Ganna Walska Perfumes, Inc. was founded in 1927, bearing the name of a woman as bold and unconventional as the perfumes she sought to create. The company operated in Paris and New York, two cities synonymous with luxury and refinement, reflecting Walska’s own extravagant tastes and international lifestyle. Though best remembered as an eccentric socialite and an aspiring opera singer of dubious talent, Ganna Walska was a woman of remarkable ambition. Born Hanna Puacz in 1887 in Brest-Litovsk, then part of the Russian Empire (now Belarus), she reinvented herself on a grand scale. She took on the name Ganna, the Russian form of Hannah, lending an air of exoticism, while Walska was chosen for its evocative reference to her favorite dance, the waltz, a symbol of grace, movement, and romance.
Her life was one of extravagance, reinvention, and scandal, having married multiple wealthy and influential men, including Harold McCormick, heir to the International Harvester fortune. Each marriage and divorce only seemed to fuel her ambitions, as she moved through elite circles in Europe and America, collecting not only jewels and estates but also artistic and philanthropic pursuits. Perfume was yet another extension of her cultivated persona, a means of etching her name into the world of luxury goods.
Though Ganna Walska Perfumes, Inc. never reached the prominence of major fragrance houses, its existence stands as a testament to Walska’s relentless pursuit of personal grandeur. It reflected her desire to be more than just a footnote in high society—she wished to be an icon of beauty, music, and sophistication. Though her operatic career never flourished, her name lives on in the fragrant legacy of her ambitious yet short-lived perfume venture, as well as in the lush botanical masterpiece she later created: Lotusland, a sprawling garden sanctuary in California that became her ultimate artistic expression.
Ganna Walska’s association with Dr. Serge Voronoff, the infamous Russian-born surgeon and self-proclaimed rejuvenation expert, adds yet another layer of eccentricity to her already extraordinary life. Voronoff was widely known—and ridiculed—for his “monkey gland” transplants, a radical and ultimately fruitless attempt to restore youth and virility by grafting thin slices of monkey testicles onto aging human males. His theories, though once taken seriously by some members of the scientific community and wealthy elite, were later dismissed as quackery. That did not stop Voronoff from experimenting on himself, injecting extracts from dog and guinea pig testicles in a desperate effort to halt his own aging process.
It is perhaps fitting that such a flamboyant figure would align with Walska, a woman who constantly sought reinvention and grandeur. Their partnership, however, raises intriguing questions. Did Walska, who had a well-documented fascination with longevity and beauty, truly believe in Voronoff’s work? Or was she simply captivated by the sensationalism and prestige that surrounded his name at the time? Given her taste for opulence and her penchant for aligning herself with powerful men, it is not entirely surprising that she became associated with a man who claimed to reverse time itself.
The partnership between Walska and Voronoff likely drew attention from the wealthy social circles in which they both moved. Many of the elite, including royalty and Hollywood stars, were seduced by the promise of eternal youth and enhanced vitality, much as they were by the luxury of fine perfumes and exotic beauty treatments. It is unclear whether their connection had any direct influence on Walska’s perfume business, but it certainly underscores her unwavering pursuit of transformation and immortality—whether through scent, art, or controversial science.
Ultimately, like Walska’s operatic aspirations, Voronoff’s rejuvenation experiments proved to be more fantasy than reality. Yet, their brief alliance is a fascinating snapshot of the Roaring Twenties’ obsession with excess, indulgence, and the pursuit of the impossible, whether through luxury, beauty, or radical science.
Ganna Walska’s foray into the world of perfumery was as dramatic and unconventional as the rest of her life. In 1927, she launched her short-lived perfume company, debuting its first fragrances at the Palais de Glace exposition in Paris—an exhibition space known for its grandeur and association with luxury and the arts. Among the three perfumes she introduced, one stood out immediately for its provocative name: Divorçons (Let’s Divorce). At a time when divorce was still considered scandalous, particularly among the upper echelons of European and American society, Walska’s choice of name was both daring and deeply personal—perhaps a tongue-in-cheek reference to her own tumultuous romantic history, which would ultimately include six husbands.
