In the vibrant Parisian summer of 1927, the renowned Palais de Glace, located in the Champs-Élysées, played host to the first Salon de la Parfumerie from June 1 to June 15. This event was a grand showcase of the perfumery, soap, and ancillary industries, meticulously organized by the "Revue des Marques de la Parfumerie et de la Savonnerie." The exhibition was designed by the talented government architects, Mr. Raguenet and Mr. Maillard, whose aesthetic sensibilities had previously been lauded during the Exhibition of Decorative and Modern Industrial Arts.
The ground floor of the Palais de Glace was dedicated to established perfumery brands, while the first floor was reserved for ancillary industries, divided among 40 stands. The exhibition promised a harmonious blend of individual presentations, creating an overall pleasing and cohesive display. The event was open to the public daily from 2 a.m. to 7 a.m., with entrances being chargeable. A special invitation-only opening took place on May 31 at 3 p.m., followed by a gala benefiting the Union of the War Blind, held later that evening.
Each day, visitors were treated to a variety of attractions in a specially equipped lounge. The invitations and entry cards were strictly personal to ensure exclusivity and prevent unauthorized transfers. The Salon de la Parfumerie was inaugurated by the French Minister of Commerce, marking the beginning of a unique and elegant showcase of French perfumery.
The Perfumery Exhibition garnered attention from industry publications, highlighting its charm and scale. "Chemist and Druggist," a notable newsweekly for pharmacy, described the exhibition as a "pretty little show of French perfumery," perfectly sized to avoid the typical "exhibition headache." Despite its modest size, the exhibition managed to present a delightful and harmonious ensemble of stands, each with its distinct character.
Prominent prime material houses were well-represented at the event. Among the notable participants were Pilar Freres and J. Mero & Boyveau from Grasse, Progil, Th. Mulhlethaler (S.A.) from Nyon, Establissments Antoine Chiris, L. Givaudan & Cie, Parosa from Issy-les-Moulineaux, Schmoller & Bompard (S.A.) from Grasse, Fabriques de Laires from Issy-les-Moulineaux, Polak & Schwarz from Zaandam, P. Robertet & Cie from Grasse, and Lautier Fils from Grasse.
The historical backdrop of the Palais de Glace added a layer of prestige to the event. Originally designed by Jacques Ignace Hittorff as a rotunda in the Champs-Élysées in 1838, it was part of the grand structures for the Exposition Universelle of 1855. The rotunda was later replaced by the Palais de Glace in 1893, a popular attraction during the Belle Époque. This setting provided an ideal venue for showcasing the luxurious world of French perfumery in an event that left an indelible mark on the industry.
"The “Salon de la Parfumerie" in the Palais de Glace, in the Champs Elysées, was opened by the Minister of Commerce on June 1. This new venture organized by the "Revue des Marques de la Parfumerie" is quite a pretty little show of French perfumery, just big enough to be worth the entrance fee, yet small enough to enable the usual "exhibition headache" to be avoided. I have seen a certain number of perfumery courts at international and other exhibitions, but cannot remember any where the stands, while remaining so thoroughly individual, were grouped in a more harmonious whole of such pleasing aspect."
Revue des Marques de la Parfumerie et de la Savonnerie, 1927:
"In our last issue, we let our readers know the general lines of what this event would be; the ground floor of the Palais de Glace will be reserved for made-up Perfumery; on the first floor the ancillary industries will be divided between 40 stands or locations, the entire exhibition was designed by Mr. Raguenet and Mr. Maillard, graduate architects of the government, whose good taste had already manifested in the realization of the class 23 at the Exhibition of Decorative and Modern Industrial Arts. The Exhibition will be open to the public from June 1 to 15, every day, from 2 a.m. to 7 a.m. Entrances will be chargeable. The opening will take place on May 31 at 3 o'clock in the afternoon; this opening will be done by invitation only. The doors will be closed at 7 am to reopen at 10 am in the evening for a gala benefiting the Union of the War Blind. During the duration of the fair, each day different kinds of attractions will be presented to visitors in a specially equipped lounge. The invitations and cards will be strictly personal and withdrawn if they were loaned or transferred."
Let's Meet the Exhibitors:
The 1927 Salon de la Parfumerie, held at the Palais de Glace in Paris, was a remarkable event that brought together a wide array of exhibitors, showcasing the finest in perfumery, cosmetics, and related industries. Among the esteemed participants were iconic names such as Antoine de Paris, Cheramy, Bourjois, Corday, Coudray, Dorin, D'Orsay, Ganna Walska, Godet, Marcel Guerlain, Houbigant, Isabey, LT Piver, Lubin, Lydes, Malaceine, Marquis, Molinard, Mury, Nilde, Parfumerie Ninon, Rigaud, Robj, Roger et Gallet, Rosine, Societe Francaise de Produits de Beaute, Vigny, and Ybry. These exhibitors represented the crème de la crème of the industry, each bringing their unique flair and distinguished heritage to the show.
Visitors to the exhibition had the opportunity to explore the offerings of these venerable houses, many of which continue to be revered in the perfume world today. Bourjois, known for its innovative beauty products; Coudray, celebrated for its luxurious fragrances; Dorin, with its historical roots dating back to the 18th century; D'Orsay, renowned for its elegant and timeless scents; and Guerlain, a true pioneer in the world of perfumery. Other enduring brands included Houbigant, Isabey, LT Piver, Lubin, Malaceine, Molinard, Rigaud, Roger et Gallet, and Rosine, all of which have maintained their prestige and continue to captivate perfume enthusiasts around the globe.
Interestingly, the absence of several other prolific perfumers from both Europe and the United States raised eyebrows. Notably missing were renowned houses such as Guerlain (despite Marcel Guerlain's presence), Caron, Coty, Lanvin, Chanel, Elizabeth Arden, Ed Pinaud, Worth, Babani, Lentheric, Gabilla, Prince Matchabelli, Molyneux, Myrurgia, Ciro, Richard Hudnut, Dubarry, Forvil, Fontanis, Yardley, and Grenoville. These brands, many of which played pivotal roles in shaping the fragrance industry, were conspicuously absent from the exhibition.
This intriguing mix of participants and absentees highlights the diverse landscape of the perfumery world during the 1920s. The presence of stalwarts like Houbigant and Roger et Gallet, alongside the newer, yet equally prestigious brands, underscored the dynamic and evolving nature of the industry. Meanwhile, the absence of other leading names suggested either strategic choices or potential exclusivity in participation, which remains a point of curiosity for historians and enthusiasts alike.
The 1927 Salon de la Parfumerie not only provided a platform for the showcased brands to present their latest creations but also served as a snapshot of the industry during a transformative era. The event, meticulously organized and elegantly presented, reflected the sophistication and allure of French perfumery, leaving a lasting impression on all who attended.
Antoine de Paris, Cheramy, Bourjois, Corday, Coudray, Dorin, D'Orsay, Ganna Walska, Godet, Marcel Guerlain, Houbigant, Isabey, LT Piver, Lubin, Lydes, Malaceine, Marquis, Molinard, Mury, Nilde, Parfumerie Ninon, Rigaud, Robj, Roger et Gallet, Rosine, Societe Francaise de Produits de Beaute, Vigny and Ybry.
Of this list of companies only a few are still in business today, click on the following links to find their current website: Bourjois, Coudray, Dorin, D'Orsay, Guerlain, Houbigant, Isabey, LT Piver, Lubin, Malaceine, Molinard, Rigaud, Roger et Gallet, and Rosine.
Antoine de Paris:
Antoine de Paris, the legendary hairdresser, revolutionized women's hairstyling with the introduction of the iconic 'La Garçonne' or urchin cut, which became synonymous with the Flapper era. This groundbreaking style was popularized by Antek Cierplikowski, better known as Monsieur Antoine, who was born in Poland in 1884. In the early 1920s, Antoine established his influential salon at 5 rue Cambon in Paris, a location that quickly became the epicenter of chic hair fashion. By 1912, Antoine was already making waves by bobbing women's hair in his Parisian salon, which was adorned with artworks by his friend, the renowned painter Modigliani.
