Nuit Persane by Rosine c1911 and Nuit de Chine by Rosine c1912

Nuit Persane by Parfums Rosine is a distinguished fragrance first launched in 1911. Parfums Rosine, the brand behind Nuit Persane, was founded by Paul Poiret, a celebrated French fashion designer known for his avant-garde approach to fashion and perfume. Nuit Persane was part of Poiret's vision to create a complete sensory experience, combining his innovative fashion designs with equally captivating scents.

Paul Poiret hosted extravagant parties that were the talk of Parisian high society, inviting his friends and the city's elite. These gatherings were lavishly inspired by the rich and exotic allure of the Orient, featuring intricate decorations, sumptuous fabrics, and vibrant colors that transported guests to a world of opulence and fantasy.

In his 1930 memoir, Paul Poiret reveals his inspiration: "It was on returning from a Bal des Quat'z-Arts [a very famous annual ball in Paris], in May 1911 I believe, that I decided upon an unforgettable party in my lounges and gardens in Paris which I called "The Thousand and Second Night". I'd gathered together several artists and I placed my means at their disposal to put together an ensemble that nobody had ever created before that time."

Paul Poiret's first party, held on June 24, 1911, was a spectacular event jointly inspired by the book A Thousand and One Nights and Léon Bakst's costume designs for the opera Scheherazade, performed a year earlier. This lavish affair, christened “la mille et deuxième nuit” (The Thousand and Second Night), embraced a Persian theme with a seductive nod towards the secluded fantasies and interludes of a sultan's harem. "The antique Orient is a mine of information to me," said Poiret. Poiret had an affinity with all things Eastern, claiming to have been a Persian prince in a previous life.

The exclusive ball, "la mille et deuxième nuit," was held at Paul Poiret's grand late 18th-century mansion, formerly known as Hôtel du Gouverneur des Pages, located at 26 avenue d'Antin. This property was situated on a roughly triangular piece of land on the Right Bank of Paris, bordered by rue du Faubourg Saint-Honoré, rue de la Boétie, avenue d'Antin, and rue du Colisée. The mansion served both as Poiret's personal residence and the headquarters of his couture business.

Poiret also owned a smaller but highly desirable space behind his grand house, with a garden facing rue du Faubourg Saint-Honoré, an elegant street then as it is now. Unfortunately, Poiret's home and garden at 26 avenue d'Antin were destroyed in 1925 and replaced by a modern building, which initially housed the Scalbert-Dupont bank and today is the location of the Banque Transatlantique.

For the party, Poiret's mansion was transformed into a fantastical version of a Persian palace, which he called, the Palace of Abadan, a city in Iran known for its historical significance and cultural richness, adding to the overall theme of Persian luxury and mystique. During the event, the expansive gardens were illuminated by the soft glow of pierced hanging lanterns and infused with a mixture of scents from the lush flora and heady incense smoldering in brass braziers.

At dawn, improvised slaves unrolled carpets on the gravel pathways in front of the monumental steps, setting the stage for a ritualistic climax. A Persian "priest" named André Segonzac, on his knees with a bare forehead and bare arms, signaled the worship of the sun. Roger de la Fresnaye, preparing to do the same, performed ablutions as a good Ismaili Muslim. Clad in an impeccable suit borrowed from Mardrus, de la Fresnaye dipped his feet and hands in a gushing fountain among the rosebushes at the center of the lawn. Poiret admired this dedication to authenticity and asked, "Why Ismaili?" Mardrus replied, "Because Ismailis can drink wine."

 

To enhance the ambiance of a Persian harem, colorful exotic tents adorned with plush Oriental carpets and inviting low divans, generously strewn with cushions and pillows, were strategically placed. The garden, enveloped by tall latticework, overflowed with evergreen shrubbery, cool marble steps, elegant statues, and sparkling water fountains. Poiret proudly boasted about a bust in his garden, purportedly taken from the ancient ruins of Pompeii. Describing it as "at first glance but a block of marble," he marveled at how it transformed into "a magnificently healthy young woman upon closer inspection, noting the marvelous back, rounded shoulders, and perfect torso." This attention to detail and historical mystique added to the enchantment of the evening's setting, transporting guests to a realm of lavish indulgence and exotic allure.  

The lush ambiance of the garden was alive with the sights and sounds of tropical birds, including vibrant multicolored parrots and the melodious Arabian bulbul sparrows, flitting gracefully overhead. Poiret, fervently aiming for exclusivity and privacy, meticulously concealed his mansion from prying eyes. In his 1930 memoir, "En habillant l'époque," he noted, "the house was shielded by tapestries, ensuring that curious onlookers from the street couldn't peer inside." However, reflecting on these extravagant gatherings years later, Poiret expressed a tinge of sadness in his memoir, acknowledging that while they united his friends, they also stirred resentment among his adversaries, igniting envy in those not fortunate enough to gain admission. Such reflections highlight the complex interplay of social dynamics and personal ambition that characterized Poiret's illustrious career and extravagant lifestyle.