Alongside Divorçons, she released Cordon Bleu and Pour Le Sport, both of which suggest different facets of Walska’s personality and ambitions. Cordon Bleu, a name often associated with prestige and excellence, may have been intended to evoke a sense of refinement and exclusivity in keeping with the luxurious branding of her perfumes. Pour Le Sport, on the other hand, suggested a more modern, active, and independent lifestyle, reflecting the 1920s fascination with athleticism and leisure among the wealthy elite.
To establish her brand, Walska opened her first beauty boutique at 2 rue de la Paix, Paris, in August of 1927. This location was no accident—rue de la Paix was a prestigious address, home to high-end jewelers and couturiers like Cartier and Worth, ensuring that her boutique was positioned among the most exclusive and fashionable names of the time. The following year, in 1928, she expanded her presence internationally by opening a sister store in Manhattan at 9 East 54th Street, bringing her Parisian aesthetic to an American audience. This move signaled her ambition to compete in the elite world of luxury fragrance and cosmetics, though her reach remained limited.
As her perfume venture continued, Walska relocated her New York boutique to 655 Fifth Avenue, a more prominent address that placed her brand in the heart of Manhattan’s most luxurious shopping district, alongside renowned fashion houses and perfumeries. Despite these efforts, her perfume business struggled to gain traction beyond small orders from department stores. Unlike established perfume houses with deep-rooted traditions and expert perfumers at the helm, Walska’s brand lacked longevity, and her fragrances ultimately faded into obscurity.
Still, the boldness and theatricality of her perfume line remain an intriguing reflection of Walska herself—a woman who reveled in reinvention, extravagance, and making an unforgettable impression.
The perfumes of Ganna Walska:
- 1925 Près de Toi
- 1926 Chypre
- 1927 Divorcons (a bittersweet oriental perfume)
- 1927 Cordon Bleu (Blue Ribbon, a floral bouquet perfume)
- 1927 Pour le Sport (a sporty perfume)
- 1930 Niparys (a light clover type perfume)
- 1933 Pois de Senteur (Sweet Pea)
- 1933 Jasmin
- 1933 Chypre
- 1933 Lilac
- 1933 Gardenia
- 1933 Carnation
By 1931, Ganna Walska’s ambitious foray into the world of luxury perfumery came to an abrupt end. The Paris boutique, once situated among the most prestigious fashion and fragrance houses on rue de la Paix, was forced to close, its fixtures and remaining stock sold at auction. The business had lasted a mere three years, its demise hastened by the economic downturn that followed the Wall Street Crash of 1929. As the world plunged into the Great Depression, the demand for extravagant, high-priced perfumes declined sharply. The luxury trade, particularly in France, suffered severe setbacks, and even established perfume houses struggled to maintain sales. Walska’s brand, never having secured a strong foothold in the competitive market, simply could not weather the economic storm.
Her perfumes had been positioned at the pinnacle of exclusivity, housed in simple yet elegant bottles reminiscent of Chanel’s minimalist aesthetic. However, unlike Chanel, which had successfully cultivated a timeless and enduring brand, Walska’s perfumes were fleeting luxuries—priced extravagantly, yet lacking a lasting market presence. Some of her fragrances reportedly retailed for as much as $500 an ounce, an extraordinary sum, particularly as the world faced economic hardship.
In 1930, she introduced Niparys, a fragrance priced at an equally staggering $400 an ounce. Walska herself poetically described it as a scent that “breathes the light clover aroma that hints of the morning dew in a hayfield.” This description suggests a delicate, green, and pastoral fragrance, evoking the freshness of dawn-lit meadows and dewy grass—an unusual contrast to the opulent, heavy perfumes popular in that era. Whether the scent lived up to its ethereal description or not, its astronomical price made it a rare indulgence, accessible only to the wealthiest patrons.
