Parfums Luyna

Parfums Luyna, pronounced "LOU-WE-NA," was established in 1830 at 22 rue Paix, Vincennes, Seine, France. From its inception, the company distinguished itself in the fragrance and cosmetics industry, carving out a reputation for quality and elegance. The strategic location in Vincennes, a suburb of Paris known for its refined atmosphere, provided the perfect backdrop for a brand dedicated to beauty and sophistication.

For nearly ninety years, Parfums Luyna flourished, offering a range of exquisite perfumes and cosmetics that captured the essence of French elegance. The company's commitment to excellence and innovation allowed it to thrive in a competitive market, serving a discerning clientele who appreciated the art of fine fragrance and personal care.

In 1918, Parfums Luyna was acquired by Monpelas, a move that marked a new chapter in its storied history. Despite the change in ownership, the brand's legacy continued to be celebrated for its quality and craftsmanship. By 1930, Parfums Luyna remained a prominent name in the industry, a testament to its enduring appeal and the timeless allure of its products.

Today, Parfums Luyna’s story reflects a rich heritage of elegance and refinement, echoing through the decades as a symbol of the golden age of French perfumery and cosmetics.

Luyna offered an extensive and diverse selection of products, addressing a broad range of beauty and personal care needs. Their repertoire included an array of fragrances, from luxurious parfums and refreshing eau de toilettes to invigorating eau de colognes. This comprehensive collection ensured that customers could find a scent to suit every occasion and preference.

In addition to their fragrance offerings, Luyna provided a suite of skincare and grooming essentials. Their face powders, or poudres, and powder compacts, known as poudre compacte, were designed to enhance complexion and offer a flawless finish. The crème de beauté—a vanishing cream—was crafted to nourish and smooth the skin, embodying the sophistication and effectiveness of Luyna’s skincare formulations. The range also included soaps and hand creams, such as pâte Luyna, which contributed to a complete personal care regimen.

Luyna's product lineup reflected the evolving tastes and preferences of its customers, adapting to the latest beauty trends while maintaining the high standards of quality and elegance for which the brand was known. This broad spectrum of personal care essentials showcased Luyna’s commitment to addressing the diverse needs of its clientele, ensuring that each product delivered both efficacy and sophistication.

Luyna earned the distinguished subtitle "The Perfumes of Princesses" thanks to its esteemed patronage from various members of the nobility. This prestigious label reflected the brand’s exceptional status and its close ties with high society. Notable figures such as Princess de Faucigny-Lucinge, Princess Troubetzkoy, Comtesse Jean de Lubersac, Comtesse de Vaucelles, Comtesse de Montaigu, and Comtesse d'Hinnisdal all lent their names to Luyna, granting the company permission to feature their titles in advertisements.

This endorsement was not merely ceremonial; it imbued Luyna's fragrances with an air of regal elegance and sophistication. By aligning their brand with these prominent aristocrats, Luyna effectively communicated its commitment to luxury and exclusivity. The use of these noble names in their marketing materials added a layer of glamour and credibility, elevating the brand’s image and appealing to a discerning clientele who valued both prestige and quality. The association with such illustrious patrons underscored Luyna's position as a purveyor of elite, luxurious perfumes, celebrating the timeless allure of noble patronage in the world of fragrance.

Chanson d'Ete:

Chanson d'Été (The Song of Summer), used by Princess Troubetzkoy, was launched in 1924. The name evokes a sensory celebration of summer, capturing the essence of warm, sunlit days filled with the sweet melodies of birds. Luyna described it as embodying "the song of birds and the languor of summer," suggesting a fragrance that combined light, airy notes with a soothing, languid quality. It conjures images of lush gardens and tranquil afternoons, evoking the relaxed and vibrant spirit of the season. Princess Troubetzkoy’s personal endorsement in 1924, praising how the perfume charmed her, undoubtedly added to its allure and exclusivity, making it a coveted scent among those seeking a touch of royal elegance.