Those fortunate enough to receive an invitation to the fête were presented with exquisite invitations, crafted from two distinct elements, each meticulously handmade by Poiret's circle of friends. The first component was a program, showcasing a woodblock print intricately engraved by the celebrated artist Raoul Dufy. This artistic collaboration added a touch of sophistication and artistic flair to the invitation, setting the tone for the luxurious affair to come.

Each of the three hundred copies of this program was adorned with gouache hand-decorated by the painter himself, rendering each one a unique work of art. In his memoir, Poiret shares an example, stating,"Here I provide a copy of the programme, which will better explain the means I used to fire their imaginations. The artists, stimulated by this document, were all keen to reply to my appeal in a flattering manner, which is what created the marvelous situation which I shall tell you all about!" The programme and its text translated from French is as follows:

"And this will be the Thousand and Second Night. And on this particular night there won't be any clouds in the sky and nothing of what exists will exist. There will be the lights & perfumes & flutes and timpani & drums of the women's sighs & the birdsong of the Bulbul. Straight and in a single casting like the Aleph letter, slender & flexible like the branch of the Tan Tree, she will dance as beautifully as the Moon, your sight and your hearing will be absolutely delighted to the very point of rejoicing. The miming, which is clever & rich in artifice, will improvise with beautiful & well-played scenes, and softer than disheveled honey cake will be the poet's verses. As regards the old, myopic potter, he will be in his shop as they will be in theirs & the slave trader for whom the least beautiful is worth a thousand gold dinars and the filthy cobbler and the doddery old tailor and the divine blind man and the chef from the land of Sindh. And this is for them. And we shall see some rather extraordinary things & and some staggering marvels. There will be a white Carnelian vase. And there will also be a lot of other things which would be interminable to list. And in addition we'll enter via Faubourg St. Honoré and it will be the Thousand and Second Night".

In addition to the program card, there was a reply card with a detachable coupon for invited guests to present upon entering the party. The artist Georges Lepape had painted the profile of a Persian-styled prince, enclosed in a black triangle adorned with shades of emerald and gold gouache. The text on this reply card, translated from French, reads as follows:

"THE THOUSAND & SECOND NIGHT AT PAUL POIRET'S. The party will take place on Saturday 24 June 1911. It shall be postponed in the event of bad weather. A costume borrowed from Oriental tales is an absolute must. 0930 hours R. S. V. P."

According to the reply card, Poiret requested that all 300 of his guests attire themselves in special Persian-style costumes evoking the tales of "The Thousand and One Nights" as narrated by Scheherazade. Each person was assigned a role, transforming the gathering into a quasi-theatrical production rather than a mere fête. For example, Poiret instructed his painter friend, Andre Dunoyer de Segonzac, to attend as "Champagne, His Majesty's Valet," while his artist friend Raoul Dufy was to arrive dressed as "The King's Fool." This attention to detail and immersive role-playing added an extra layer of enchantment to the evening's festivities, allowing guests to fully immerse themselves in the exotic atmosphere of the Persian-inspired soirée.

However, if the guests did not arrive appropriately attired as per the invitation's request, they were promptly escorted to a wardrobe to change into the flamboyant Persian styles specially created by Poiret for the occasion. Among the extravagant costumes crafted for the ball was a sumptuously bejeweled ensemble, the lucky wearer of which, unfortunately, remains unknown. This garment exemplifies the opulence and attention to detail characteristic of Poiret's designs, ensuring that every guest adhered to the immersive atmosphere of the event.

Some of Poiret's close friends and esteemed clients had their ensembles meticulously crafted by none other than Poiret himself. One such friend was Elisabeth Barrachin Germaine, the daughter of wealthy industrialist Pierre Barrachin. Poiret fashioned for her a superbly embellished silver lame costume, adorning her as the "Queen of Persia" for the duration of the party. This exquisite attire was a testament to Poiret's creative vision and attention to detail. Interestingly, Mme Barrachin later ascended to the title of Marquise de Ségur in 1925 upon her marriage to Philippe, Count de Ségur-Lamoigon, marking a continuation of her association with the aristocracy and high society.

Overall, the attire showcased a rich tapestry of sumptuous fabrics including velvets, silks, lames, organzas, satins, tulles, and other diaphanous materials. Elaborate embellishments adorned the garments, from intricate Russian silver bobbin lace to metallic gold laces, precious pearls, and twinkling glass jewels. Thick bouillon fringes, fluffy ostrich plumes, and exotic textiles added opulence and texture to the ensembles. Completing the extravagant looks were requisite jewelry pieces and flamboyant headdresses, many featuring turbans adorned with feather aigrettes, adding a regal and exotic touch to the attire. Each outfit was a masterpiece of craftsmanship and luxury, reflecting Poiret's innovative approach to fashion and his ability to transport his guests to the enchanting world of the Persian-inspired soirée.

Poiret said that In my studio in Paris, "I am surrounded by large wardrobes. Artists who visit me are surprised at finding such a temple of useless things, but I am sure you would find it interesting. People of all nations deposit a remnant of their dress here, and you will find antique shoes, belts and headdresses, queer and ancient vestments, ecclesiastical garments, thick plushes, royal velvets, laces that have been taken from altar cloths, fancy Venise laces of large design, laces from Milan, and laces of silver and gold, large ornaments and military paraphernalia, printed cretonnes, embroidered muslins and plaid handkerchiefs. Look further and you will see fringes and pipings, Oriental trinkets and glass beads, and beads worn by the Egyptians. Next to these are shimmering satins, wonderful embroideries from Russian peasant dresses, scarfs from Bokhara, cashmere shawls, and Egyptian prints."