Ganna Walska’s Toilet Waters were also available in a range of bottle sizes, from 4-ounce containers to enormous 16-ounce glass bottles, an unusual offering in the perfume world, where most luxury fragrances were sold in much smaller quantities. Among her most distinctive presentations was a gilded glass atomizer, the “Vaporisateur Luxueux.” This ornate, gilded sprayer was likely designed to be a statement piece, reflecting Walska’s own extravagant persona. It was probably sold empty, intended to be filled with a customer’s chosen fragrance, adding an additional layer of customization and exclusivity.
Despite her dramatic branding and lavish pricing, Walska’s perfume business ultimately faded into obscurity, a casualty of economic hardship and an oversaturated luxury market. Yet, her fragrances remain an intriguing symbol of 1920s excess and vanity, a fleeting chapter in the life of a woman who reinvented herself time and again, always in pursuit of grandeur and distinction.
Ganna Walska’s foray into the world of perfumery was not merely a business venture—it was a personal pursuit, a way to keep herself engaged in creative and intellectual endeavors. Speaking to the press, she declared, “I must keep busy and have things to occupy my mind,” revealing a restless nature, one that sought continuous reinvention. For Walska, the perfume business was not just about selling fragrances; it was an extension of her lifelong fascination with beauty and self-expression.
When asked about her views on beauty, she expressed sentiments that resonated with the vanity and aspirations of women throughout history. “This subject interests me as it interests nearly every woman, as it has interested practically all of the great women in history,” she remarked, drawing a direct connection between herself and the powerful, iconic women of the past. In her eyes, beauty was not just superficial; it was an art form, a pursuit that had captivated queens, muses, and legends alike. Perfume, as one of the most intimate expressions of beauty, was a natural extension of this fascination.
Walska took a scholarly approach to her perfume line, claiming to have studied the art of perfumery and, with the help of chemists, developed fragrances that she insisted were new and original. Her confidence in these creations suggested that she saw herself not simply as a businesswoman, but as a visionary, bringing something unique to the world of luxury scent. Whether her perfumes were truly groundbreaking or merely an extravagant indulgence remains a matter of speculation, but her belief in their innovation was unwavering.
Despite her enthusiasm for perfumery, Walska made it clear that it would never overshadow her first love: opera. “I certainly do not intend to give up singing. My art is my life; this business adventure is a sideline,” she asserted, positioning herself first and foremost as an artist. The perfume business, she admitted, was a “lighter role in life’s program,” a pleasurable distraction rather than a serious career shift. Yet, for all its supposed triviality, her venture into fragrance bore the hallmarks of her personality—dramatic, luxurious, and utterly devoted to the art of self-presentation.
In October of 1927, the quiet village of Pantin, known for its association with the perfume industry near Paris, became the site of a daring and audacious crime. River thieves, with a sense of reckless abandon, broke into Ganna Walska's perfume factory, making off with a significant haul. The thieves stole a staggering $25,000 worth (equal to $453,815.71 in 2025) of rare perfumes and an assortment of gold and silver vanity cases, which were undoubtedly part of Walska's luxurious collection. These items, both precious and meticulously crafted, represented the height of refinement and would have been highly prized on the black market.
According to police reports, the thieves loaded their ill-gotten goods onto a barge, which they maneuvered along the canal running adjacent to the factory. This gave the criminals a convenient escape route, blending the theft into the industrial environment of the area. The idea of transporting stolen goods via the canal was both a practical and dramatic move, taking full advantage of the waterways that connected this perfume hub to greater Paris.
A small but telling newspaper blurb, likely written with a mix of fascination and incredulity, speculated that the thieves were not just after the expensive bottles and cases, but that they might have also been interested in the alcohol used in the production of the perfumes. Given the high concentration of alcohol in many fragrances, the thieves may have viewed it as a sort of illicit bounty. The notion of using the perfume alcohol for personal consumption added a bizarre, almost humorous twist to the crime, highlighting the bizarre and unpredictable nature of the heist. While the motives behind the robbery may never have been entirely clear, the incident underscored the growing allure and value of the luxury goods market, particularly in an era of opulence and excess.
