Parfums Joncaire

A. Joncaire, Inc. was a short-lived American perfumery company that made a modest name for itself in the early 20th century, with its founding in 1918 at 72 Broad Street in Boston, Massachusetts. The company was initially established as a manufacturing and retail entity for perfumes, and it soon became a notable player in the burgeoning fragrance industry. By 1922, the company had been incorporated under the name A. Joncaire, Inc., with a capital of $25,000, divided into 250 shares. The company was headed by E.S. Rowell as president, Thomas F. Brown as treasurer, and J.M. Stone Jr. as a director. This incorporation helped solidify the company’s position in the perfume market during the 1920s, a period of innovation and growth for the industry.

The company marketed its products under the name Parfums Joncaire, presenting itself as a prestigious French brand. However, it was later revealed that Joncaire had unscrupulously advertised its perfumes as being imported from France, even though they were not. 

In 1932, A. Joncaire, Inc. relocated to new headquarters at 145 South Street, Boston, signaling a new chapter in the company's growth. During this time, Joncaire launched a variety of fragrances, contributing to the development of the American perfume market, especially in the 1920s and 1930s, when the demand for luxury goods such as perfumes surged. The company’s perfumes were marketed to a wide audience, with many aimed at evoking sophistication, elegance, and modernity, in line with the Art Deco movement and the prevailing tastes of the time.

However, Joncaire’s business practices came under scrutiny in 1936 when it was found that the company had misrepresented certain aspects of its operations. The company had been advertising its perfumes with the phrase "Blended in France," implying that the products were manufactured in France and imported to the United States. In reality, the perfumes were not produced in France, and the company did not have the Paris address it had been using in its advertising materials, specifically the address "338 rue St Honore, Paris." The company was forced to cease these misleading claims and agreed to stop presenting itself as the American representative or distributor for a French perfumer, a practice that had not been accurate. This legal settlement marked a significant moment in the company's history, as it had to align its advertising with the truth about its operations. This false advertising not only deceived consumers but also tarnished the company's reputation, leading to a settlement and a change in their business practices.

In 1947, A. Joncaire, Inc. rebranded and changed its name to Joncaire Sales Co., possibly to reflect a shift in the company’s business focus or an attempt to distance itself from the earlier controversies. Despite these challenges, Joncaire continued to be a notable name in the American perfume industry, known for its commitment to quality fragrances that captured the essence of luxury and refinement in an era of significant cultural and economic change.

On August 21, 1947, Clair and Margaret Spratley, who were business partners operating under the name Joncaire Sales Co. in New York, entered into an agreement related to the advertising of their perfumes and cosmetics. The company used brand names with French-sounding names like "Vivette," "Pois de Senteur," and "Un Peu D'Orient" for their products. However, the Spratleys agreed to stop using these French or foreign names for their products unless they clearly stated in their advertising that these products were made or created in the United States. Essentially, the agreement required them to make it clear to customers that despite the French-inspired names, the products were actually American-made.

This was done to avoid misleading consumers into thinking the products were imported from France when, in fact, they were produced domestically in the U.S.

The fragrances of Joncaire:

• 1919 Rose de Joncaire
• 1919 Garden Dreams
• 1920 Reve d'Omar
• 1920 Vivette Joncaire
• 1920 Lilas de Joncaire
• 1921 Un Peau d'Orient
• 1922 Tendresse
• 1923 Narcisse d'Or (renamed Narcisse d'Orlay in 1926)
• 1930 Enfin
• 1931 Riviera
• 1931 Coeur de Moi
• 1935 Pois de Senteur
• 1935 Gardenia
• 1935 Jasmine
• 1935 Muguet
• 1935 Le Parfum Joncaire
• 1940 Violette Joncaire
• 1940 Songe d'Ambre
• 1940 Apple Blossom

Joncaire, Inc. launched a series of fragrances throughout its early years, each evoking its own unique atmosphere and reflecting the trends of the time. Here's a closer look at some of the fragrances and their likely scent profiles based on their names:

Rose de Joncaire:

Rose de Joncaire, launched in 1919, is a fragrance that embodies the timeless elegance and romance of the rose, one of the most cherished flowers in perfumery. At the heart of this composition is the rich, sweet scent of dewy rose, which likely takes center stage, with layers of complementary floral and green notes. The opening of Rose de Joncaire would have been a fresh and vibrant blend, with top notes of rose, palmarosa (a rose-scented grass), and rose geranium, giving the fragrance a deep, multifaceted rose character. Citronella, often used to add a bright, citrusy freshness, would have provided an uplifting contrast to the floral richness.