Poiret further explained in his memoir that "we were greeted as if we were entering a theatre, by a group of elderly gentlemen in evening dress, inspectors if you like, who didn't joke and carefully dissected the guests...I was familiar with the carelessness of some of my regular visitors and I'd planned for just such an eventuality...Some refused to dress up as I'd have liked and withdrew, while other wise guests accepted the costume I imposed on them." He goes on to reveal a portion of a conversation that took place with such guests:

Poiret - "Excuse me Sir, you're in evening dress. It's a fancy dress party. I'm afraid you cannot be allowed to enter."

Guest - "But Sir, my evening dress is covered with an authentic Chinese coat."

Poiret - "Sir, we are not in China, we are in Persia, and your costume has no place in this context. As such I cannot allow you in unless you switch costume."

Guest - "At this hour, that's impossible."

Poiret - "Excuse me Sir, should you wish to go up to the first floor, we can improvise a Persian costume for you, with the authentic documents, which will do you credit and would be in keeping with the whole party."

Party at Paul's by Montoison, 1911:

"And around ten o'clock. Announced in the deep, full voice of Ernest La Jeunesse, in front of the enclosed living room: Open Sesame!

Then the living room opened and the riot of the guests spread over the sumptuous tapestries lent by the Clichy Palace. Thus began this unforgettable night that a fashion designer, modest and Parisian, dreamed of adding to the incomplete splendors of the Thousand and One Other Nights (Arabian Nights). He had invited a few clients, many charming women, and a number of illustrious personalities. Audacious artist, but enemy of publicity, promoter of new elegances, the master had drawn up a program which announced foreign things. There will be lights and perfumes, flutes, women's suppers...birdsong. There was all of that. 

During the dazzle of that evening which took place in many of the vast rooms of the hotel. Temple of couture, only in the half-light of the huge park that surrounds it. Sixty negroes, along a trellised wall, formed the darkness. A basin of onyx, jade and zinc, painted entirely by hand, where transparent carp swam, allowed a thin trickle of colored water to rise. Multicolored eggs, hit by a guest's ball, fell, constantly renewed, into a boiled leather basin. Nothing had stopped the splendor of the master.

Couples of sultanas, draped in the most admirable fabrics, were stretched out here and there, in the shade of the tall palm trees, or the giant firs, standing along the sidewalk. Everywhere, a profusion, a deluge of lights. A powerful projector intended to replace the moon, veiled like everyone else, illuminated the harmonious group of models and saleswomen, and these young ladies smiled in all the rays. A fresh and light gentle breeze, obligingly lent by Luna-Park, seemed to come from the open bodices.

Sitting orientally among animal skins and furs of incredible luxury - strips of sables and heads of skunks - Paul contemplated his work. He had donned the beaded tunic which made him successful at a previous ball, the authentic costume of Tiglath-Pileser III, king of Assyria in 745-27.

The motley crowd of guests gravitated around him. Princess M.[Princess Lucien Murat]...was nonchalantly stretched out on quasi-royal cushions.. Prince R...in a turban, cheeky as in the circle, seemed, in front of the Russian dancers, to lose food and drink. The painter S [Segonzac] was doing his nails with a Bagdad penknife, and M. Z., [Italian dancer Carlotta Zambelli] next to Harún al-Roschild [character in Jorge Max Rohde book, combination of the Baron de Rothschild and Harun-al-Rashid], felt the first troubles of opium. Finally, [Edouard de] Max came...the famous artist had announced that he would be carrying more than four million pearls on his person, collected at the momentary grace of an American friend. He came, however, without pearls, but draped in black transparencies. He mingled with the tangle of beautiful odalisques, until he passionately spoke to the audience, in the warmth of the night, colored verses.

Weird melodies passed very slowly. Groups of mulatto girls, seated on three steps of pink marble, were singing. Hidden under a tiny geranium pot, a gigantic and disturbing barrel organ was rocking the couplets of ancient romance: 'Ah! Persia...Persia...Persia again.' Further on, seated in a circle, women writers were listening to a bearded man who was saying strange things, dressed in light muslins.

Farandoles [a lively Provençal dance in which the dancers join hands and wind in and out in a chain] glided. Petticoats circled around baskets of flowers. All in the finest black, the servants circulated sorbets or, discreetly, the faint traces of intermittent negroes asserted themselves. Three extra boys, completely naked, but with their faces veiled, and recruited in the street of Téhéran, chant poems where the words: 'Orjáh [formerly Edessa]..Limon-Had, Biehr.'.. came back as a mysterious leitmotif. Others, summoned every minute by the repeated strokes of a rattlesnake, offered to those who did not smoke opium, the great Nabuchodonozor (Nebuchadnezzar). And the fullness of the lamé panties was, for some, asylum on the munificence of an unequaled buffet.

The morning dawn alone interrupted this curious symphony. And until morning, Paul, alone under his canopy, still squatting among the animal skins where the light moths were fluttering, took antipyrine while thinking of the imminent creation of a bold skirt.