In 1927, Ganna Walska's perfume company made a striking statement in the world of luxury with a full-page advertisement, describing its formation as a "memorable event in the progress of feminine elegance." This bold proclamation positioned Walska’s line as not just a business venture but a significant cultural milestone, signifying the refinement and sophistication she aimed to bring to the realm of women's beauty and fragrance. The ad encapsulated the ethos of Walska's vision—an embodiment of elegance, distinction, and an almost artistic pursuit of perfection in perfume creation.
Walska, known for her outspoken nature, did not shy away from expressing her views on beauty and perfumes. In a 1927 newspaper article, she notably criticized the approach of American women toward fragrance, painting a rather harsh picture of what she saw as a lack of discernment in perfume choices. "The American woman knows little about perfumes," she remarked bluntly, further stating that "sometimes it is terrible to sit beside them in a warm theater." The comparison to European men who overloaded themselves with rose water emphasized her disdain for what she considered the overuse of fragrance, equating it to a "lack of taste."
Her opinions extended to the appropriate use of fragrance based on personal attributes like hair color. She suggested that blonde women should opt for more delicate perfumes, such as violet and lily of the valley, which she considered to complement fair complexions and light hair. In contrast, brunettes were advised to gravitate toward stronger scents like chypre and lemon, which she felt were better suited to their darker features and bolder personalities. Walska’s statement carried an air of expertise, as if she were offering not just perfumes but a key to unlocking a woman’s unique allure and elegance.
"Remember, a delicate individual perfume adds greatly to the alluring charm of a woman," she declared, positioning fragrance as a personal and intimate expression of femininity. Walska’s view was clear: the right perfume, used with care and precision, was far more than just a scent—it was a powerful enhancer of a woman’s beauty, a touch of refinement that could elevate her charm to new heights. In this way, her perspective was not only about selling perfumes but about educating women on the art of scent as an integral part of their personal elegance.
Her second high-profile marriage was to Harold Fowler McCormick in 1922, another multimillionaire, who was also heir to a vast fortune. However, their relationship, too, ended in divorce in 1931. Their marriage, which initially seemed promising, was marred by McCormick’s own insecurities and an incident in 1921 that would become a notable part of their story. McCormick, influenced by Walska's apparent dissatisfaction with their sex life, sought the help of Dr. Serge Voronoff, the famed Russian specialist who was known for his controversial "monkey gland" operations. These surgeries, which were believed to improve virility and rejuvenate aging men, were all the rage at the time. Despite paying Voronoff a significant fee, the operation failed to have the desired effect, and Walska, reportedly unsatisfied, left her husband, further fueling the bitterness that accompanied their eventual divorce.
Walska’s relationships, especially with wealthy men, seemed to revolve around more than just love and affection. Material wealth played a significant role in her life, and she didn’t shy away from enjoying the luxuries that came with it. In 1927, she reportedly purchased $500,000 worth (equal to $9,076,314.29 in 2025) of Youssoupoff carved emeralds, a collection that, by 1928, was valued at an impressive $1 million (equal to $18,362,485.55 in 2025). She also added to her collection of luxury artifacts by acquiring the famous Duchess of Marlborough Fabergé Easter Egg in Paris in 1926, a piece that underscored her love for opulence and grandeur. The end of her marriage to McCormick was financially devastating for him, as it cost him $6 million (equal to $119,875,849.06), a sum that reflected not only Walska’s taste for the extravagant but also her ability to navigate relationships to her advantage.
Walska’s life, filled with drama, luxury, and powerful figures, mirrors her desire for control and elegance, whether in the world of perfumes or in her personal affairs. Though her marriages may have been short-lived, they left a trail of stories about a woman who wasn’t afraid to use her allure to command both affection and wealth.
