908 in Paris, France, and operated independently until its closure in 1931. It's plausible that after Mori ceased operations, its brand assets, formulas, or even some of its product names were acquired or licensed by another perfume company, possibly Valmy.

Valmy, another perfume company, emerged around 1933 and notably produced perfumes with names such as Pour Toi, Viens, and L'Heure de Minuit, which were previously associated with Mori. This suggests a continuation or revival of Mori's legacy under the umbrella of Valmy.

Therefore, it's reasonable to infer that Valmy may have either absorbed Mori's assets or continued its product lines under its own brand name after Mori's closure in 1931. The shared perfume names between Mori and Valmy indicate a potential continuity or succession in the perfume industry, where brands often acquire or adopt elements from predecessors to capitalize on established market recognition.

This historical context aligns with the strategic practices of Parfums Francais, Inc., which not only imported and blended perfumery essences but also managed multiple brands with unified marketing strategies, as evidenced by their identical logos across different perfume lines.

Historical Context and Possible Absorption:

Mori, Paris (1908-1931):

Mori, Paris was founded in Paris in 1908 and operated as a prominent perfume house until its closure in 1931. During its active years, Mori established itself in the competitive Parisian perfume market, potentially maintaining affiliations with other companies like Fontanis, which might indicate shared ownership or business relationships within the industry.

Closure and Transition (1931-1933):

The closure of Mori in 1931 could be attributed to various factors such as economic challenges, shifts in consumer preferences, or strategic decisions influenced by the volatile business landscape of the early 20th century. In the perfume industry, it was common for smaller or financially strained firms to be acquired by larger entities or for their assets and product lines to be integrated into other companies.

Valmy (Post-1931):

Around 1933, Valmy emerged as a new player in the perfume market. It's notable that several perfumes previously associated with Mori, including Pour Toi, Viens, and L'Heure de Minuit, reappeared under the Valmy brand. This continuity of product names strongly suggests a direct connection between Mori and Valmy—either through acquisition, licensing of formulas, or rebranding efforts aimed at capitalizing on established market recognition and consumer loyalty.

In summary, the transition from Mori to Valmy likely involved the absorption of Mori's assets, including its perfume formulations and possibly its customer base. This strategic move allowed Valmy to inherit the legacy of Mori while positioning itself as a successor in the competitive perfume industry of the early 20th century. This scenario underscores common industry practices where brands evolve through mergers, acquisitions, or rebranding to adapt to market conditions and sustain their market presence.

Reasons for Absorption or Rebranding:

Consolidating brands under one entity could reduce operational costs and increase market share.
Maintaining popular product names under a new brand can retain customer loyalty and brand recognition. A new brand name like Valmy might have been better suited for market trends or target demographics during that period.

Given the evidence of identical logos and the continuation of perfume names between Mori and Valmy, it strongly suggests that Mori was either absorbed by Valmy or underwent a rebranding process around 1933. This aligns with common strategies observed in the perfume industry during the early 20th century, where companies often consolidated to mitigate economic pressures and capitalize on established brand recognition.

To ascertain a definitive answer, consulting historical business records, trademark registrations, and advertisements from that era would be crucial. These sources could provide concrete evidence of any official transition or acquisition between Mori and Valmy. Additionally, archives related to Parfums Francais, Inc. might offer insights into their corporate strategies and the management of their perfume brands during this period.

The strategic use of similar or identical bottles across Parfums Francais, Inc.'s brands reflects a deliberate approach to brand and product management. By standardizing bottle designs, the company likely aimed to streamline production, reduce costs through bulk purchasing or surplus acquisitions (such as from Baccarat), and enhance brand recognition through consistent visual identity.

In summary, the overlap in perfume names and shared design elements among Parfums Francais, Inc.'s brands suggest a cohesive brand strategy aimed at maximizing efficiency and market impact. Investigating historical records and company archives would provide deeper insights into the specific relationships and transitions between Mori, Valmy, and other brands under Parfums Francais, Inc.'s management.

Shared Perfume Names and Bottles:

The use of Baccarat crystal flacons by Mori, Odeon, d'Anjou, and Valmy signifies a strategic choice in packaging their perfumes. Baccarat, renowned for its high-quality crystal craftsmanship, was a prestigious choice among perfumers aiming to enhance the luxurious appeal of their products. By housing their perfumes in Baccarat crystal flacons, these perfume brands conveyed a sense of elegance, craftsmanship, and exclusivity to their clientele.