Monsieur Antoine's influence extended beyond Paris when he opened a salon at Saks Fifth Avenue in New York in 1924. This salon swiftly became the most fashionable hair establishment in America, attracting an elite clientele that included celebrities, nobility, royalty, haute couturiers, and socialites. Antoine's talent and flair for hairstyling made him a favorite among the rich and famous, securing his reputation as a trendsetter and innovator in the beauty industry.
In 1927, Antoine expanded his Parisian empire with the opening of a new salon, aptly named “The Glass House.” This grand opening was celebrated with a lavish “White Ball,” reflecting Antoine's penchant for glamour and sophistication. The Glass House became a beacon of style and luxury in Paris, further cementing Antoine's status as a leading figure in the world of hairstyling.
By 1962, Antoine's influence had permeated the United States, with 86 “Antoine” beauty salons established across the country. Each salon, strategically located inside upscale department stores such as Neiman Marcus, Saks Fifth Avenue, and JW Robinson, catered to a discerning clientele. Antoine collected royalties on sales from these salons, ensuring a steady stream of income while maintaining a high standard of exclusivity and prestige. These salons, limited to one per city, upheld the legacy of Antoine de Paris, offering top-tier beauty services that echoed the elegance and sophistication of their founder's vision.
In addition to revolutionizing hairdressing, Antoine de Paris expanded his brand into a comprehensive range of cosmetics, toiletries, and fragrances. Each product line was meticulously branded and designed by Sara Lipska, a prominent artist of the era. Lipska's sophisticated designs featured a refined color palette of classic hues such as black, gray, silver, white, and gold. These timeless shades were occasionally accented with vibrant pops of color, perfectly capturing the essence of the Art Deco style that was prevalent in Antoine's salons. This design approach ensured that Antoine's products were not only of the highest quality but also visually striking and elegant, aligning with the luxurious atmosphere of his beauty establishments.
The branding extended to the packaging of his products, with a notable example being the red square-shaped glass bottles used for his fragrances. These bottles were fitted with sleek black stoppers, creating a bold and modern aesthetic that stood out among contemporary offerings. The combination of red and black was both daring and sophisticated, reflecting Antoine's innovative spirit and attention to detail.
Antoine's commitment to elegance and style was evident in every aspect of his brand, from the interior design of his salons to the packaging of his beauty products. The Art Deco influence, characterized by geometric shapes, rich colors, and lavish ornamentation, permeated his entire enterprise, creating a cohesive and glamorous image that attracted a high-end clientele.
For those interested in delving deeper into the life and career of this remarkable hairdresser and entrepreneur, Antoine's 1945 autobiography, simply titled "Antoine" by Antoine Cierplikowski, provides a comprehensive and personal account. The autobiography offers insights into his journey from a young Polish immigrant to a global icon in the beauty industry, detailing his innovative approaches, celebrity clientele, and the development of his brand. Through this book, readers can gain a greater understanding of the man behind the legend and the enduring legacy of Antoine de Paris.
Antoine's stand at the 1927 Salon de la Parfumerie (Palais de Glace). Fur rug and pleated-organdy-fabric ceiling. Madame Lipska (1882-1989), designer.
Les Parfums de Corday:
Adjacent to Antoine's elegantly designed booth at the 1927 Salon de la Parfumerie was the firm of Corday, another luminary in the world of fragrance. Corday's display was an enchanting showcase of their most beloved perfumes, featuring shelves and tables adorned with a variety of striking bottles. Among these were the popular fruity floral Femme du Jour and the exotic oriental Kai Sang, each presented in sleek black glass bottles that exuded sophistication and allure. Adding to the visual splendor was the luxurious water fountain-shaped bottle for Jet, a testament to Corday's commitment to combining art with olfactory excellence.
In a photograph of Antoine's booth, Corday's space can be glimpsed to the left, prominently displaying the exquisite Baccarat flacons for Orchidee Bleue. These flacons, renowned for their craftsmanship and beauty, were the perfect vessels for Corday's sophisticated scents, attracting the admiration of visitors.
Corday's display likely included a range of other intriguing perfumes. The novelty bottles for Blanchette added a whimsical touch, while Serre Fleurie encapsulated the essence of hot house flowers in a delicate and inviting fragrance. The peculiar yet captivating scent of Toodleoo, housed in an egg bottle being "hatched" by a jaunty wooden bird, showcased Corday's innovative spirit and flair for unique packaging.
The centerpiece of Corday's booth, however, was undoubtedly the Lucien Gaillard-designed bottles holding Toujours Moi. These bottles were not just containers but works of art, reflecting the heritage and grandeur associated with Corday. The perfume itself, Toujours Moi, had an intriguing origin, having started its life as the favored incense used in the famous Notre Dame cathedral in France. This connection to a revered and historical scent added a layer of depth and mystique to the perfume, making it a standout piece in Corday's collection.
Together, Antoine and Corday's booths created a mesmerizing tableau of luxury and innovation, each contributing to the enchanting atmosphere of the Salon de la Parfumerie. While Antoine showcased his mastery in hairstyling and cosmetics, Corday captivated with their artistic and diverse range of fragrances, leaving a lasting impression on all who experienced their displays.
From the limited visibility in the photo below, it's uncertain if Corday also exhibited their Jovoy brand of fragrances at the expo. However, if they did, it would have added a whimsical and eclectic touch to their already captivating display. The Jovoy brand, known for its imaginative and playful packaging, would have undoubtedly caught the eye of visitors with its unique and charming bottles.
Among the Jovoy fragrances that might have been showcased was the floral perfume Allez...Hop!, housed in an endearing Dalmatian puppy bottle. This delightful design would have appealed to animal lovers and those with a fondness for playful, yet sophisticated scents. Another possible exhibit was the floral Hallo Coco, presented in a bright parrot bottle perched inside a gilded cage. This vibrant and colorful presentation would have been a standout piece, drawing attention with its bold and cheerful aesthetic.
The oriental fragrance Severem, contained within a dromedary bottle complete with a Bedouin riding on its back, would have introduced an element of exotic allure to the display. This bottle not only conveyed a sense of adventure but also encapsulated the rich, spicy notes typical of oriental perfumes.
Perhaps the most striking of all was Gardez-Moi, a stunning example of Art Deco design, housed in a sleek black Baccarat crystal cat bottle. This elegant and sophisticated bottle would have embodied the height of luxury and refinement, making it a centerpiece of any exhibition. Its geometric lines and luxurious materials were a perfect representation of the Art Deco movement, and it would have appealed to those with an appreciation for high art and design.
If Corday did indeed include their Jovoy fragrances, their booth at the expo would have been a dazzling display of creativity and craftsmanship. The combination of playful and exotic designs with high-quality scents would have demonstrated Corday's versatility and innovation in the world of perfumery. Each bottle, with its unique story and design, would have captivated visitors, leaving them with a lasting impression of Corday's artistic and olfactory prowess.
Lubin:
Next to Corday’s visually striking booth was the elegant and historic display of Lubin, a renowned perfumery with deep roots dating back to 1798. Lubin's rich legacy of crafting exquisite fragrances had garnered considerable success throughout the 1800s, ultimately earning the brand the prestigious status of the preferred supplier to numerous European royal courts. In 1807, Lubin was appointed as the Perfumer to Princess Pauline Borghèse, a position that underscored the brand’s influence and excellence. This was followed by an appointment as Perfumer to King George IV in 1821, who famously gifted many rare and costly perfumes to his lover, and later wife, Mrs. Fitzherbert, during his time as Prince Regent. Additionally, Lubin's illustrious clientele included the Emperor of Russia, further solidifying the brand's reputation for unparalleled luxury and quality.