In 1928, Ganna Walska acquired one of the most remarkable gems of the era, the Romanov Sapphire, a pale-blue stone with a distinctive flash of pink due to a deep inclusion, which gave it an intriguing character. This 197.8-carat cushion-shaped sapphire originally belonged to Empress Maria Feodorovna, a member of the Russian imperial family. During the tumultuous period following the Russian Revolution, the communist government sold off the Russian imperial jewels, and Cartier seized the opportunity to purchase the sapphire between 1925 and 1928. Recognizing the stone’s historical significance and exceptional beauty, Cartier fashioned it into a stunning pendant for Walska in 1929. The Romanov Sapphire was set in the pendant, adding to Walska’s collection of unparalleled jewelry. This gem, originating in Ceylon, is renowned not only for its size but for the historical connection to the Russian monarchy.
The pendant became part of a larger trend of incredible pieces that Cartier designed for Walska. In 2014, the Romanov Sapphire was mounted onto a bracelet by Cartier, further elevating its status and showcasing its timeless allure. This piece was part of an era where Cartier’s designs were associated with luxury and extravagance, and the sapphire’s intrinsic value as a relic of Russian history added even more significance to Walska’s collection.
In addition to the Romanov Sapphire, Cartier crafted another exquisite piece for Walska in 1923—a sapphire and emerald sautoir, which underwent several iterations over the next few years before reaching its final form in 1929. The finished version of this sautoir became one of the most spectacular jewels in Walska's collection. The Russian Sapphire at the center of the sautoir was paired with a 256.60-carat Mogul-carved emerald drop, a gem of unmatched beauty and craftsmanship. This magnificent piece became a focal point at the famous 1933 society wedding of Barbara Hutton and Prince Mdivani in Paris, where Walska wore it proudly, further solidifying her reputation as a patron of high society and collector of extraordinary jewels.
The Cartier sautoir and the Romanov Sapphire pendant represent more than just fine jewelry—they symbolize Walska’s unrelenting pursuit of beauty and status, as well as her impeccable taste for items that were both rare and steeped in history. Her collection was a testament to her affinity for luxury, as she was drawn to not only the allure of precious stones but also the captivating stories they held within.
Ganna Walska was known not only for her incredible beauty and captivating presence but also for her remarkable collection of jewels—pieces that exuded both elegance and opulence. Among her treasure trove, she owned several masterpieces from some of the most prestigious jewelers of the time, each item carefully chosen to reflect her discerning taste.
One such jewel was a butterfly brooch by Boucheron, dating back to around 1894. This exquisite brooch featured diamond wings that were meticulously carved with intricate, lifelike veins, mimicking the delicate structure of real butterfly wings. At its center, a cushion-shaped Burma ruby sat proudly, its vibrant red hue contrasting beautifully with the diamonds, making the piece both striking and regal. The brooch was a testament to Boucheron's craftsmanship, with its combination of natural beauty and technical artistry that elevated it to the status of a true heirloom. The Burma ruby itself, known for its exceptional color and clarity, added a layer of rarity and prestige, making it one of the most coveted gemstones in Walska’s collection.
In addition to the Boucheron butterfly brooch, Walska’s jewelry collection also featured pieces from renowned houses like Seaman Schepps, Chaumet of Paris, and Van Cleef & Arpels, each contributing its own unique style to her collection. One of the standout pieces from Van Cleef & Arpels was a Chimera bangle from the late 1920s. This stunning piece combined enamel, carved coral, sapphire, jade, and diamond in a single, cohesive design. The Chimera bangle was inspired by the mythological creature, and its intricate craftsmanship reflected the era’s penchant for art deco designs infused with symbolic elements. The bangle’s rich combination of materials created a visual harmony that spoke to Walska's love for luxury and exoticism, with the enamel and carved coral bringing a touch of nature, while the sapphires, jade, and diamonds provided a dazzling contrast of color and brilliance.