This choice also reflected the marketing strategy of these perfume houses, aligning their products with luxury and refinement. The association with Baccarat crystal not only added perceived value to the perfumes but also appealed to discerning consumers who valued both the scent and the presentation of their fragrances.

Furthermore, using Baccarat crystal flacons could have provided practical benefits such as preserving the fragrance's quality due to the non-reactive nature of crystal, as well as ensuring a visually striking display on vanity tables or in retail settings.

In summary, the decision to use Baccarat crystal flacons by Mori, Odeon, d'Anjou, and Valmy underscores their commitment to quality, luxury, and aesthetic appeal in the competitive perfume market of their time.

Bottles:

Many perfumes from Mori, Odeon, D'Anjou, and Valmy were housed in Baccarat crystal flacons. Baccarat is renowned for its luxury crystal, which would have added a prestigious and consistent element to the brands' presentations.

Reuse of Bottles:

For example, Mori's reuse of a Julien Viard-designed bottle for their fragrance Viens highlights an efficient approach to product design. This specific bottle, featuring dancing figures and originally used by Isabey in 1924 for La Route d'Emeraude, exemplifies the reuse of attractive, high-quality designs that customers may already be familiar with.

Benefits of This Strategy:

By using the same bottle designs across different brands, the company could place larger orders with manufacturers, reducing per-unit costs. Shared designs and names simplify inventory management and production planning.

The identical logos and shared bottle designs foster a sense of cohesiveness among the different brands, potentially strengthening the overall brand identity of Parfums Francais. Customers who are loyal to a particular fragrance might be more likely to try other scents within the parent company's portfolio.

Reusing popular perfume names and distinctive bottle designs helps build brand recognition and trust.

Utilizing Baccarat bottles and Julien Viard designs leverages the heritage and prestige associated with these names, enhancing the perceived value of the perfumes.

Mori reused a Julien Viard bottle for their fragrance Viens. The cylindrical bottle featured dancing figures around its middle and was originally used by Isabey in 1924 for their perfume La Route d'Emeraude. Known for his exquisite designs, reusing his bottle for different perfumes leverages his reputation and artistry. The Viard bottle featuring dancing figures is a classic design, evoking a sense of elegance and timeless beauty.

As a symbol of luxury, Baccarat crystal flacons would have been a significant selling point, appealing to consumers seeking high-end products. The strategic reuse of bottle designs and perfume names across different brands under Parfums Francais, Inc. reflects a savvy business approach aimed at maximizing efficiency, maintaining a cohesive brand identity, and leveraging the prestige associated with renowned designers and crystal makers. This approach not only reduced costs but also created a unified and recognizable brand presence in the market.

The practice of consolidating multiple perfumery brands under a single parent company and using the same perfume names and bottles across these brands is a strategic approach that offers several advantages.

Bottles:

The perfume company Maudy shared a bottle design with Mori for their perfume Idylle, however, Maudy first used it in 1928.

Baccarat crystal is renowned for its high quality and exceptional clarity. The use of opaque white crystal adds a unique aesthetic appeal, suggesting a sense of elegance and sophistication. The gold enamel trimming adds a luxurious touch to the bottle, enhancing its visual appeal and reinforcing its premium quality.

The magnificent enameled crystal flacon was originally used by Parfums Edouardo for their fragrance "Egyptian Alabastron" in 1927, showcasing exquisite craftsmanship and design. Both Valmy and Mori repurposed this remarkable flacon for their own perfumes, leveraging its beauty and historical significance to enhance the appeal of their fragrances.

Mori borrowed the Baccarat bottle used by Madhva in the 1920s.

Choisy reused one of Maudy's bottles for their perfume Reviens. Maudy initially used this gilded arch bottle to house their perfumes "California" and "Muguet" in the 1920s, showcasing its versatility and appeal in presenting fragrances. Choisy repurposed the same bottle for their perfume "Reviens." This bottle features a distinctive arch shape, elaborate molded floral details and is adorned with gilded accents, symbolizing luxury and elegance. Holding 8 oz of parfum, this bottle is sizable, suggesting a generous quantity of fragrance and reinforcing its value.