Lubin's continued success was reflected in the creation of their luxurious perfume bottles, which were manufactured by some of the most esteemed artisans of the time. Baccarat, Depinoix, and the legendary René Lalique all contributed their talents to the production of Lubin's iconic bottles. Lalique, known for his masterful glasswork, designed the bottle for Lacdor as well as some travel atomizers, which combined functionality with stunning artistry. Julien Viard, another renowned designer, lent his expertise to the creation of bottles for fragrances such as Magda, Eva, Monjoly, and Enigma, each bottle a testament to the high standards of beauty and elegance that Lubin upheld.
Lubin’s participation in the 1925 L'Exposition Internationale des Arts Décoratifs et Industriels Modernes, the famous Paris exhibition that initiated the Art Deco movement, showcased their innovative spirit and commitment to contemporary design. At this exhibition, Lubin displayed their Douce France perfume alongside a newly introduced fragrance, L'Ocean Bleu, which featured a bottle designed by G. Chevalier specifically for the event. These fragrances, with their modern yet timeless packaging, exemplified the fusion of art and perfumery that defined Lubin's approach.
Given Lubin's history of participation in such prestigious events, it is likely that they would have displayed both Douce France and L'Ocean Bleu once again for the 1927 expo. These fragrances would have been showcased in beautifully designed bottles, highlighting the meticulous craftsmanship and artistic collaborations that Lubin was known for. The combination of their storied history, royal endorsements, and exquisite packaging would have made Lubin's booth a highlight of the exhibition, drawing the admiration of visitors and cementing their status as a leader in the world of luxury perfumery.
Robj:
On the opposite side of Antoine's exhibit was the booth for Robj, a company known for its unique and playful approach to ceramics and glassware. The Paris-based company, Editions Robj (also known as Atelier Robj), was established in 1908 by Lucien Willemetz. Robj quickly became renowned for its innovative and whimsical designs that often introduced humor into everyday objects. The lighted perfume lamps visible in the Antoine photo are a testament to the creativity and artistic flair that characterized Robj's products.
Robj ceramics can be categorized into two main types: utilitarian enameled porcelain figures that were designed to appeal to popular taste, and elegant figures crafted in cream-colored crackled porcelain, which were usually intended as decorative statuettes. The company’s commitment to blending functionality with aesthetics was evident in the wide range of items they produced. Robj was best known for their fantastic Art Deco styled products, which often featured amusing novelty figures, especially animals, that served as bookends, lamps, pen holders, and more.
The company’s extensive product line included a variety of other items such as boxes, inkwells, ashtrays, cocktail shakers, candy dishes, coffee services, and incense burners. Each piece was meticulously designed to bring a touch of charm and humor into the home, making everyday objects both functional and delightful to look at. This approach resonated well with the public, making Robj a popular name in decorative arts during the Art Deco era.
By 1924, Robj had ventured into the world of perfumery with the introduction of a perfume specifically intended for use in their perfume lamps, which they called Le Secret de Robj. This perfume was created to complement the unique aesthetic of their lamps, enhancing the sensory experience they provided. Additionally, Robj produced perfumes for other companies, further establishing their reputation as a versatile and innovative brand.
At the 1927 expo, the Robj booth likely showcased a variety of their signature pieces, including the lighted perfume lamps, which would have drawn attention with their enchanting glow and artistic designs. The booth would have been a vibrant display of Robj's creativity, humor, and artistic excellence, capturing the essence of the Art Deco movement and appealing to the sophisticated tastes of the expo's visitors.
Bourjois:
At the 1927 expo, Bourjois would have prominently featured their renowned fragrances, including the iconic Ashes of Roses, along with its related lines such as Ashes of Violettes and Ashes of Carnations. These perfumes, celebrated for their elegant and refined compositions, captured the essence of the era's sophisticated scent preferences. The Ashes of Roses, in particular, was a hallmark of Bourjois, embodying a delicate and timeless floral fragrance that resonated with the fashion-conscious clientele of the time. Alongside these, other notable fragrances like Mon Parfum and Miss Kate would have been showcased, each adding to the allure and diversity of Bourjois’s offerings.
In addition to their fragrance line, Bourjois was also known for their high-quality cosmetics, and the expo would have provided an ideal platform to display their popular products. One standout item was the Poudre De Riz De Java, a face powder that was celebrated for its light, translucent finish and its ability to impart a flawless, radiant complexion. This cosmetic was not only a favorite among women seeking a perfect complexion but also a symbol of the glamour associated with Bourjois.
It is worth noting that Bourjois would not have exhibited their famed perfume Soir de Paris (Evening in Paris) at this event, as it was not introduced until the following year. This iconic fragrance, with its captivating and sophisticated scent profile, would have made its debut at a later time, adding another layer to Bourjois’s esteemed reputation in the world of perfumery.
The Bourjois booth at the 1927 expo would have been a vibrant showcase of their expertise in both fragrance and cosmetics, reflecting the elegance and innovation that the brand was known for. The combination of their classic perfumes and esteemed cosmetics would have positioned Bourjois as a leading name in luxury beauty products during this period.
Cheramy:
At the 1927 expo, the American company Cheramy would have showcased some of their most popular and beloved fragrances, including their best-selling perfume, April Showers. This fragrance, celebrated for its fresh and floral scent, would have been prominently featured alongside other notable offerings such as Frolic, Offrande, Ciel Bleu, Cappi, and Joli Soir. Each of these perfumes contributed to Cheramy’s reputation for producing captivating and varied scents that appealed to a wide audience.
Cheramy, which had been acquired by the prestigious French perfume house Houbigant in 1922, had benefited greatly from this acquisition. Under Houbigant’s leadership, Cheramy was able to refine its offerings and enhance its brand image, leading to significant success at the 1925 Art Deco Exposition in Paris. The striking Art Deco graphics and design elements that adorned Cheramy’s packaging and promotional materials were particularly effective in capturing the public's attention, showcasing the brand’s ability to blend innovative design with sophisticated fragrances.
The Art Deco style, characterized by its bold geometric shapes, luxurious materials, and vibrant colors, was a defining feature of Cheramy’s presentation at the expo. This aesthetic not only highlighted the elegance and modernity of their products but also aligned with the broader trends of the time. Cheramy’s ability to harness this design movement and integrate it into their branding played a crucial role in their success and continued appeal.
Overall, the Cheramy booth at the 1927 expo would have been a dynamic display of their fragrance range, reflecting both the company’s historical significance and its contemporary innovation under Houbigant’s stewardship. The blend of cherished classics and striking Art Deco visuals would have made their exhibit a standout attraction, drawing the admiration of both industry professionals and the general public.
Ganna Walska:
At the 1927 Salon de Parfumerie, held at the Palais de Glace in Paris, Ganna Walska made a notable debut with her short-lived but intriguing perfume line. Among her offerings were the aptly named Divorcons (Let's Divorce), a bittersweet oriental fragrance that sought to make a bold statement with its distinctive scent profile. This perfume was accompanied by two other new introductions: Cordon Bleu, which featured a mixed floral bouquet, and Pour Le Sport, characterized by its tangy citrus notes. The collection represented a diverse range of olfactory experiences, each with its unique appeal.
In addition to these new fragrances, Ganna Walska may have also showcased her Chypre and Près de Toi perfumes. These scents would have added depth to her presentation, highlighting her ability to craft complex and evocative fragrances. The Chypre, known for its rich and woody base with hints of citrus, and Près de Toi, likely featuring a more intimate, personal scent profile, would have complemented her initial offerings well.
The booth dedicated to Ganna Walska was described as embodying a modernist aesthetic, reflective of contemporary art trends. The display featured a combination of cubes and cylinders arranged in an interesting composition, echoing the Art Deco movement's emphasis on geometric forms and sleek lines. The perfumes and lotions were presented in bottles of angular simplicity, aligning with the modernist design principles of the time. This minimalist approach in packaging underscored the avant-garde nature of Walska’s perfume line, enhancing its appeal to the fashionable audience of the 1927 expo.
The photo of Ganna Walska’s stand at the Salon de Parfumerie captures the essence of this modernist presentation, offering a visual representation of the innovative and sophisticated approach she brought to the world of perfumery.