Once the guests were properly attired, Poiret explained that they "went through into a second lounge in small groups, where a half-naked Negro, draped in Bukhara silks [a town to the South of Uzbekistan, known for its luxurious textiles] and equipped with a flaming torch and a yataghan [an Oriental sword with a curved blade], grouped them together and brought them to me. Initially they traversed a sandy courtyard where, beneath a blue and gold canopy, fountains gushed forth in porcelain basins. One would have said that it was reminiscent of the sunny patio from some of Aladdin's palaces. Through the canopy's colors fell multicolored light. They went up a few steps and found themselves in front of a huge golden cage, fenced off with twisted fittings, and inside which I had locked away my favorite mistress (Mrs Poiret), surrounded by her ladies-in-waiting, who sang authentic Persian tunes. Mirrors, sorbets, aquariums, small birds, cloth and feathers, such were the distractions for the queen of the harem and her ladies-in-waiting. "

As Poiret revealed, the focal point of the occasion was his wife Denise, captivatingly ensconced like a fancifully colored bird within an opulently gilded cage. The cage boasted a royal blue canopy intricately embroidered with Poiret's initials, setting a regal backdrop for Denise's portrayal as the "Queen of the Harem." Poiret's revolutionary designs liberated women from the constraints of the corset, and Denise epitomized this freedom, her legs encased in ivory diaphanous jupe-culottes, paired with a matching blouse adorned with a golden sash cinched at the waist. Atop her ensemble, she wore a gold-fringed "minaret" or "lampshade" skirt, inspired by Poiret's costume designs for the Ballets Russes production of Scheherazade. A shimmering ivory lame turban delicately wrapped around her head, crowned with a large fluffy egret feather aigrette, completed her captivating ensemble. Lucie Delarue-Mardrus eloquently captured Denise's ethereal beauty in Fémina, describing her as“Madame Paul Poiret, this all-white sultana, in the midst of so many shadows and light, seemed to delighted eyes, a lily transformed into a woman.”

Poiret, assuming the role of host, donned the attire of the Sultan, henceforth known as "Poiret the Magnificent" for the duration of the soirée. Beneath a canopy of royal blue, proudly displaying his initials, he welcomed the assembled company of artists and discerning connoisseurs who had gathered to contribute to the success of this grand ritual with their presence. Dressed in his majestic garb, Poiret exuded an aura of regal splendor, embodying the spirit of the event and ensuring that every guest felt transported to the enchanting world of the Persian-inspired celebration." 

"Poiret the Magnificent" made a striking figure in his attire, adorned in a silver metallic lamé costume, partially veiled by a regal cloak. Atop his head rested a lame turban, intricately wound about his head and adorned with a small aigrette, adding a touch of splendor to his ensemble. His costume boasted exquisite hand embroidery and lace, accented by silver metal blades, while alternating lace patterns were embellished with gleaming gold blades, evoking the intricate beauty of typical oriental décor adorned with arabesques. Poiret completed his look with a wide green belt encircling his waist, from which hung a trusty dagger, adding an air of authority and sophistication to his appearance. As "Poiret the Magnificent," he commanded attention and admiration, embodying the essence of the opulent and extravagant celebration.

After encountering Denise, Poiret remarked that she was the epitome of elegance and grace, embodying the enchanting allure of a queen reigning over her harem. Her ethereal beauty and poise captivated him, reaffirming her status as his muse and the inspiration behind his lavish creations. In her presence, he felt a profound sense of pride and admiration, marveling at her ability to transform simple fabric into a masterpiece of haute couture. Denise's presence illuminated the soirée, casting a radiant glow that enchanted all who beheld her, including Poiret himself.

Following their encounter with Denise, Poiret said that "we then entered a lounge, where there was a jet of water, which appeared to come up out of the rug and drop back down into an iridescent crystal bowl. In the following room, which was accessible via two wide doors, there was a bank of multicolored cushions all gathered together and embroidered, at the summit of which was crouched the grand tragedian [Edouard de] Max. He was dressed in a black silk gandoura [a light tunic, in wool or cotton, with or without sleeves] and wore innumerable pearls on a chain around his neck. He told me that one of his American lady friends had entrusted him with all her jewels that evening (there were three million Francs worth). He recounted stories taken from a Thousand and One Nights, a finger raised in the air in line with the traditional gesture of the oriental storytellers, and the onlookers, both men and women alike, were crouched around him in a circle."

"Without stopping in this passageway, we went through into the garden which was both dark and mysterious. Rugs covered the flagstones of the steps leading to the entrance and sand covered the paths, so as any noise was muffled there and a great silence reigned. Overwhelmed, the walkers spoke in low voices, as if they were in a mosque. In the middle of the embroidered flooring sat the white carnelian vase announced on the programme. Lights concealed within the surrounding foliage illuminated it in a bizarre manner. From it escaped a slender jet of water, similar to what you see in the Persian engravings, and pink ibises strolled all about taking in this coolness and this light for themselves. Some of the trees were covered in dark blue fruits of light; others sported berries of purple light. Live monkeys, macaws and parrots brightened up all this greenery, which looked like an entrance to a deep park. One can spot me at the far end, looking like some kind of swarthy sultan with a white beard, holding an ivory whip. Around me, on the steps up to my throne, all the concubines are stretched out and lascivious and appear to be awaiting and dreading my anger. It is here that the guests were led in small groups to bow and scrape according to Islamic tradition."