Maya:

Maya, used by Princess de Faucigny-Lucinge, was subtitled "Illusion Hindou" (Hindu Illusion). Launched in the early 20th century, this fragrance name and its subtitle evoke an air of mystery and exoticism. The pronunciation "my-ah" enhances its allure, suggesting an enchanting, otherworldly experience. The subtitle hints at a fragrance that draws inspiration from the rich and intricate scents of the East, possibly featuring exotic spices, floral notes, and resins that capture the essence of Hindu illusions. The association with Princess de Faucigny-Lucinge, a prominent figure in French nobility, likely imbued the perfume with an added layer of sophistication and intrigue, transporting wearers to distant, mystical realms through its evocative scent profile.

 

These fragrances, each bearing the endorsement of distinguished patrons, not only reflected the tastes and preferences of the elite but also added to Luyna’s prestigious image, making their perfumes a symbol of luxury and refined elegance.

Fleur Ardente:

Fleur Ardente was pronounced "flur-aredaunt" and means "Passion Flower." Luyna described it as "The breezes of southern passions blew across myriad flowers and blended their souls in this odor of living flame. It is for the luxuriant, the rich and joyous personality, this perfume free from care." The perfume was housed inside of a beautiful satin lined box.

Launched in 1922, Fleur Ardente—translated as "Passion Flower"—conveys a profound sense of intensity and fervor. This evocative name hints at a fragrance brimming with the vibrant energy of exotic blooms and the fiery allure of passionate emotions. The term "Passion Flower" itself suggests a scent that is both exotic and alluring, capturing the essence of a dramatic, unforgettable presence.

Luyna's description of Fleur Ardente vividly portrays a fragrance that embodies the passionate spirit of the South. It combines a diverse bouquet of floral notes into a perfume that evokes the image of a living flame, capturing the lush, dynamic essence of an ardent personality. The perfume is characterized by its luxuriant and exuberant qualities, designed to enhance the allure of a confident and spirited individual who embraces life with passion and vivacity.

The perfume is presented in an exquisitely crafted bottle, nestled within a satin-lined box, which adds to the luxurious experience of owning and using Fleur Ardente. This elegant packaging not only protects the fragrance but also underscores its opulent nature, making the act of wearing the perfume an indulgent ritual. The combination of the rich, fiery scent and the refined presentation elevates Fleur Ardente into a statement of sophistication and ardor, perfectly suited for those who wish to make a lasting impression.

Verte Amande:

Launched in 1924, Verte Amande—translated as "Leaf Green"—emerges as a captivating addition to Luyna's collection. The name itself conjures images of a fragrance infused with the vibrant, invigorating essence of nature. Described by Luyna as possessing "the grace of a slender flower," Verte Amande suggests a perfume characterized by its delicate and refined qualities, reminiscent of a fresh bloom in the early days of spring.

The choice of "Leaf Green" as a name evokes a strong connection to the natural world. This implies that the fragrance is likely to embody crisp, verdant notes that capture the essence of fresh, dewy leaves. Such a description hints at a scent that is both refreshing and subtly sophisticated, potentially featuring green, herbaceous accords that evoke the vitality and rejuvenation of the outdoors.

Imagining how Luyna might have translated these evocative descriptions into the actual fragrance experience, Verte Amande would likely have been crafted to offer a bright, invigorating aroma that embodies the purity and elegance of a slender, blooming flower. The perfume's composition probably included fresh, green notes that resonate with the clean, vibrant scent of nature, designed to refresh and uplift the wearer with its natural grace and elegance.

Single Floral Scents:

Launched in 1920, Luyna's collection of single floral fragrances showcased a refined array of scents, each meticulously crafted to capture the essence of a specific bloom. These perfumes, including Iris Blanc, Le Jasmin, Le Lilas, Le Mimosa, Le Muguet, La Rosa, and La Violette, each offered a unique olfactory experience, celebrating the individual beauty of their namesake flowers.