Coudray:
Coudray, a distinguished perfume house from Paris, France, was originally established in 1810 by M. Maugenet and Dr. Edmond Coudray, a doctor-chemist renowned for his global travels and collection of exotic raw materials. This unique blend of scientific expertise and global exploration enabled Coudray to gain significant prominence as an exporter in the 19th century. By 1837, the house had earned the prestigious status of official supplier to the British Court, reflecting its high-quality products and esteemed reputation.
In 1882, Coudray expanded its operations by opening a small cosmetics and perfume shop named Maugenet & Coudray at 348 rue Saint-Honoré, Paris. This move allowed them to showcase their luxury products more directly to consumers. The company's commitment to excellence was evident in their various accolades, including two silver awards at the 1882 Exhibition, where their eau de cologne received particular recognition.
At the 1927 Salon de Parfumerie held at the Palais de Glace, Parfumerie E. Coudray would have prominently displayed their renowned Lettuce soap, celebrated for its quality and luxurious presentation. Alongside this, visitors could have admired sachet powders and a range of their superb eau de colognes. The exhibit would likely have featured bottles of their esteemed perfumes such as Réve de Paris, Exor, Secret de Madame, Charme de France, and Nohiba. These fragrances, known for their sophisticated compositions and elegant presentation, would have been meticulously arranged on shelves, reflecting the brand's long-standing tradition of excellence and refinement in the world of perfumery.
Dorin:
At the 1927 Salon de Parfumerie held at the Palais de Glace, Maison Dorin would have showcased a sophisticated array of their cosmetic offerings. Prominently featured would have been their luxurious face powders and rouges, elegantly contained within beautifully designed compacts. These compacts, crafted with meticulous attention to detail, reflected the brand’s commitment to combining beauty with functionality. The rich textures and colors of the powders and rouges were likely presented in a manner that highlighted their high quality and aesthetic appeal.
In addition to their cosmetics, Maison Dorin might have also exhibited their perfume Un Air de Paris. This fragrance, with its name evoking the charm and sophistication of the Parisian atmosphere, would have been displayed alongside their other products, enhancing the overall allure of their booth. Un Air de Paris, characterized by its refined scent profile, would have provided a fragrant counterpoint to the visual elegance of their cosmetic line, offering visitors a complete sensory experience at the exhibition. The combination of Dorin’s well-crafted cosmetics and their signature perfume would have underscored the brand's dedication to luxury and style.
D'Orsay:
As we continued down the line of booths at the 1927 Salon de Parfumerie, we would have arrived at the captivating exhibit of D'Orsay. Established in 1908 by a savvy group of investors, D'Orsay was created to embody an aristocratic and luxurious image, drawing on the historical prestige of the name. The company was named in honor of Alfred d'Orsay, known as the Comte d'Orsay, a notable French artist and dandy of the early- to mid-19th century. This connection to nobility was further underscored by the purchase of a castle to serve as their headquarters, enhancing the brand's aura of sophistication.
By the time of the 1927 exhibition, D'Orsay had already garnered significant acclaim, including winning the Grand Prix at the 1925 Art Deco exhibition in Paris. The booth would have proudly showcased this prestigious recognition alongside their exquisite range of fragrances. Many of D'Orsay's bottles were manufactured by renowned glassmakers such as Baccarat and Daum Nancy. Noteworthy examples included the elegant bottles for Toujours Fidèle and Le Dandy, each crafted with exceptional artistry.
Additionally, some bottles were designed by the acclaimed designers Louis Süe and André Mare, known for their contributions to the Art Deco movement. Paul C. Delaize also created several bottles in the 1920s that received American patents, highlighting the innovative spirit of the brand.
The true highlights of D'Orsay's collection, however, were the stunning creations by René Lalique. His bottles for Mystère and Ambre, rendered in opaque black glass, exemplify his mastery of the material and design. Lalique's work for D'Orsay also included bottles with charming figural stoppers for fragrances like Le Succès and Roses, adding a whimsical touch to the luxurious presentation. These pieces, with their intricate designs and elegant craftsmanship, would have undoubtedly captured the attention and admiration of visitors at the exhibition.
At the D'Orsay booth, one might have encountered a particularly striking and sophisticated display piece: the Lalique frosted crystal tester block, known as "La Renommée." This exquisite piece, designed by the renowned glassmaker René Lalique, would have been a centerpiece of the booth, enhancing the sensory experience for visitors.
"La Renommée" is a masterful example of Lalique's artistry in frosted crystal, featuring a geometric design with five compartments elegantly set into the block. Each compartment was intended to hold a different perfume, allowing visitors to sample a variety of D'Orsay fragrances. The compartments were equipped with delicate open flower daubers, designed to gently dispense the perfumes onto the skin, providing an immersive olfactory experience.
The tester block’s frosted finish and intricate detailing reflected Lalique’s signature Art Deco style, combining both functionality and artistic beauty. As ladies approached the display, they would have been invited to dip the daubers into the compartments, experiencing the perfumes in their purest form. This not only showcased the elegance of D'Orsay’s fragrance offerings but also offered a touch of luxury and refinement, elevating the overall experience of the exhibition.
"La Renommée" would have added an extra layer of sophistication to D'Orsay's presentation, underscoring the brand's commitment to both high-quality perfumes and elegant design.
Godet:
As we move over to the booth of Les Parfums Godet, a sense of opulence and refinement greets us, reflective of the brand’s esteemed reputation. Godet's presentation at the exhibition would have been an elaborate showcase of their diverse and sophisticated perfume offerings. The booth might feature an array of fragrances, including the floral richness of Fleur Noire, the evocative allure of Nuit de Mystere, the classic Chypre, and the earthy, woody notes of Sous Bois. Other notable scents could include Cuir de Russie, with its luxurious leather notes, and Secret d'Amour, renowned for its romantic allure. The booth would also likely display Petite Fleur Bleue, a delicate fragrance, and Forget Me Not, capturing a fresh and enduring sentiment. Divin Mensonge and Folie Bleue would add to the mix, with Folie Bleue particularly memorable for its award-winning composition of bergamot, violet, and woods, which won a gold medal at the 1925 Exposition in Paris.
Among the standout features of the Godet booth would be their exceptional perfume bottles. Many of these were crafted from Baccarat crystal, showcasing the brand's commitment to luxury and artistry. The bottles, some designed by Depinoix, feature intricate designs and high-quality craftsmanship. Red opaque glass flacons by H. Saumont, also used by the Lionceau perfume company, would add a striking contrast, highlighting Godet’s diverse packaging choices.
The Godet Perfumery, established by Julien-Joseph Godet at 37 rue Saint-Lazare in Paris in 1901, was known for its innovative approach to perfumes, toiletries, and cosmetics. The brand gained considerable international acclaim by 1913, the same year Godet passed away. His widow Louise and the company director Abel Ravaud continued the legacy, maintaining Godet's status as a major player in the perfume industry.
For the 1927 exhibition, Godet's booth was designed with a Louis Quinze boudoir style, adding an intimate and charming touch to their presentation. The exquisite bottles of La Petite Fleur Bleue were displayed on a delicate coiffeuse, reflecting the era's refined taste and the brand's commitment to elegance. This setting not only highlighted the beauty of Godet’s perfumes but also celebrated the artistry of the era’s interior design, seamlessly blending perfume and decor.
Houbigant:
Maison Houbigant, with its illustrious history dating back to 1775, would have presented a truly remarkable showcase at the 1927 exhibition. Known for its royal patronage and centuries of prestige, Houbigant was a name synonymous with luxury and sophistication. The brand's legacy includes an impressive roster of royal endorsements, having served as the parfumeur to Marie Antoinette, Empress Josephine, Princess Adelaide d’Orleans, Queen Victoria of England, Empress Eugenie, Emperor Napoleon III, and even the Tsar and Tsarina of Russia. More recently, in the early 20th century, Houbigant continued to cater to European royalty with appointments from Queen Victoria of Spain and Queen Marie of Romania.