"Once my three hundred guests were gathered together, I rose and, followed by all my ladies, I headed towards my favorite mistress' cage, who I set free. She escaped as a bird might escape, and I hurried off in pursuit of her, cracking my unnecessary whip. She disappeared into the crowd. Did we know that evening that we were telling the drama of our life?" 

Guest and friend of Poiret, Georges Lepape retained a vivid memory of the party saying "All the guests were asked to wear Persian costumes, and they came in to find themselves beneath a vast awning. There they were greeted by six ebony-black negroes, stripped to the waist and wearing baggy trousers of muslin silk in Veronese green, lemon, orange and vermillion. They bowed low before us: 'Come!' And so you passed on through the salons, which were heaped with cushions of all colors and arrived in the gardens spread with Persian rugs. There were parrots in the trees and little bands of Eastern musicians and flute players hidden among the bushes. As you advanced you came across booths of the sort found in Aran souks, craftsmen at work and acrobats of all kinds. Your footsteps were muffled by the rugs, but you could hear the rustle of the silk and satin costumes...Suddenly a miniature firework flared from behind a bush, then another and another. It was like fairyland."

Lepape was so enthralled by the spectacle that he immortalized the moment of Denise being liberated from the gilded cage by the Sultan in a stunning gouache painting. This masterpiece captured Denise adorned in her magnificent costume, symbolizing her newfound freedom and the enchantment of the evening. The painting served as a cherished souvenir of the occasion, presented to Denise as a testament to the unforgettable beauty and splendor of the Persian-inspired soirée.

"Whilst the twenty male negroes and twenty female negroes kept the perfume burners fueled with myrrhs and incenses, whose blue smoke filled the atmosphere, a flute and a zither could be heard in a grove, unsettling the senses. Some Hindu chefs prepared the hors-d'oeuvres and the culinary specialties in their own special way, using produce, fruit and device from their own climates."

Following Denise's liberation, the festivities continued with even more entertainment, accompanied by the arrival of exotic delicacies and fresh oysters, presented by scantily clad slave girls and genies on large platters. The air would have been filled with the spicy aromas of curries, sizzling lamb kebabs, and succulent fruits, tempting the taste buds of all the guests and adding to the sensory delight of the evening. Poiret enthusiastically resumes his retelling of the enchanting soirée, recounting each moment with vivid detail and infectious enthusiasm.

Poiret resumes his retelling of the evening "and so the buffets were broken open, and the spectacles began. Hidden orchestras were discreetly audible, as if to respect the calm splendor of this night of ecstasy. For the whole night long I very much enjoyed playing on the sensibilities of my guests as I would on a keyboard. Two of my friends constantly came up to me to take instructions, and I pointed out to them the attractions which were likely to have growing appeal. In one corner of the place there was a prophetess, who had diamond encrusted teeth, and a tripe butcher, which the painter Luc-Albert Moreau, honored in a ghastly and bloody manner. There was the potter too, who threw clay bowls with his awkward but skillful fingers. And all of a sudden we met the marmoset merchant, who was covered in animals which climbed onto his shoulders and head, casting evil glances and making shrill cries. "

Poiret tells us that "here we have the obscure bar where solely the liqueurs were illuminated. What alchemist had prepared the dazzling phantasmagoria of this worrying laboratory? A hundred long-necked carafes, a hundred crystal ewers contained all the concoctions, from a range of purple anisettes and garnet-colored bitters with emerald peppermints and golden lemon liqueurs, to creamy advocaats and grenadines of slightly acid crimson. There were also licorice waters, fruit cordials, chartreuse liqueurs, gins, vermouths, orange squashes, kirsches and sloe gins. One entered here and all these painters, who were my guests, played as they would a palette, with these pure tones which they mixed for the sake of it, in the transparency of their flute glass. In this way mysterious, reprehensible drinks were prepared, which were a delight to look at and a surprise to the taste buds."

Ah, only the master of ceremonies himself, Poiret, can reveal the curious libations enjoyed by these honored guests, aside from the impressive nine hundred liters of champagne. With his keen eye for detail and penchant for extravagance, Poiret would regale us with tales of exotic concoctions and rare spirits, each imbued with its own unique flavor and mystique. From spiced cocktails inspired by distant lands to aromatic liqueurs infused with rare botanicals, the libations served at the soirée would undoubtedly have been as enchanting as the festivities themselves. With a twinkle in his eye and a flourish of his hand, Poiret would unveil the secrets of the evening's drink selection, leaving us captivated by the allure of each sip and the memories they evoke.