These jewels—ranging from the historical charm of Boucheron’s butterfly brooch to the innovative flair of Van Cleef & Arpels’ Chimera bangle—illustrate Walska's exquisite taste and her affinity for owning pieces that not only had aesthetic value but were also steeped in history and craftsmanship. Her collection was a testament to her status as one of the most prominent women of her time, celebrated not only for her beauty and entrepreneurial spirit but also for her ability to surround herself with objects that symbolized the pinnacle of luxury.
Ganna Walska had a remarkable eye for treasures, amassing an impressive collection of jewels that showcased her refined taste and an undeniable penchant for luxury. Her collection included an array of diamonds, sapphires, rubies, emeralds, and a selection of natural pearls, each piece an embodiment of elegance and status. However, the most outstanding and exceptional gemstone in her collection was a 95-carat fancy yellow diamond briolette—an extraordinary piece that immediately became the highlight of her jewelry ensemble.
This briolette, bought from Van Cleef & Arpels, was so remarkable that it was named the "Walska Briolette" in honor of the famous collector. In the early 1970s, when the stone was purchased, fancy colored diamonds were not yet graded by the intensity and depth of their color, as they would later be. It wasn’t until 2010, when the diamond was re-graded by the Gemological Institute of America (GIA), that it was given the highest color grade for a colored diamond: Fancy Vivid. This grading marked the diamond’s true magnificence, placing it among the finest in the world. What made it even more rare was its classification as one of only two known old antique-cut briolettes of this size. The Walska Briolette was not only a gem of remarkable beauty but also a jewel with an important provenance, having been owned by one of the most prominent jewelry collectors of the 20th century.
In addition to her collection of precious jewels, Walska's personal life was often subject to public scrutiny, especially when it came to her tumultuous relationships. Rumors had long circulated that her perfume business and the naming of her first fragrance, Divorcons (meaning "Let's Divorce"), was indicative of her intention to separate from her second husband, Harold Fowler McCormick. Despite these rumors, Walska denied any connection between her business ventures and her marriage. She insisted in 1927 that she was not divorcing McCormick, though by that same year, McCormick had filed for divorce, citing desertion as Walska had been living in Paris while he remained in their Chicago home. Walska’s desire to keep her wealth and lifestyle likely contributed to her reluctance to end the marriage, even though their relationship had become strained. By 1928, she returned to the United States, stating her intentions to fully immerse herself in the perfume business and even explore a career in the film industry. Despite the public drama surrounding her personal life, her business ventures and artistic pursuits continued to thrive, cementing her as a successful and fascinating figure in both the perfume and jewelry worlds.
Orson Welles claimed that McCormick's lavish promotion of Walska's opera career—despite her renown as a terrible singer—was a direct influence on the screenplay for Citizen Kane, wherein the titular character does much the same for his second wife.
Orson Welles's claim regarding Harold Fowler McCormick's promotion of Ganna Walska's opera career as an influence on the screenplay for Citizen Kane adds an intriguing layer of connection between real-life events and cinematic storytelling. In the film, Charles Foster Kane's efforts to promote the opera career of his second wife, Susan Alexander, despite her lack of talent, parallel the narrative surrounding Walska's own opera aspirations.
Welles's use of this real-life inspiration to craft a fictional narrative in Citizen Kane speaks to the film's exploration of themes such as ambition, power, and the complexities of human relationships. By drawing on elements of Walska's life and experiences, Welles adds depth and resonance to his portrayal of Kane's character and the dynamics of his marriages.
The parallels between Walska's situation and the portrayal of Susan Alexander in Citizen Kane offer a fascinating glimpse into the creative process behind one of cinema's most celebrated works. It's a testament to the enduring impact of real-life events on artistic expression and the ways in which filmmakers draw inspiration from the world around them to create compelling narratives.
Walska was a garden enthusiast who created the Lotusland botanical gardens at her mansion in Montecito, California. Ganna Walska died on March 2, 1984, at Lotusland, leaving her garden and her fortune to the Ganna Walska Lotusland Foundation.