At the 1927 exhibition, Houbigant would have proudly displayed its sesquicentennial collection, celebrating 150 years of perfumery excellence. The booth would have been adorned with exquisite bottles, including the renowned Quelques Fleurs, a perfume celebrated as one of the first true multi-floral scents. Its presentation in gleaming Baccarat crystal bottles underscored its importance and elegance. Parfum Ideal, another hallmark of Houbigant's offerings, was showcased in a Baccarat crystal bottle and packaged in a fabric-covered box reminiscent of an Oriental rug, a design inspired by Alfred Javal’s memories.
The exhibit would also have featured other distinguished fragrances, each housed in equally impressive Baccarat bottles. Parfum d'Argeville was displayed in a gilded Regency apothecary bottle, reflecting its woodsy floral character. Subtilite, with its serene and meditative qualities, was presented in a Buddha-shaped bottle, symbolizing its calming essence. Parfum Inconnu offered a springtime floral bouquet, while Un Peu d'Ambre provided a soft oriental fragrance. The rarest of roses from Grasse were encapsulated in the bottle for La Rose France, highlighting the brand's commitment to sourcing and presenting the finest raw materials.
In sum, Houbigant's booth at the 1927 exhibition was a testament to the house's long-standing tradition of excellence and its ability to capture the essence of luxury and sophistication through both its fragrances and their opulent packaging.
Isabey:
Isabey’s booth at the 1927 exhibition would have exemplified the pinnacle of French perfumery and artistry, reflecting a blend of longstanding tradition and opulent luxury. Established with substantial financial backing, Isabey’s reputation for refined elegance was matched by its commitment to producing only the highest-quality perfumes. The company's success extended beyond France, with notable exports to the USA, underscoring its international acclaim.
The Isabey booth was likely adorned with an impressive array of perfume bottles, each a masterpiece of design and craftsmanship. Many of these exquisite bottles were created by celebrated designers such as Julien Viard and produced by prestigious glassworks including Baccarat, Bobin Freres, Moser, Depinoix, and René Lalique. The collaboration with these renowned artisans ensured that each bottle not only held a luxurious fragrance but was also a work of art in itself.
Among the showcased perfumes would have been Mimosa, capturing the delicate, floral essence of its namesake flower. Chypre Celtique would have offered a complex, woody chypre composition, while Sourire Fleuri presented a vibrant floral bouquet. Tresor Cache and Ambre de Carthage would have added to the variety with their rich, deep scents. The Bleu de Chine was distinguished by its lotus notes, evoking the mystique of the Far East, while Le Lys Noir and Mon Seul Ami added touches of sophistication with their unique profiles. Finally, La Route d'Emeraude would have captivated with its emerald-hued bottle and lush, green fragrance.
Overall, the Isabey booth was a celebration of luxurious presentation and exceptional quality, reflecting the company’s commitment to excellence in both fragrance and design.
At the 1927 exhibition, Isabey's booth showcased a remarkable array of fragrances and luxurious presentations, underscoring the company's commitment to innovation and elegance. Among the highlights were the distinctive "Perle Flacons," designed by André Jollivet and crafted by the Nesle Normandeuse Glassworks around 1925. These unique flacons, shaped like pearls, featured an iridescent quality that made them stand out. Available in various sizes, each flacon was presented in a purple leatherette case, enhancing their opulent appearance.
The crowning jewel of the Perle Flacons collection was the exquisite "Le Collier d’Isabey." This presentation, which emulated a pearl necklace, consisted of six bottles arranged in a demi-lune shaped case. The design not only captured the essence of luxury but also earned Isabey a Gold Medal at the 1925 Paris Exhibition. This accolade was a remarkable achievement for a company that was still in its infancy, having been established just a year prior.
The Isabey booth at the 1927 expo was described as embodying the grandeur of new Russian ballet stage designs. The booth featured tall glass tubes arranged in a spiral stand of silver, each topped with an Isabey bottle of tinted pearl. This dramatic presentation highlighted the brand's flair for combining artistry with functionality, offering a visually striking display that drew considerable attention.
In addition to its perfumes, Isabey's booth also featured a range of beauty products. These included lipsticks, face powders, and compacts, as well as dusting powders and a unique facial cleanser named Lait du Concombre or milk of cucumber. This diverse product line showcased Isabey's dedication to providing a comprehensive beauty experience, reinforcing its status as a symbol of refinement and sophistication in the world of cosmetics.
Les Parfums Lydes:
As you wandered through the exhibit, you would have come upon the elegant booth for Les Parfums Lydes. Founded in 1918 by Eugene Philippe Rodie, Lydes quickly made a name for itself with its luxurious and distinctive fragrances. Although their initial success was marked by their first perfume, L'Ambre des Pagodes, it is notable that this fragrance did not carry the Lydes name. This intriguing decision, however, did not hinder the company’s rapid rise to prominence, and Lydes became known for its opulent presentations and international appeal.
At the Lydes booth, you would have encountered an impressive array of their perfumes, each displayed with the sophistication the brand was known for. The booth likely featured Nolka, an exotic oriental fragrance that would have drawn attention with its rich, complex notes. Alongside it, the floral bouquet fragrances Dear Mado, J'aime des Fleurs, and Rose Bengale—a sumptuous rose soliflore perfume—would have been prominently displayed. The booth also showcased other offerings such as the fresh, hesperidic Au Cachet du Roy and the woody, floral amber perfume To Cya Mi, subtitled "le Parfum Hindou."
A particular highlight would have been the newly launched perfume Bibelot, presented in a striking black glass cube flacon. This innovative design was likely to have attracted considerable attention from attendees. Many of Lydes' perfume bottles were designed by the renowned Julien Viard and André Jollivet, whose work added to the brand’s reputation for combining artistic flair with luxurious presentation.
The Lydes booth was a testament to the company's dedication to creating not only exceptional fragrances but also visually stunning bottles, reflecting their status as a significant player in the world of high-end perfumery.
Marcel Guerlain:
The booth for Marcel Guerlain's perfumery would have stood out for its refined elegance and notable distinction from the renowned Guerlain family. Despite sharing a surname, Marcel Guerlain's company was not connected to the prestigious Guerlain dynasty. This confusion led the famed Guerlain family to adopt the slogan "Nous n'avons pas de prénom" ("We have no first name") and to successfully sue Marcel Guerlain, prompting him to rebrand his company as the Société des Parfumeurs Français. In response to the mix-up, Marcel Guerlain adopted the slogan "no connection with any firm of similar name" in his U.S. advertising efforts.
Established in 1922, Marcel Guerlain's company, despite its initial controversy, quickly garnered a reputation for high-quality perfumes and cosmetics. The opulence of his Parisian shop at 86 rue du Faubourg-Saint-Honoré reflected his commitment to luxury, while his presence in London and the Waldorf-Astoria Hotel in New York underscored his international reach.
Marcel Guerlain's perfume bottles were often crafted by prestigious manufacturers like Baccarat and Depinoix. Among the standout items in his display would have been the Caravelle perfume, housed in a stunning black crystal sailing ship flacon designed by Depinoix. This dramatic presentation echoed the elegance and innovation of his brand. His iconic Masque Rouge would have been prominently featured, symbolizing the sophistication of his collection. Additionally, perfumes like Le Roy le Veult and Pavillon Royal would have occupied space on the shelves, showcasing his diverse range of scents.
A particular highlight of the collection would have been the Rolls Royce perfume, launched in 1926. This perfume was presented in a remarkable bottle designed to resemble the radiator grille of a Rolls Royce automobile, complete with a wooden base and Bakelite wheels. Today, this bottle is a highly sought-after collector's item, celebrated for its unique and luxurious design.
Marcel Guerlain, in addition to his flagship Société des Parfumeurs Français, expanded his influence in the fragrance industry by establishing several other perfume companies throughout the late 1920s, 1930s, and early 1940s. These ventures included the Hughes Guerlain company, a notable name among his endeavors, and several other lesser-known enterprises such as Helene Gys, Gys, Marcel & Hughes La Société de Parfumeurs Parisiens, Les Parfums d'Agnès, and Parfums Marlaine et Cie.