Iris Blanc, or "White Iris," would have presented a delicate and ethereal scent, characterized by the subtle, powdery, and slightly woody notes of the iris flower. This fragrance likely evoked a sense of purity and elegance, with a soft, creamy aroma reminiscent of pristine white petals.

Le Jasmin, translating to "Jasmine," was probably imbued with the rich, heady fragrance of jasmine blossoms. Known for its deeply floral and intensely sweet scent, this perfume would have been both luxurious and intoxicating, capturing the opulence and sensuality of jasmine in full bloom.

Le Lilas, or "Lilacs," would have conveyed the fresh, green, and slightly sweet aroma of lilac flowers. This fragrance likely offered a light, uplifting scent that evokes the early days of spring, with its vibrant and cheerful floral notes.

Le Mimosa, meaning "Mimosa," would have featured the soft, powdery, and slightly sweet scent of mimosa blossoms. Known for its delicate and airy fragrance, this perfume might have brought a touch of warmth and gentle sophistication.

Le Muguet, or "Lily of the Valley," would have been characterized by its fresh, crisp, and slightly green aroma, capturing the delicate beauty of lily of the valley flowers. This fragrance likely evoked a sense of purity and renewal, reminiscent of the early morning dew on blooming flowers.

La Rosa, translating to "Rose," was expected to embody the classic and timeless scent of rose petals. With its rich, deep floral notes, this perfume would have been both romantic and elegant, offering the quintessential essence of blooming roses.

La Violette, or "Violet," would have presented a soft, sweet, and slightly powdery aroma, reminiscent of violet flowers. This fragrance likely offered a gentle, yet evocative scent, characterized by its subtle, velvety floral notes.

Together, these single-floral perfumes from Luyna provided a diverse bouquet of scents, each designed to transport the wearer to lush gardens and blooming landscapes, celebrating the unique beauty of each flower with every spritz.

The Lima Gazette, 1922:
"Here are some of the beauty tricks with the perfume bottle that have lately been cabled over from Paris. These hints come from Monsieur Luyna, to whom sich great ladies as Princess de Faucigny-Lucinge, Princess Troubetzkoy and Comtesse Jean de Lubersac go for beauty secrets. For over a hundred years his family had made the perfume which bears his name. "Discretion is the better part of perfume," he said. "The Parisienne whose ancestors hang on the walls of the Louvre has a thousand wiles for its use. Her supreme aim is to make her perfumed fragrance so ethereal, so delicate, that it seems a part of her being, not applied from the outside. For instance, the American ladies dash on perfume often in generous doses at the last minute when dressing. Such a crude practice will ruin the most perfect fragrance! Perfume must be placed upon your gown two or three hours before dressing. Good perfume attains additional charm and mellowness if thus used. " French women often pour a bit of perfume on blotting paper. This is placed under their personal belonging, such as fans, gloves, handkerchiefs. Indirect methods of perfuming such as these are more entrancing than when directly placed on the article or fabric itself." Another trick which is new to Americans is the use of bits of cotton. On these wee cotton balls a drop of perfume is placed. Then they are tucked in dozen places around one's belongings: in one's glove, in the corsage, in the handbag, in the crown of the hat, in the pocket of one's wrap. Instead of the overpowering effect of an overdose on a perfumed handkerchief, the result is a puzzlingly faint fragrance that delicately arises from a half dozen sources. 

"When the American woman realizes the importance of her perfume, there will be fewer divorces, " My Luyna states."To be alluring," he continues, "you must accent only certain characteristics with your perfumes, those which make you different from Mary Smith or Hattie Jones. The dark-eyes, sophisticated woman, indolent in her movements and eager with her eye, in other words, our old friend, the vamp, needs a heavy, penetrating fragrance to complete her score. The fair, bouyant type, suggesting radiant health, would be incongruous with sandalwood and jasmine. Her choice should be the ever so delicate fragrance of windswept garden or a May bouquet. The gentlewoman with the serene countenance would find the pale white iris her floral counterpart, and its fragrance would accentuate her type." 