Ganna Walska's passion for gardening and her creation of the Lotusland botanical gardens in Montecito, California, is a testament to her love for nature and beauty. The gardens, which she cultivated over the years, stand as a living legacy to her vision and creativity.
Her decision to leave her garden and fortune to the Ganna Walska Lotusland Foundation upon her passing demonstrates her desire to ensure the preservation and continuation of her life's work for future generations to enjoy and appreciate. It's a fitting tribute to her dedication to horticulture and her desire to share the beauty of her gardens with others.
Lotusland remains a cherished destination for garden enthusiasts and nature lovers, thanks to Walska's vision and the ongoing efforts of the foundation to maintain and enhance the gardens. Her legacy lives on through the beauty and tranquility of Lotusland, a living testament to her enduring passion for gardening and her commitment to preserving natural beauty for all to experience.
By 1932, her perfumes and toiletries were sold at rock bottom prices as she resigned as President of her perfumery company. I saw the Ganna Walska perfumes and toiletries still being sold in 1946.
The fluctuating fortunes of Ganna Walska's perfume company, from its initial introduction of high-end fragrances to its eventual sale of products at rock-bottom prices and her resignation as president, reflect the challenges and complexities of the business world. It's not uncommon for companies to face difficulties, particularly during periods of economic uncertainty such as the Great Depression.
The fact that I saw Ganna Walska perfumes and toiletries still being sold in 1946 suggests that despite the setbacks, the brand managed to endure and maintain a presence in the market. It's possible that the company underwent restructuring or strategic changes to adapt to changing circumstances and consumer preferences.
Walska's continued association with the perfume line, even after her resignation as president, highlights her enduring interest in the world of fragrance and beauty. While the company may have faced challenges, its ability to survive and continue selling products speaks to the resilience of the brand and its enduring appeal to consumers.
Drug Markets, Volume 21, 1927:
"Mme. Ganna Walska, opera singer, and wife of Harold F. McCormick, Chicago millionaire, is planning to distribute perfumes and cosmetics in the American market. She entered the beauty products business in Paris last March."
Advertising & Selling, Volume 13, 1929:
"Several of the French houses are putting out attractive new styles in perfume bottles. Ganna Walska has caught the spirit of the mode in her perfume bottles with flat stoppers rectangular in shape."
A 1930 New York Times article displayed early feminism on Ganna Walska's part:
"Ganna Walska d'Eighnhorn Fraenkel Cochran McCormick, assertive Polish second wife of Chicago's harvester tycoon, Harold Fowler McCormick, has three passions: Music, Perfume, Feminism. For Music she has labored many a weary year without spectacular success. For Perfume, she has founded and guided to success Ganna Walska Perfumes, Inc., of Paris and New York. For Feminism she gained a victory last week when the Third Division of the U. S. Customs Court unanimously conceded her a legal residence other than that of her husband.
More than a year ago Mme. Walska landed in New York with 15 trunks and (she said) $2,500,000 of personal effects. Claiming that, as a separate human entity with a home and business in Paris, she was a nonresident, she refused to pay $1,000,000 in duties. Though her customs liability dwindled to $40.20 when she proved that she had bought most of her possessions in the U. S. before going to France, she fought with characteristic tenacity and much publicity for the principle involved (TIME, Oct. 8, 1928).
That principle she established, at least so far as tariff duties go, when the Customs Court ruled: "The wife is now a distinct legal entity . . . upon terms of equality with her husband in respect to property, torts, contracts and civil rights. . . .[She] may acquire a domicile separate and apart from her husband by reason of his misconduct or abandonment or by his agreement either express or implied." (The McCormicks had agreed to live separately.)
Concurring but not satisfied was Justice Genevieve R. Cline, only woman member of the court, first woman appointee in the Federal judiciary. In a separate opinion she objected to the court's implication that a separate domicile was to be taken as an exception, not as an accepted rule: ''. . . I can discern no reason why they [wives] should not have equal rights as to the selection of a domicile. . . . The common law has been practically expunged."
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