Guests were given a performance by the Parisian star of the Opéra-Comique, Anna Régina Badet who "danced on a lawn where, so light and ethereal was she, that her steps didn't even trample down the grass. The sight of the spectators gathered around, seated or stretched out on cushions and rugs, was no less beautiful than the dance spectacle itself. It was a confused mass of silks, jewels and feathers, which shimmered like a stained glass window in the moonlight. We saw [the famous Russian ballerina Natalia Vladimirovna] Trouhanowa (aka Natasha Trukhanova), a generous and whimsical houri, dance again [with her veils swirling]. Then along came the exquisite and delicate [Italian dancer Carlotta] Zambelli, shunning the fervor of an agile, passionate mime. Later on, from out of the foliage and at ground level, we see flames and showers of sparks rising noisily up to the finials and opening up like glass flowers."

Poiret paints a vivid picture of even more spectacular scenes, including the dazzling display of fireworks that illuminated the night sky. Against the backdrop of the starry heavens, bursts of color and light danced in the air, casting a spellbinding glow over the festivities below. The crackling of fireworks echoed through the garden, punctuating the evening with moments of exhilaration and wonder. As guests gazed skyward, their hearts filled with awe and delight, Poiret reveled in the magic of the moment, ensuring that every detail of the soirée surpassed even the loftiest of expectations. With each burst of color, the night was transformed into a symphony of light and sound, leaving an indelible impression on all who bore witness to its splendor.

Poiret says just "then a large cascade of fire encircled the palace and suddenly the atmosphere reverberated with a harrowing sound. From the terrace which overlooked the garden, the shower of fire gushed forth, striking the steps leading to the entrance. We feared the rugs would catch fire. Sometimes silver and sometimes gold, this exciting storm electrified the crowd and, once it was out, it left phosphorescent insects all around, either hooked up in branches or suspended in the ether. The monkeys and parrots, disturbed in their sleep, called out in alarm. The early morning found them livid and breaking the chains that held them in the branches, with some taking flight, whilst others escaped to the Champs-Elysées in great, long strides via the neighboring rooftops."

The revelry continued unabated into the early morning hours, the intoxicating energy of the soirée showing no signs of waning. Poiret, with a gleam in his eye, recounts the scene with infectious enthusiasm. As the first light of dawn broke through the darkness, casting a soft glow over the garden, the guests remained ensconced in the enchantment of the night, unwilling to let the magic fade. Poiret's retelling transports us back to that moment, where laughter and music mingled in the air, creating a symphony of joy and celebration. In those precious hours before the world awakened, the guests reveled in the beauty of the moment, savoring every last drop of the intoxicating atmosphere that Poiret had so masterfully crafted. And as the morning sun bathed the garden in golden light, illuminating the faces of those gathered, Poiret knew that the memories of this extraordinary soirée would linger long after the last guest had departed, a testament to the enduring allure of his singular vision.

Poiret recounts that "we saw the painter [and decorator Guy-Pierre] Fauconnet, dressed in a white gown similar to that of a professional tightrope walker or juggler, entertain and amaze the crowd with an orange, which he made disappear and then reappear like the fakirs do."

Poiret provides a tantalizing glimpse into the illustrious guest list of this fantastical event, hinting at the presence of esteemed individuals from various walks of life. Among the attendees were renowned artists, celebrated musicians, influential writers, and discerning patrons of the arts, each adding their own unique flair to the evening's festivities. Poiret's descriptions paint a picture of a diverse and eclectic gathering, united by their shared appreciation for beauty, creativity, and opulence. As he recounts the soirée, Poiret offers tantalizing glimpses into the lives and personalities of these esteemed guests, leaving us eager to learn more about the magical world they inhabited for one unforgettable night.

Poiret gives us an idea that "the audience was made up of artists and discerning amateurs, who came into line and sought to increase the appeal of this imposing occasion through their presence. The wealthiest of them, such as Princess [Lucien] Murat and  [Boniface "Mr. Boni", Marquis de Castellane], have often said that they had never in their life seen anything so moving as the spectacles which filled this miraculous night."

A special parting gift awaited each woman who graced the soirée with her presence: a bottle of Nuit d'Perse (Persian Night) perfume, meticulously crafted by the skilled perfumer Maurice Schaller. While this rare fragrance may not have been commercially available under that name, it later emerged under the moniker Nuit d'Orient, before ultimately being rebranded as Nuit de Chine in 1912.

Nuit de Chine made its public debut in 1913, captivating fragrance enthusiasts with its alluring blend of exotic scents and evocative notes. Adorned with a label featuring Chinese characters, symbolizing "night in the country from China" and "flowers," the perfume captured the essence of distant lands and romantic escapades. It quickly rose to prominence as one of the most sought-after fragrances from Rosine, enchanting wearers with its mesmerizing aroma and timeless allure.

Fragrance Composition:

So what did it smell like? It is classified as a heavy floral oriental fragrance for women with a dominant spicy peach note layered over a sweetened ambergris chypre base. "A sweet, soft oriental odor".  

• Top notes: plum, bergamot, cinnamon, fruity accord, peach 
• Middle notes: lavender, tuberose, carnation, nutmeg, pink jasmine, clove, labdanum, rose
• Base notes: incense, cedar, orris, civet, tonka, vanilla, Mysore sandalwood, patchouli, musk, ambergris, vetiver

"Nuit de Chine" is indeed a captivating fragrance with a distinctive spicy peach note layered over a sweetened ambergris chypre base. This blend creates a sweet, soft oriental aroma that envelops the wearer in an aura of elegance and allure. The perfume is crafted using a combination of various chemicals, including coumarin, which imparts a base reminiscent of tonka bean, and Persicol, which adds a distinctive peachy top note.