"The French woman," says M. Luyna, "puts a drop behind each ear and a drop in the fur that nestles against her cheek. She perfumes her handbag and her fan, the lining of her hat and the pocket of her coat rather than her frock. She puts tiny balls of cotton, scented, in her clothing and among her accessories. In this subtle way, she makes the fragrance seem a part of herself, not something applied from the outside.""

Monsieur Luyna's insights into the art of using perfume are truly fascinating, offering a glimpse into the sophisticated practices of French women and their approach to fragrance. His emphasis on discretion and subtlety underscores the idea that perfume should enhance one's natural allure rather than overpower it. By incorporating perfume into various aspects of daily life, such as clothing, accessories, and personal belongings, French women achieve a nuanced and lingering fragrance that becomes an integral part of their aura.

The use of cotton balls infused with perfume, strategically placed in different locations, is a clever technique to create a subtle and multifaceted scent experience. Rather than a single overpowering fragrance, this method results in a delicate yet pervasive aroma that emanates from multiple sources, adding to the mystique and allure of the wearer.

Monsieur Luyna's advice on selecting perfumes that complement one's personality and characteristics reflects a nuanced understanding of how scent can enhance individual allure. By choosing fragrances that resonate with one's unique traits and demeanor, women can further accentuate their personal charm and appeal.

Overall, Monsieur Luyna's wisdom highlights the importance of approaching perfume as an art form, one that requires care, subtlety, and an understanding of how scent interacts with one's identity and environment.

The perfumes of Luyna:

• 1910 Ambré
• 1910 Ardente
• 1910 Cadeau de Paris (still sold in 1930)
• 1920 Bouquet
• 1920 Chypre
• 1920 Embaumée de Violette
• 1920 Iris Blanc
• 1920 La Mimosa
• 1920 La Rose
• 1920 Le Jasmin
• 1920 Le Lilas
• 1920 Le Muguet
• 1920 La Violette
• 1920 Parfum de Fleurs
• 1922 Chanson d’Été
• 1922 Fleur Ardente (still sold in 1930)
• 1922 Maya
• 1924 Verte Amande
• 1924 Vivante
• 1926 Black Narcissus
• 1927 Le Huit
• 1929 Gardenia
• 1929 Lily
• 1929 Sweet Pea

• Chanson d’Été: (Song of Summer ), an "alluring" floral bouquet perfume was presented in a bottle designed by Julien Viard - a figural fountain.
• Fleur Ardente: (Passion Flower) a warm, spicy floral bouquet perfume was presented in a bottle made by Verrières Viard.
• Maya: (Illusion in Hindu) a floral bouquet perfume.

The descriptions of these perfumes, along with their unique bottle designs, paint a vivid picture of their essence and presentation:

• Chanson d’Été (Song of Summer): Described as an "alluring" floral bouquet perfume, this scent likely evokes the warmth and vibrancy of summertime. The bottle, designed by Julien Viard, as a figural fountain, suggests a sense of fluidity and movement, perhaps reflecting the lively and refreshing nature of the fragrance.

• Fleur Ardente (Passion Flower): With its name translating to "Passion Flower," this perfume is described as a warm, spicy floral bouquet. The bottle, crafted by Verrières Viard, adds to the allure of the scent, hinting at a sense of sophistication and elegance. The design choice likely complements the spicy and passionate essence of the perfume.

• Maya (Illusion in Hindu): With its subtitle hinting at an "Illusion in Hindu," Maya is described as a floral bouquet perfume. The name itself suggests a sense of mystique and exoticism. While the bottle design isn't specified, one can imagine it being crafted with attention to detail, perhaps incorporating elements that evoke the enchanting allure of its namesake.

Each of these perfumes seems to offer a unique olfactory experience, with carefully curated scents and intricately designed bottles that enhance the overall sensory journey for the wearer.