Maudy also shared a bottle design with one of Odeon's perfumes.

Mori's Oui ou Non? and Choisy's Pour la Danse came in a 2 oz bottle by Baccarat. Also used by Parfums Miga in 1932 for their Pois de Senteur. Baccarat created this desirable perfume bottle of opaque pink crystal featuring a molded and textured recessed surface design of a stylized floral motif, evoking a sense of timeless beauty. A rectangular pink glass stopper completes the presentation. The addition of the gilded foil paper label affixed to the side adds to the sense of luxury and attention to detail. At 4" tall, it was a piece that would make quite a statement on any vanity or dressing table.

Another stunning bottle was used by Choisy for their perfume Pour le Danse. The use of marbleized opaque bubblegum pink crystal gives it a unique and luxurious appearance, enhanced further by the silver overlay enamel trimming. It's fascinating to learn about its history, originally used by Fontanis for their "Sourire de France" perfume in 1926, and then repurposed for Choisy with some modifications to the cap. The cap has been changed to a less expensive version for the Choisy perfume. The presence of the Baccarat acid mark on the base adds to its prestige and authenticity. Standing at 3.25" tall x 1" wide x 3.5" long, it seems like a delicately sized yet impactful piece. The fact that it holds 2 oz of parfum adds practicality to its beauty, making it both a work of art and a functional item. Housed in a velvet presentation box, it would undoubtedly make a luxurious gift or addition to any perfume connoisseur's collection.

The Baccarat flacon shown in the photo below, was used by Odeon for their perfume "Reviens" in 1933. Originally employed by Godet for their fragrance "Envoi de Fleurs," carries a rich history. Baccarat's name alone conjures images of opulence and craftsmanship, making it an ideal vessel for such exquisite fragrances.

Mori also reused one of Fontanis' Baccarat bottles first used in 1921.

Mori used d'Hortys' hand enameled Baccarat bottle first used in 1917.

Mori's perfume Romance was also in a Baccarat bottle, this time in the shape of a fountain with a playful dolphin as the stopper. This exquisite bottle was originally used by Alphonse Gravier for their perfume La Cascade in 1926.

The perfume Premiere Fleurs was presented in a bottle by Cristalleries de Nancy.

Mori's perfume was first used by Fontanis for their perfume Sous la Charmille in 1925.

Mori used another Baccarat bottle first used in 1921 by Fontanis for their Jasmin perfume.

Valmy's Nuit Follies was contained in a crown shaped bottle first used by Marcel Guerlain for his perfume Le Roy Veult, but with a different stopper shape.

Parfum d'Anjou's Reve d'Amour was housed in a 5 ounce bottle by Rene Lalique known as the "Flowering Branches" flacon. It also held Choisy's perfume Au Paradis.

The perfumes of Mori:

1908 Jasmin
1917 Les Fleurs
1923 Amour
1924 Gardenia
1929 America
1930 Fontanis
1931 Folle (a lovely piquant, spicy bouquet odor)
1931 Parfum de Romance (one whiff makes you think of June-nights and moonlight, not to mention roses and honeysuckle.)
1931 Pour Amour (a delightful spicy floral odor)
1931 Toi et Moi (a light, exotic oriental fragrance)
1931 Viens (an exquisite floral bouquet odor with lilac predominating)
1931 Oui ou Non?
1932 Reve d'Amour (the fragrance is alluringly Oriental, a heavy Winter odor, delightful for furs)
1932 Rose
1932 Lilas (lilac)
1932 Oeillet (carnation)
1932 L'Heure de Minuit (a light floral odor rightly named after the "witching hour")
1932 Hellade (a delicate, piquant, lasting floral bouquet-odor)
1933 Acacia
1933 Baiser Brulant (a bouquet of rare flowers with gardenia predominating)
1933 Toujours a Toi (an intriguing, heavy winter odor)
1933 Desiree
1933 Nuits de Follies

Mori Perfumes: A Journey Through Fragrance:

1908 – Jasmin

This early offering from Mori captures the essence of jasmine, a flower renowned for its rich, sweet, and intoxicating aroma. Likely a soliflore (a fragrance focusing on a single flower), Jasmin would have evoked the elegance of blooming jasmine, popular in Edwardian perfumery for its luxurious and timeless appeal.