The middle notes of Rose de Joncaire build on this floral theme with an intoxicating blend of honey, jasmine, orris (the root of the iris flower, which brings a powdery, elegant nuance), tuberose, and orange blossom. These flowers would have combined to create a soft, luxurious bouquet with a subtle sweetness, capturing the essence of a blooming garden in full spring. The honey note, in particular, would have added an indulgent richness, while the jasmine and tuberose would bring depth and complexity to the composition.

As the fragrance settles, the base notes offer a more grounded, sensual foundation. The warm, creamy tones of tonka bean and vanilla would have added a smooth sweetness, balanced by the earthy, musky richness of civet, musk, and patchouli. Ambergris, a rare and exotic ingredient, would have introduced a subtle oceanic warmth, enhancing the fragrance's complexity and longevity. The result would be a fragrance that is both soft and captivating, romantic and sophisticated, with a well-rounded balance between fresh florals, sweet honey, and warm, sensual undertones.

Rose de Joncaire likely represented the epitome of feminine grace in its era, with its harmonious blend of floral and sweet notes. The fragrance would have appealed to women who favored elegant, refined scents with a touch of opulence. Its composition, marked by classic floral accords and a base of sensual warmth, would have made it a perfect fragrance for both day and evening wear, suitable for women seeking a fragrance that spoke to both their gentler and more passionate sides.

Garden Dreams:

Launched in 1919, it is a name that evokes images of a blooming garden, Garden Dreams would have been a green, floral fragrance. Likely containing a blend of garden flowers such as jasmine, lilies, and peonies, the perfume may have included delicate, dewy notes of grass, herbs, and earth. It could have had a slightly fresh, crisp opening, followed by the lush scent of blossoms in full bloom.

Réve d'Omar:

Launched in 1920, and translating to "Omar's Dream," this fragrance likely had an exotic, Oriental character. Given the name, Réve d'Omar might have featured warm, spicy notes such as cinnamon, clove, and exotic woods, with perhaps a touch of rich amber or musk to deepen the scent. It may have evoked a sense of mystery and allure, blending sensual spices with soft floral undertones.

The name "Omar" in the Joncaire perfume Réve d'Omar likely refers to the legendary Persian poet Omar Khayyam (1048–1131). Khayyam is famous for his Rubaiyat ("quatrains"), a collection of poems that often explore themes of love, fate, and the fleeting nature of life. His work has been admired for its depth and sensuality, often celebrating the pleasures of life, wine, and the pursuit of beauty.

In the context of Réve d'Omar (translated as "Omar's Dream"), the name evokes an exotic, romantic, and perhaps even mystical association. This perfume would likely have been designed to convey the sensual and enigmatic qualities often attributed to the poetry of Omar Khayyam. With the name's connection to the Orient, the fragrance might have been rich, spicy, and exotic, combining warm, opulent ingredients like amber, musk, and perhaps sweet, deep florals or resinous notes—scent characteristics often linked to the perfume styles of the time that sought to capture the allure of the East.

The use of "Omar" in the perfume’s name also suggests an air of mystery and luxury, playing on the romantic and sometimes hedonistic themes in Khayyam’s poetry.

Lilas de Joncaire:

Lilas de Joncaire, launched in 1920, is a fragrance that captures the delicate beauty of lilacs, which were beloved for their sweet, powdery, and soft floral scent. As the name suggests, lilac would have been the dominant note, enveloping the wearer in its fresh and romantic essence. This fragrance likely evoked a springtime garden in full bloom, with lilac at the forefront, accompanied by lighter floral notes to enhance its airy, ethereal quality.

The top notes of Lilas de Joncaire would have been bright and fresh, with the zesty citrus of orange, bergamot, and citron offering an invigorating opening. Cassie, a sweet and floral legume, would have added a powdery richness that blends seamlessly with the lilac and hyacinth notes. The hyacinth, with its sweet, green floral character, would have deepened the opening, creating a crisp, uplifting feel. These notes combined would have given the fragrance a light, fresh, and clean finish, with a touch of floral sweetness.

In the heart of the fragrance, the middle notes would have offered a lush, complex bouquet, continuing the floral theme. Iris would have added a powdery elegance, while jasmine and tuberose would have contributed an intoxicating and slightly heady richness. The lilac in the middle notes would have reinforced its central presence, and orange blossom would have introduced a bright, citrusy floral facet. Ylang ylang, with its rich, tropical floral character, and rose, known for its deep, romantic scent, would have added further depth to the fragrance.

The base notes would have provided a warm, sensual foundation to balance the delicate florals. The soft sweetness of vanilla, combined with the resinous, balsamic quality of styrax, would have lent the fragrance a smooth, comforting finish. Heliotrope, with its almond-like powderiness, would have added a soft, enveloping layer, while musk and civet brought warmth and depth to the composition. Tonka bean would have contributed a subtle, sweet, and slightly spicy nuance, making the fragrance both comforting and sophisticated.