The fragrance opens with top notes of plum, bergamot, cinnamon, a fruity accord, and peach, creating a rich and inviting initial impression. The heart of the scent is composed of lavender, tuberose, carnation, nutmeg, pink jasmine, clove, labdanum, and rose, adding depth and complexity to the composition. Finally, the base notes include incense, cedar, orris, civet, tonka, vanilla, Mysore sandalwood, patchouli, musk, ambergris, and vetiver, contributing to the perfume's long-lasting and seductive dry down.

"Nuit de Chine" was advertised as "the majestic prayer of precious essences rises among golds, lacquers, and bronzes," evoking a sense of opulence and grandeur. This description reflects the luxurious and exotic nature of the fragrance, which transports the wearer to a world of Oriental splendor and intrigue. With its rich blend of ingredients and evocative scent profile, "Nuit de Chine" remains a timeless classic in the world of perfumery.

The peach note combined with the chypre base in "Nuit de Chine" served as a precursor to Guerlain's iconic fragrance Mitsouko, which was introduced in 1919. Mitsouko is renowned for its complex blend of fruity peach, spicy notes, and mossy chypre base, creating a scent that is both sophisticated and timeless.

The influence of "Nuit de Chine" on Mitsouko is evident in their shared use of peach as a dominant note, paired with a rich chypre accord. Both fragrances exude a sense of elegance and mystery, transporting wearers to exotic and enchanting landscapes.

In many ways, "Nuit de Chine" laid the groundwork for Mitsouko, paving the way for the development of fragrances that would come to define the chypre fragrance family. Its innovative combination of ingredients and evocative scent profile set the stage for Mitsouko's enduring legacy as a true masterpiece of perfumery.

Bottles:

"Nuit de Chine" was truly a versatile fragrance, offered in a range of luxurious forms to suit every preference and occasion. In addition to its exquisite parfum concentration, it was also available as an eau de toilette, providing a lighter and fresher interpretation of the scent. For those who preferred a more invigorating option, an eau de cologne variation was offered, offering a refreshing burst of fragrance.

Beyond just fragrances, "Nuit de Chine" extended its allure into other grooming products, including talcum powder, bath powder, and soap. These additional offerings allowed fans of the fragrance to indulge in its captivating scent in various aspects of their daily routine, from bathing to pampering oneself with luxurious powders.

This diverse range of products ensured that "Nuit de Chine" could be seamlessly incorporated into every aspect of one's grooming and self-care regimen, allowing individuals to experience its enchanting aroma in a multitude of ways. Whether dabbing on the parfum for a special occasion or enjoying the refreshing sensation of the eau de cologne on a warm day, each iteration of "Nuit de Chine" offered a unique olfactory experience, capturing the essence of Oriental splendor and luxury.

The parfum version of "Nuit de Chine" was housed within an exquisite replica of a Chinese snuff bottle, adding an extra layer of elegance and sophistication to the fragrance experience. This ornate bottle design not only served as a vessel for the precious liquid within but also as a decorative piece that adorned vanities and dressing tables with its beauty.

Available in several sizes, the deluxe bottles came in 1 and 1 2/3 oz sizes, catering to various preferences and needs. Additionally, smaller sizes of 1/2 oz and 3/4 oz were offered, providing options for those who preferred more compact or travel-friendly packaging.

In a review from Notions and Fancy Goods in 1916, Paul Poiret's foray into perfumery was highlighted, showcasing his transition from renowned couturier to esteemed perfumer. The review particularly lauded "Nuit de Chine," describing it as a fragrance of exceptional quality and allure. Packaged in a replica of an antique Chinese bottle with intricate detailing such as a blue stopper set in a gold neck and delicate blue handles, the presentation of "Nuit de Chine" was nothing short of spectacular. Encased in a gold-lined box adorned with deep blue Chinese brocade, the packaging exuded luxury and sophistication, further enhancing the allure of the fragrance within. Overall, "Nuit de Chine" captivated consumers with its exquisite presentation and enchanting aroma, solidifying its status as a must-have luxury fragrance.

 Notions and Fancy Goods, 1916:

"Paul Poiret, perhaps best known to Americans as the premiere couturier, is also a maker of high grade perfumes, and during the past two years has worked his way up amongst the world's leading perfumers. Some of his productions, which owing to the high cost of their ingredients are somewhat expensive have nevertheless proven a success wherever shown, particularly the perfume known as Nuit de Chine. This is put up in a replica of an antique Chinese bottle with a blue stopper set in a gold neck and two handles of blue, enclosed in a gold lined box of gold and deep blue Chinese brocade. This, however, gives but a faint idea of the attractiveness of this package."

c1921 ad

Motion Picture Magazine,

"Poiret himself says: "These parfums, I offer you, ma amis, in confidence that they will fo for your soul what my gowns have done for your bodies. It is true that they are very expensive...but..what would you? Are they not parfums of the rarest excellence? Parfums by which you may at last accurately reflect your character, your personality? As an example, the Nuit de Chine— illustrated— whose oriental odor is unlike anything ever known before. ... And with the little wrappings and flacons which I, Paul Poiret, have designed with the same care as my most ravishing costume?"