1924 – Gardenia

Gardenia, introduced in the 1920s, celebrated the decade's love for bold and romantic floral scents. The lush and creamy fragrance of gardenia flowers is often described as velvety, slightly green, and delicately sweet, making this perfume a sophisticated choice for evening wear.

1931 – Folle

Translating to "Crazy," this fragrance featured a piquant, spicy bouquet. Likely daring and lively, Folle would have combined vibrant spices with floral notes, reflecting the exuberant spirit of the Roaring Twenties and appealing to women with a bold sense of style.

1931 – Parfum de Romance

A name meaning "Perfume of Romance," this scent is described as conjuring images of June nights, moonlight, roses, and honeysuckle. With its soft, powdery florals and sweet, heady undertones, Parfum de Romance would have been ideal for warm evenings and intimate occasions.

1932 – Rêve d’Amour

"Dream of Love" evokes an alluring Oriental fragrance, heavy and warm, perfect for winter wear. Its rich, resinous, and slightly spicy profile likely paired beautifully with the textures of fur coats, enveloping the wearer in a luxurious embrace.

1932 – Rose

A celebration of the rose, this perfume would have offered a fresh yet opulent floral scent. The rose's traditional combination of sweet, green, and slightly spicy nuances likely made this a versatile and romantic choice.

1932 – Lilas

Meaning "Lilac," this perfume would have captured the gentle and powdery fragrance of lilac blossoms. Its light and airy floral character made it ideal for spring and daytime wear.

1932 – Oeillet

The French word for carnation, Oeillet introduced a spicy and slightly clove-like floral scent. Known for its warm and peppery profile, this fragrance would have been both vibrant and elegant.

1932 – L’Heure de Minuit

Translating to "The Midnight Hour," this perfume carried a light floral fragrance. Its name hints at an ethereal, mysterious quality, suitable for evening wear and evocative of the magic of the night.

1932 – Hellade

Hellade, referencing ancient Greece, was described as a delicate, piquant, lasting floral bouquet. This poetic name suggests a refined and harmonious blend of flowers, perhaps inspired by the beauty of Mediterranean flora.

1933 – Acacia

This fragrance likely captured the soft, powdery sweetness of acacia flowers, often described as honeyed and gently floral. It would have offered a subtle yet enveloping scent perfect for everyday wear.

1933 – Baiser Brûlant

Translated as "Burning Kiss," this perfume featured a bouquet of rare flowers, with gardenia predominating. Its name evokes passion and intensity, combining creamy white florals with sultry undertones.

1933 – Toujours à Toi

"Always Yours" was described as an intriguing, heavy winter fragrance. Likely rich and intense, this perfume may have featured deep amber, musk, or woody accords, symbolizing devotion and mystery.

1931 – Pour Amour

"For Love" offered a delightful spicy floral fragrance, a blend likely balancing warm spices with soft, romantic florals. It would have been perfect for expressing timeless affection.

1931 – Toi et Moi

Meaning "You and Me," this fragrance was a light, exotic Oriental. With its likely combination of warm spices, amber, and soft florals, Toi et Moi would have exuded intimacy and allure.

1931 – Viens

Translating to "Come," this perfume offered an exquisite floral bouquet dominated by lilac. The soft, nostalgic scent of lilac, enhanced by complementary floral notes, would have made this fragrance inviting and elegant.

Mori's perfumes reflected the trends and moods of their respective eras, offering a diverse range of fragrances for every occasion and personality. Each scent, rich with meaning and artistry, remains a testament to the timeless allure of fine perfumery.

The perfumes of Valmy:

1933 Pour Toi
1933 Viens
1933 L'Heure de Minuit

Parfums d'Anjou:

1930 Reve d'Amour
1933 Nuits Folles
1933 Pour la Danse
1933 Paradis
1935 Viens
1935 Toi et Moi
1935 L'Heure de Minuit

Odeon:

Parfums Odeon was established in Paris in 1902; main production in the 1920’s-1960s. usually you will find their perfumes in miniature sizes boxed in sets of six or more as Parfums of Paris or similarly named souvenir sets from France.