Each of these companies contributed to Marcel Guerlain's reputation as a prolific and innovative perfumer. For example, Helene Gys, marked by its HG initials, and Gys, both reflected his penchant for elegant branding and high-quality scents. Marcel & Hughes La Société de Parfumeurs Parisiens represented a collaborative effort that underscored his expansive network and ambition within the perfume industry. Similarly, Les Parfums d'Agnès and Parfums Marlaine et Cie added to his diverse portfolio, showcasing his ability to cater to various tastes and markets.
Interestingly, Marcel Guerlain’s practice included recycling perfume names across different brands. This approach, while perhaps a reflection of the period’s branding practices, also highlighted the continuity and evolution of his fragrance creations. By reusing certain names, he maintained a sense of familiarity and prestige across his various enterprises, allowing him to leverage the success of popular scents while exploring new olfactory innovations.
These multiple ventures not only amplified Marcel Guerlain's presence in the perfume world but also contributed to his legacy as a dynamic and influential figure in fragrance history. Each company and its associated perfumes added to the rich tapestry of his career, blending creativity with strategic acumen to capture the essence of luxury and sophistication in the art of perfumery.
Marquis:
During the 1920s, Marquis of Paris made its mark in the world of luxury perfumes, cosmetics, and toiletries, while also creating products for other perfume houses, particularly for export. Their booth at the exhibition would have showcased an array of their distinct offerings, displayed in elegantly designed bottles manufactured by Depinoix.
One prominent feature of Marquis's presentation would have been their distinctive bottles. The vibrant orange glass flacon for Brise de Monte Carlo stood out with its eye-catching hue, while the aqua bottle for Fleurs de Grand-Mère exuded a serene, oceanic charm. Each bottle reflected the high-quality craftsmanship and attention to detail that Marquis was known for.
Particularly noteworthy was Niradjah, an oriental fragrance housed in a striking black opaque glass bottle. The bottle's design included a dramatic red glass ball stopper, adding a touch of exotic allure. This perfume, containing 2 ounces of liquid, was priced at $14.89 in 1922, underscoring its premium positioning in the market.
In addition to these unique creations, the Marquis booth would have likely featured their single floral fragrances, including Lilas, Rose, Muguet, Violette, Cyclamen, and Jasmin. These offerings highlighted Marquis's dedication to capturing the essence of various blooms in their perfumes. The ubiquitous Chypre would also have been present, showcasing their versatility and adherence to popular fragrance trends of the time.
Overall, the Marquis booth would have provided a comprehensive look at their elegant and diverse range of perfumes, each housed in meticulously designed bottles that illustrated their commitment to luxury and sophistication in the world of fragrance.
Les Parfums de Mury:
Parfums de Mury's stand at the exhibition was designed to evoke the serene beauty of an elegant garden. As visitors approached, they would have been greeted by a charming flower bed that encircled an electrified water fountain, adding a touch of both beauty and modernity to the display. The fountain, a centerpiece of the stand, was adorned with a blue-and-green mosaic floor that shimmered under the lighting, creating a visually captivating contrast with the lush, colorful blooms.
The flower bed was meticulously arranged to showcase a variety of flowers, mirroring the fragrance offerings of Parfums de Mury and emphasizing the brand’s commitment to luxurious and sophisticated presentations. This garden-like setting was not only aesthetically pleasing but also served to immerse visitors in an olfactory experience, with each scent evoking the freshness and elegance of the floral surroundings.
The overall effect of the stand was one of refined opulence, reflecting Parfums de Mury's reputation for creating high-quality, elegantly presented perfumes. The harmonious blend of natural beauty and artistic design ensured that the stand was both memorable and inviting, reinforcing the company’s image as a purveyor of luxury and sophistication in the fragrance industry.
At Parfums de Mury's booth, a selection of their most cherished fragrances was showcased, each presented with the elegance befitting the company’s reputation. Among the standout perfumes was Le Narcisse Bleu, a floral oriental fragrance that captivated with its lush bouquet of rose, tuberose, jasmine, and ylang ylang. This scent was layered with deep, sensual base notes of sandalwood, creating a complex and enchanting olfactory experience that epitomized the elegance of oriental perfumery.
Another notable fragrance was Notturno, which was likely displayed to highlight its rich, nocturnal character. The perfume’s name, translating to “Night,” hinted at its sophisticated and mysterious composition, designed to evoke the allure and depth of evening hours.
Caresse d'Amour was another featured perfume, known for its romantic and tender qualities. The fragrance likely combined soft, sweet floral notes with a touch of warmth, making it a perfect choice for those seeking a scent that was both comforting and captivating.
Patricia and Amadis rounded out the collection. Patricia may have been showcased as a refined and elegant fragrance, perhaps with delicate floral or fruity notes. Amadis, in particular, stood out with its spicy character, marked by pungent notes of carnation. This perfume offered a bold contrast to the more floral and oriental options, reflecting Parfums de Mury’s diverse range of scents.
Each perfume was displayed in bottles that reflected the company’s commitment to luxury and artistry, ensuring that the presentation was as memorable as the fragrances themselves.
Caresse d'Amour, a perfume celebrated for its mixed floral bouquet, made a significant impact on the American market. In 1922, it gained considerable visibility through a marketing campaign that featured advertisements on New York City’s Fifth Avenue buses. This strategic promotion effectively captured the attention of New York's elite, leading to a surge in successful sales across the United States.
Patricia was presented in a stunning glass bottle adorned with a delicate pink and gold enameled floral design. The bottle's ornate and luxurious appearance was complemented by its gilt lacquer box, which added an extra layer of opulence. Retailing at $30 in 1927, Patricia was positioned as a high-end fragrance, appealing to those with a taste for sophisticated and beautifully crafted perfume presentations.
LT Piver:
The firm of LT Piver began its journey into the world of perfumes with a unique twist, initially offering perfumed gloves. This innovative approach earned them the prestigious title of "Parfumeur-Gantier" in 1769. Established between 1769 and 1774 by Michel Adam, the company underwent several transitions, eventually being succeeded by family members Paul Guillaume Dissey and Pierre-Guillaume Dissey. In 1813, Louis-Toussaint Piver took the reins, and by 1823, the company officially adopted the name LT Piver, which continued under the leadership of Alphonse Piver.
Throughout the 19th and 20th centuries, LT Piver was a prominent participant in major exhibitions, demonstrating their commitment to innovation and luxury in perfume design. The company was known for pioneering new perfume concepts and elegant designs. Alphonse Mucha, a celebrated Art Nouveau artist, greatly influenced the company’s presentation aesthetics, evident in the stunning floral graphics used for their Floramye, Azurea, and Safranor lines. These designs showcased Mucha’s signature style, characterized by flowing lines and intricate floral patterns.
Many of LT Piver's bottles were crafted by the renowned Baccarat, reflecting the company’s dedication to high-quality presentation. Notable examples include the bottles for Astris, Reve D'Or, and Volt—a tribute to electricity, housed in a bottle shaped like a light bulb. Additionally, Rene Lalique designed the exquisite bottle for Misti in 1912, highlighting the collaboration between LT Piver and leading glass artisans of the time. The partnership with Baccarat and Lalique exemplified LT Piver's commitment to producing not only luxurious fragrances but also works of art.
At Piver's booth, the display would have been a showcase of elegance and tradition. One of the standout offerings was Reve D'Or, originally launched in 1889. This fragrance, known for its soft and rich floral notes, was re-presented in a stunning bottle designed by Cristalleries de Baccarat in 1919. The Baccarat design epitomized the luxury and craftsmanship of the era, making Reve D'Or a timeless classic that remains in production to this day.
Another highlight would have been Pompeia, one of Piver's most successful lines. Pompeia included a variety of products: parfum extrait, cologne, lotion, brilliantine, and powder. Each item was crafted to embody the same luxurious essence, catering to a clientele that appreciated refinement in both fragrance and presentation. The Pompeia range likely drew considerable attention at the booth, reflecting the brand's commitment to comprehensive and high-quality perfumery.