Harper's Bazaar, Volume 56, 1921:

" Poiret continues to put out delicious fragrances; one of his latest, “Chez Poiret. Rosine,” is inimitably bottled in a half sphere with an emerald glass stopper.... "Nuit de Chine," luxurious and oriental. "Nuit de Chine” toilet water in a pyramidal, globular-stoppered flask is very alluring, as is Poiret's "Rosine” in its glass hemisphere. "

The Illustrated Milliner - Volume 23, 1922:

"Les Parfumes de Rosine. At the left is La Rosa, a handsome gold and crystal container. Le Minaret: In a gold brocaded casing and red covered casket. Nuit de Chine in a gold cloth case with  applique of embroidery."

The New Yorker - Volume 8, 1932:

"Rosine: Coup de Foudre joins Nuit de Chine and Maharadjah for tigress women. "

Drug &Cosmetics Industry, Volume 42, 1938:

"ROSINE - The perfume for Marco Polo — Rosine's Nuit de Chine — is presented by Maurice Levy simultaneously with the film "Marco Polo". It is boxed in an oval of black and gold brocade, and the oval shaped flacon is topped by a knob stopper of midnight blue."

In the Motion Picture magazine, Poiret passionately describes his perfumes as offerings that can uplift the soul, much like his couture gowns enhance the body. Despite their expense, he emphasizes their exceptional quality, suggesting they are worthy investments that allow individuals to express their character and personality accurately. He singles out "Nuit de Chine" as an exemplary fragrance, highlighting its oriental aroma as unparalleled and accentuating the exquisite design of the packaging, which reflects the same attention to detail as his most stunning costumes.

Harper's Bazaar (1921) echoes Poiret's sentiments, praising his fragrance line for its delicious scents and luxurious presentation. "Nuit de Chine" is specifically noted for its oriental allure, available in both perfume and toilet water forms, each packaged in an enticing manner.

The Illustrated Milliner (1922) provides insight into the opulent packaging of "Nuit de Chine," housed in a gold cloth case adorned with applique embroidery, elevating its appeal.

The New Yorker (1932) mentions "Nuit de Chine" among other fragrances suited for bold and confident women, further solidifying its reputation as a scent of allure and sophistication.

Finally, Drug & Cosmetics Industry (1938) associates "Nuit de Chine" with the adventurous spirit of Marco Polo, presenting it as a perfume for explorers. The elegant packaging, featuring an oval of black and gold brocade and a midnight blue knob stopper, adds to its allure and mystique.

These accounts collectively showcase the exquisite craftsmanship and alluring scent of "Nuit de Chine," affirming its status as a fragrance of unrivaled luxury and sophistication.

Nuit de Chine, SCENTS OF ROSINE. Design. Georges Lepape. , 1913, Paris. Glass, bakelite, paper, cardboard - GS Collection (copyright ADAGP PARIS 2013)

Photo by Drouot.

Perfume card for Nuit de Chine.

Fate of the Fragrance:

Despite being discontinued, "Nuit de Chine" remained in circulation and was still available for purchase as late as 1941. Despite the lack of information about its official discontinuation date, its continued availability well into the 1940s underscores its enduring popularity and timeless appeal.

The oriental feast entitled "The Thousand Second Night," hosted by Countess Aynard de Chabrillan in her splendid mansion on rue Christophe Colomb during the spring of 1912, stands as a testament to the era's penchant for lavish and themed social gatherings among the Parisian aristocracy. This extravagant event, reminiscent of the opulent soirée orchestrated by couturier Paul Poiret at his château of Butard in June 1911, epitomized the fusion of artistic creativity and high society glamour characteristic of belle époque Paris.

The esteemed attendees captured in the photograph offer a glimpse into the illustrious guest list that graced Countess Aynard de Chabrillan's soirée. Among them, notable figures such as Mademoiselle de Levis-Mirepoix, the Marquise de St-Seine, and the Countess de Pange exuded elegance and refinement, adorned in elaborate costumes befitting the extravagant theme of the evening. The presence of luminaries such as the Marquise de Levis-Mirepoix, Countess Charles Levis-Mirepoix, Countess Guy Levis-Mirepoix, and Countess de la Tour de Pin further enhanced the soirée's allure, embodying the aristocratic grace and sophistication synonymous with Parisian high society.

This gathering, characterized by its meticulous attention to detail in both costume and décor, epitomized the belle époque's fascination with exoticism and artistic expression. The ornate setting of Countess Aynard de Chabrillan's mansion provided the perfect backdrop for an evening of enchantment and revelry, transporting guests to a realm of oriental splendor and luxury.

Furthermore, the mention of this event in Femina magazine underscores its significance within Parisian social circles, solidifying its status as a noteworthy affair that captured the imagination of the city's elite. As an Expert Advisor in the realm of historical events and social customs, it is imperative to recognize the enduring legacy of such soirées in shaping the cultural landscape of belle époque Paris, where extravagance and sophistication reigned supreme.