Parfumerie Studia

Parfumerie Studia was a division of Société du Louvre, a prominent company with interests in luxury goods, including perfumery. The brand's creations were sold exclusively through the Louvre department store, located at 164 Rue de Rivoli in Paris. This grand department store was a prestigious shopping destination, known for offering high-end fashion, cosmetics, and luxury goods to Parisian society. Situated near the historic Louvre Museum, it catered to an elite clientele, providing a refined and sophisticated shopping experience. The exclusivity of Parfumerie Studia’s fragrances within this store reinforced their status as luxury items, available only to discerning customers who frequented this celebrated retail establishment.

The exquisite crystal bottles for Parfumerie Studia's fragrances were designed by Georges Dumoulin, a talented glass artist and bottle designer. Dumoulin was known for his ability to craft elegant, refined designs that elevated perfume bottles to works of art. His creations embodied the luxurious aesthetic of early 20th-century French perfumery, blending artistic beauty with functional design. These bottles were then produced by Verreries d’Argenteuil, a well-respected French glassworks. Renowned for their high-quality craftsmanship, Verreries d’Argenteuil specialized in creating delicate and intricate glass pieces, ensuring that each bottle reflected the opulence and artistry that defined Parfumerie Studia’s brand identity.

The perfumes of Studia:

• 1927 Fitych Coccinelle ("Ladybug Fetish", ladybug shaped novelty perfume bottle)
• 192 7Pepite d'Or (an intoxicating perfume)
• 1927 Pervenche
• 1927 Studia
• 1927 Prima Studia Perfume
• 1927 Le Moderne
• 1927 L'Oriental
• 1927 L'Envirant
• 1927 Le Parfum de Monette (who is Monette?)
• 1927 Le Parfum Imperial
• 1927 Soleil de Syrie (an oriental perfume)
• 1928 Sim-Viva (modern aldehydic perfume)
• 1930 Batonnets
• 1933 Chypre

The perfumes of Parfumerie Studia, launched between 1927 and 1933, reflected the artistic and cultural influences of their time, offering a diverse range of scents that catered to modern sophistication and exotic inspirations. Many of these fragrances were housed in exquisitely designed bottles, making them as much decorative objects as olfactory experiences.

In 1927, Studia introduced several perfumes, including Fitych Coccinelle ("Ladybug Fetish"), a novelty fragrance presented in a ladybug-shaped bottle. The name suggests a playful, charming scent, perhaps light and cheerful with hints of dewy florals, fresh green notes, and soft woods, evoking the whimsy of a ladybug resting on a petal. 

Pervenche (translated as "Periwinkle") likely captured the delicate yet slightly green floralcy of the periwinkle flower. This fragrance may have had a soft, powdery violet-like quality, accented with airy aldehydes or gentle musks to enhance its fresh, spring-like essence. Studia and Prima Studia Perfume could have been signature scents for the house, possibly featuring refined, well-balanced compositions blending classical floral and chypre elements. Le Moderne ("The Modern") suggests a progressive, fashion-forward scent, possibly inspired by the sleek, clean aldehydic fragrances gaining popularity in the late 1920s.

Pépite d'Or ("Golden Nugget") implies a rich, intoxicating fragrance, likely warm and radiant with golden-hued notes such as amber, honeyed florals, or opulent spices, symbolizing luxury and allure.

The 1927 fragrance L'Oriental ("The Oriental") likely followed the fascination with exotic, warm, and resinous notes, featuring rich accords of spices, amber, and opulent florals like jasmine and tuberose, embodying the allure of the East. Similarly, Soleil de Syrie ("Sun of Syria") was another oriental-style perfume, possibly evoking the golden warmth of the Middle Eastern sun with incense, balsams, and glowing citrus top notes. L'Enivrant ("The Intoxicating") suggests a deeply seductive fragrance, likely brimming with heady white florals, musk, and sensual spices.

Le Parfum Impérial ("The Imperial Perfume") suggests a regal and majestic fragrance, likely rich with noble florals like rose and iris, precious woods, and warm amber to evoke grandeur and opulence. Le Parfum de Monette raises the question: who was Monette? Perhaps she was a muse, a famous figure, or even a fictional embodiment of Parisian elegance. The name implies a personal, intimate scent, possibly a romantic floral bouquet with soft powdery and musky undertones. 

By 1928, Studia introduced Sim-Viva, described as a modern aldehydic perfume. This likely followed in the footsteps of Chanel No. 5, featuring effervescent aldehydes that added a sparkling, almost soapy freshness to florals and woods, embodying the chic sophistication of the era.

In 1930, Batonnets was introduced, though its name is ambiguous—it could refer to perfume-soaked application sticks or solid perfume batons. Regardless, it was likely an innovative fragrance form rather than a specific scent profile.

By 1933, Chypre entered Studia’s collection, embracing the mossy, woody, and citrus structure characteristic of this classic fragrance family. With a likely combination of bergamot, oakmoss, patchouli, and labdanum, Studia’s Chypre would have embodied the elegance and depth of this enduring style, popular among sophisticated fragrance lovers.

Parfumerie Studia’s fragrances captured the essence of their time—blending Art Deco modernity with exotic inspirations and timeless elegance. Their luxurious presentations and evocative names suggest a range of olfactory experiences, from playful and fresh to rich and deeply sensual.