The booth might also feature Carminade, a new addition to the Piver lineup. This fragrance was presented in a vibrant red glass Art Deco bottle crafted by Cristalleries de Nancy. The Carminade bottle, also used for the perfume Galuchat, was a testament to the Art Deco style, with its bold color and geometric design reflecting the opulence of the period. The inclusion of Carminade in Piver’s display would have highlighted their continued innovation and dedication to striking design in their fragrance offerings.
Rigaud:
At Rigaud's booth, the legacy of a storied perfumery established in 1854 would have been on full display. Rigaud, known for its opulent presentations and innovative fragrances, had earned a reputation for luxury and excellence, as evidenced by the gold medals awarded at the 1878, 1889, and 1900 exhibitions.
One of the highlights would undoubtedly be Un Air Embaume, Rigaud's all-time best-selling perfume. This fragrance, classified as a floral woody oriental, is celebrated for its complex blend of a dry woody amber chypre base. Created by Marius Reboul of Givaudan, Un Air Embaume features the distinctive base known as "Sophora," which includes vetiver acetate, coumarin, and bergamot. The perfume's flacon was a masterpiece of design, made of both clear and frosted glass. The bottle's sides were molded with intricate scenes of nudes rising in smoke from perfume burners, and it was adorned with an applied sienna-colored patina. Although advertised as being manufactured by Lalique, the bottle was actually produced by Darras Glassworks in the Bresle valley, France.
Rigaud's innovation extended to the names of their perfumes as well. They were pioneers in incorporating Oriental names into their fragrances, such as Melati de Chine, Kanaga-Osaka, and Pagoda Flowers. This choice reflected their commitment to exoticism and allure. Their theatrical connection was also evident, with perfume names inspired by famous Parisian actresses, including Actrices, Prince Igor, Mary Garden, Marthe Chenal, and Geraldine Farrar.
Another notable fragrance was Vers La Joie, launched in 1927. This floral chypre perfume combined bergamot, roses, lily of the valley, jasmine, sandalwood, oakmoss, musk, and amber, presenting a sophisticated and joyful olfactory experience. Today, while Rigaud’s perfumery has faded into history, the brand endures in the form of high-quality scented candles, continuing to reflect its heritage of elegance and refinement.
Roger et Gallet:
At the Roger et Gallet booth, the showcase would have been a testament to their reputation for luxurious and exquisite fragrances. Among the highlights would be an array of their most coveted perfumes, including Pavots d'Argent, Tentation, Rose Rouge, Fleurs d'Amour, Triomphe, Flausa, Narkiss, Cigalia, and Le Jade.
Le Jade, in particular, would have stood out for its opulent presentation. This oriental fragrance, characterized by its rich chypre base, was offered in several bottle designs over the years. Among these, the most beloved was the opaque jade green glass flacon crafted by René Lalique. This bottle was shaped like a Chinese snuff bottle and featured tropical birds molded in relief, a design that elevated its status as a collector’s item. At the Palais de Glace expo, Roger et Gallet likely displayed the exquisite large crackled glass bottles of Le Jade, which had been a previous highlight, contributing to the grandeur of their presentation.
Another standout from the exhibition would have been Pavots d'Argent, known as "Silver Poppies." This perfume, which was described as "the fragrance of your sweetest dreams," was presented in a striking bottle designed by Lalique. The color scheme of pink, black, and silver would have made the display particularly eye-catching and elegant, enhancing the overall allure of Roger et Gallet’s booth.
Overall, Roger et Gallet’s exhibition would have been a feast for the senses, showcasing their commitment to luxury and innovation with a blend of timeless elegance and contemporary design.
Rosine:
At the Rosine booth, visitors would have been greeted by a display of the house's exquisite fragrances, reflecting the opulence and creativity that Couture fashion designer Paul Poiret brought to his perfume line. Having made a notable appearance at the 1925 Art Deco Exposition in Paris, Rosine was poised to impress again in 1927 with a continuation of their elegant offerings.
Among the showcased fragrances would likely be Coeur en Folie, which had made its debut at the 1925 expo. This perfume, along with others such as the exotic Nuit de Chine, characterized by its oriental allure, and Tout la Foret, which captured the essence of the woods, would have been prominent on display. The line-up also included D’où viens-tu?, Hahna, Arlequinade, and the commemorative "1925", each reflecting the diverse olfactory experiences Rosine was known for.
In addition to these, Maharadjah, with its exotic and regal notes, Borgia, a scent evoking intrigue and history, Le Fruit Défendu, with its forbidden fruit allure, and Coup de Foudre, translating to "love at first sight," would have drawn significant attention.
A particularly noteworthy introduction at this exhibition could have been Spirit of St. Louis, a new fragrance named in honor of Charles Lindbergh’s historic transatlantic flight in 1927. Described as a "blend of many flowers, exquisitely sweet," this perfume paid tribute to the aviation pioneer’s remarkable achievement of flying non-stop from New York to Paris in his plane, Spirit of St. Louis. The perfume's launch was not just a nod to an American hero but also an example of how Rosine merged contemporary events with their scent creations, adding a touch of modernity and celebration to their luxurious portfolio.
At the Rosine booth, an enchanting tribute to French culture and the world of opera would have been evident. Among the showcased fragrances, Connais tu le Pays stands out as a celebration of French heritage. Named after the beloved song from Ambroise Thomas’s opera Mignon, this perfume evokes the lyric’s enchanting imagery with its sweet orange blossom scent. The opening aria’s line, “Do you know the country where the orange flowers?” perfectly encapsulates the essence of the perfume.
Connais tu le Pays was housed in a charming round frosted glass bottle designed to resemble an orange. This distinctive flacon was adorned with a gilded leaf stopper, adding a touch of elegance and whimsy. The presentation box, featuring a palette of pink, yellow, orange, pale green, and forest green with a red-printed label, complemented the fragrance’s vibrant and refreshing character.
The 1927 exhibition booth was a testament to Paul Poiret’s flair for dramatic and artistic presentation. The booth was adorned with a series of screens, each one decorated in a schematic style reminiscent of Jean Victor Hugo’s stage designs. Each screen featured a lighted recess showcasing a specific Rosine perfume, enhancing the thematic experience and highlighting the connection between the fragrances and their artistic inspirations.
Among the featured scents, Arlequin and Maharadjah would have been prominently displayed, each represented with its unique bottle design and evocative fragrance. The overall effect of the booth would have been a visually stunning and immersive experience, reflecting Poiret’s innovative approach to perfume presentation and his deep appreciation for art and culture.
At the Rosine booth, the exquisite perfume bottles were crafted by a selection of renowned glassworks and ateliers, each contributing to the luxurious presentation of Poiret’s fragrances. Depinoix and Lefebure, two prominent glassmakers of the time, were responsible for producing many of the stunning bottles that showcased Rosine’s perfumes. Their expertise in glassmaking ensured that each bottle was a masterpiece, reflecting both the artistry and the high-quality craftsmanship for which Rosine was known.
In addition to these established glassmakers, Atelier Colin and Atelier Martine, Poiret’s own companies, played a crucial role in the creation of Rosine’s perfume bottles. Atelier Colin was likely involved in the design and production of some of the more elaborate and decorative bottles, while Atelier Martine was dedicated to hand-painting many of the cologne bottles. This added a personal touch to each bottle, making them not only functional but also beautiful works of art.
The production process at Atelier Martine was marked by a structured yet caring environment. The factory operated from 8 a.m. to 7 p.m., ensuring that workers had ample time to produce the intricate hand-painted designs. Each day, the workers were treated to a luncheon and wine, fostering a sense of community and appreciation within the workplace. This attention to worker satisfaction contributed to the high-quality output of the Atelier Martine, making each bottle a testament to both the craftsmanship and the considerate management behind Rosine’s perfume collection.
Les Parfums de Vigny:
As we continued through the exhibition, we would encounter the whimsical and imaginative offerings from Les Parfums de Vigny. Their booth was a vibrant display of creativity, showcasing a range of perfumes in distinctive and eye-catching bottles. Among the fragrances likely featured were Golliwogg, Le Chick Chick, Be Lucky, and Guili Guili. These names alone hint at a playful and inventive approach to perfume design.
The collaboration with renowned glassmakers such as Baccarat and René Lalique added an extra layer of sophistication to Vigny’s presentations. The bottles themselves were a testament to the artistry and craftsmanship of these esteemed manufacturers. At the 1925 Paris Art Deco Exhibition, Vigny was awarded a gold medal, reflecting the high regard in which their designs were held.
The 1927 booth would have likely mirrored the impressive display of their 1925 exhibit. In the photograph from the 1925 exhibition, Vigny’s booth featured a rack with five shelves, each meticulously arranged to highlight their perfumes. On the top shelf, the most luxurious items were prominently displayed. The René Lalique bottle for D'où Vient-Il took center stage. This bottle was a striking triangle shape adorned with butterfly motifs, topped with a double butterfly stopper that added a whimsical touch.
Also on this top shelf was the Lalique bottle for L'Ambre de Vigny, which was also used for Le Lilas De Vigny. This bottle's elegant design was complemented by intricate detailing that showcased Lalique’s skill in glassmaking. Le Bosquet de Vigny was another highlight, housed in a clear glass bottle with a rounded arch top. The bottle was adorned with jade green enamel crisscross patterns, reminiscent of a wicker basket, which was echoed in the design of the presentation box.
Completing the top shelf was Musky, a floral woody perfume housed in a ribbed Lalique flacon. Its rounded shape and textured surface rounded off the array of high-end fragrances showcased, emphasizing the creative and artistic flair that defined Vigny’s approach to perfume design. The booth, with its mix of elegance and whimsy, would have been a captivating sight for any visitor.
As you ventured further into the exhibition, you would encounter the captivating center shelf of Les Parfums de Vigny's display. This shelf was dedicated to the whimsical and enchanting Le Chick Chick perfume. Encased in a Baccarat crystal bottle originally designed for Easter, the flacon was a true work of art. The bottle took the form of a charming chick, with gilded wings forming the body and an oversized gilded cap representing the chick's head. The playful design highlighted Baccarat's exceptional craftsmanship and added a touch of festive cheer to the display.
Moving to the third shelf, the focus shifted to the popular Golliwogg perfume. This fragrance was housed in a distinctive bottle where the stopper represented Golli’s face, crafted from black glass. The face was adorned with silky genuine seal fur for the hair, adding a unique texture and a touch of luxury to the presentation. This creative design reflected Vigny’s ability to infuse personality and whimsy into their perfume bottles.
The fourth shelf featured a blend of elegance and opulence. Jamerose, an oriental perfume enriched with the essences of jasmine and roses, was presented in a Lalique flacon. The bottle's design exuded sophistication, complementing the perfume's luxurious composition. Beside it was L'Infidele, housed in a tall, slender Baccarat crystal column. The column was clear with fluted lines highlighted in gold enamel, and it was topped with a glass stopper molded with floral patterns, adding a graceful touch to the presentation.
The fifth shelf showcased La Fleur Celeste, translated as "the flower of heaven." Baccarat was commissioned to create a bottle that epitomized floral elegance. The large 2-ounce crystal bottle was adorned with a gilded glass stopper shaped like a flower head, making it a standout piece. The bottle was housed in a box simulating Chinese lacquer, enhancing its exotic and luxurious appeal.
On the bottom shelf, Guili Guili was displayed with its unique design. The bottle featured a head and foot crafted from carved mahogany, with the head resembling an exotic African mask that covered the inner stopper. The foot provided a stable base for the paneled crystal bottle. The perfume was inspired by a real-life magician and illusionist from Alexandria, Egypt, whose stage name was often confused with Luxor Gali-Gali. Guili-Guili, who claimed to be 25,000 years old, was known for his elaborate tricks, including disappearing eggs and chicks, and pulling a string of flags from his mouth, adding a mystical and entertaining element to the display.
Ybry:
Ybry's perfume line, known for its opulence, was famously advertised as "the most expensive in the world." Founded in 1925 by Simon Jaroslawski, who also went by Simon A. Jaroslawski-Fioret, Ybry quickly established a reputation for luxury before going into liquidation in 1932. Jaroslawski's other perfumery ventures included Fioret and Mÿon, each adding to his legacy of high-end fragrances.
One of the most striking aspects of Ybry's perfumes was their presentation. The firm employed Baccarat to create its classic perfume bottles, which were known as the "Deluxe Jewels." These bottles featured a flattened square design, crafted from colored crystal overlaid on white crystal, resulting in a uniquely luminescent and opaque quality. The same glass technique was later used for the short-lived Mÿon perfume line. The bottles, resembling precious jewels, came in a variety of colors, each linked to a specific perfume and gemstone. The palette included vibrant shades like red, pink, slag green, darker green, jet black, orange, butterscotch, deep purple, and lavender.
Each bottle was adorned with a matching enameled and gilded metal cover, which was positioned at an angle on one corner of the bottle, covering the inner stopper. This design added a sophisticated touch to the overall presentation. The color of each bottle was meticulously coordinated with its respective perfume. For instance, Femme de Paris was housed in a green bottle, Desire du Coeur in both red and pink, Devinez in orange, Mon Ame in purple, and Amour Sauvage in black. This color-coding system not only highlighted the luxurious nature of Ybry's offerings but also contributed to the visual appeal and distinctiveness of each fragrance.
The luxurious presentation of Ybry's perfumes was highlighted by their "Deluxe Jewel Cases," which were as exquisite as the fragrances they contained. Each deluxe bottle was housed in a velvet-lined box, complemented by a Lalique crystal medallion and retailed for $30. For those seeking an even grander presentation, a larger set was available for $55. These presentation boxes were crafted with meticulous attention to detail, covered in fine leather and adorned with color-coordinated triangular segments. Luxurious silk tassels further enhanced their elegance. Each bottle was also accentuated with an intaglio crystal medallion pendant by René Lalique, typically fashioned into delicate heart or triangle shapes, adding a touch of refinement and exclusivity.
The prices for Ybry's perfumes, as indicated in a 1928 newspaper advertisement, were notably high. The Femme de Paris perfume, for example, was priced at $8.50 for the Debutante Flacon. Other sizes were available at $16.50, $30.00, $50.00, and could even reach up to $400.00. To provide perspective on their cost in today's terms, the adjusted prices are as follows: $8.50 in 1928 would equate to approximately $154.36 in 2024; $16.50 would be around $299.65; $30.00 would be about $544.81; $50.00 would translate to approximately $908.02; and the premium price of $400.00 would be around $7,264.16. These figures underscore the exceptional expense and exclusivity of Ybry’s perfumes, reinforcing their reputation as "the most expensive perfumes in the world."
Given the splendor of these bottles and their opulent presentation, it is highly likely that they would have made a striking appearance at the Palais de Glace Expo, capturing the attention and admiration of attendees with their unparalleled luxury and design.
Conclusion:
If you've found yourself enchanted by the exquisite perfume bottles showcased in exhibitions like the Palais de Glace, you might be thrilled to discover that some of these rare and beautiful pieces have surfaced at the annual Perfume Bottles Auction.
This auction, which supports the International Perfume Bottle Association (IPBA), is a premier event for collectors and enthusiasts of perfume bottles. The IPBA is a dedicated organization that works to preserve the history of perfume bottles, educate the public about their artistic and historical significance, and support collectors and aficionados in their quest for unique and rare finds.
The auction features an impressive array of vintage and contemporary perfume bottles, providing an excellent opportunity to acquire these elegant items for your collection. Whether you are looking to buy or wish to consign your own bottles, the Perfume Bottles Auction offers a platform to engage with other collectors and enthusiasts. For more information on how to participate in the auction or to learn more about the IPBA, you can visit their official website. Here, you can find details on upcoming auctions, consigning opportunities, and additional resources related to the world of perfume bottles.
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