Lilas de Joncaire likely appealed to women who appreciated refined, feminine fragrances that embodied grace and elegance. With its delicate lilac and floral notes, this fragrance would have been perfect for women who sought a scent that was fresh, airy, and romantic, yet still complex and enduring. It would have been ideal for spring and summer wear, evoking the timeless beauty of a blooming garden.

Narcisse d'Orlay:

Narcisse d'Orlay, launched in 1923, originally named Narcisse d'Or, is a floral fragrance centered around the delicate, fresh scent of the narcissus flower, commonly known as the daffodil. The narcissus, known for its crisp, green, and slightly sweet aroma, would have served as the heart of this fragrance, evoking the essence of spring in full bloom. The perfume would have been both fresh and powdery, with a soft, comforting warmth from its woody and floral base notes.

The top notes of Narcisse d'Orlay would have been bright and green, with the jonquil (a type of narcissus) and narcissus flowers offering a crisp, clean floral opening. Cassie, with its sweet, floral-powdery character, would have added a warm, almost honeyed layer, complementing the freshness of the flowers. Neroli, with its delicate orange blossom scent, would have added a light citrus-floral note, further enhancing the perfume's fresh, airy quality.

In the heart of the fragrance, the middle notes would have introduced a lush bouquet of more opulent florals. Tuberose, with its creamy, rich, and slightly intoxicating scent, would have brought depth and sensuality to the composition. Orange blossom would have added a bright, sweet, and citrusy floral element, while the presence of rose, jasmine, and ylang ylang would have given the fragrance a refined and slightly heady floral richness. These notes would have created a beautiful, complex heart that blends the freshness of the top notes with the more luxurious, intense florals in the middle.

The base notes would have provided a soft, powdery finish, grounded by the earthy, woody quality of orris (iris root). Storax, with its balsamic and resinous scent, would have added warmth and depth, while vanilla would have introduced a smooth, sweet richness to balance the florals. Civet, with its musky and animalic undertones, would have added complexity, and almond would have given a subtle nutty sweetness. Finally, the spicy note of clove would have added a touch of warmth and intrigue, enhancing the perfume's richness and depth.

Narcisse d'Orlay would have appealed to women who enjoyed a floral fragrance with a sophisticated, layered structure. The crisp, fresh daffodil at the center, balanced by the lush florals in the heart and the warm, powdery base, would have made it a fragrance suited to women who sought elegance with a touch of complexity. Its composition, full of floral richness and soft, powdery nuances, would have made it a perfect choice for spring and early summer, evoking the renewal and beauty of the season.

In a court decision on November 13, 1926, Judge Lowell of the US District Court in Boston ruled in favor of Caron Corporation over A. Joncaire Inc. of Boston regarding the use of the name "Narcisse" for perfumes. The court decision allows anyone to use the name "Narcisse" to describe a scent in perfumes, but it restricts the use of "Narcisse D'Or" by A. Joncaire Inc. The company is also prohibited from using "France" or "Paris" on their perfume labels unless it’s clearly stated that the perfume was not made in France or Paris. The company is also banned from using black stoppers or black designs on their perfume bottles, which could make people think the perfume is related to Caron’s "Black Narcissus" brand.

However, A. Joncaire Inc. is allowed to use the words "Narcisse" or "Narcisse D'Orlay" for their products, and they are permitted to continue using their current perfume bottles. The company had already stopped using the name "Narcisse D'Or" and black stoppers about a year ago. They also agreed to change the small black and gold tassel on their bottles to a different color and label their perfumes as "Spirits added and bottled in USA."

This court ruling highlights the issue of some American companies trying to make their products seem like they are from France by using the words "Paris" or "France" on their labels, even when the products are actually made in the USA. The court stressed that American-made perfumes should stand on their own quality and not try to mislead the public about their origins.

Additionally, there was a previous court ruling on October 28 that temporarily prohibited A. Joncaire from using the word "Narcissus," but this decision was later changed after the company’s lawyers argued their case, leading to the vacating (removal) of that earlier injunction.

Un Peau d'Orient:

Launched in 1921, Un Peau d'Orient, which translates to "An Eastern Leather", was likely a fragrance that embodied the warm, rich, and sensual character of Oriental perfumes, with a focus on deep, leathery notes. The word peau, meaning skin, refers to leather in this context, evoking the luxurious and tactile sensation of soft, supple leather. This fragrance would have featured an intense, exotic blend of spicy notes such as cardamom or cinnamon, paired with the deep, resinous richness of amber, sandalwood, and musk. The result would be a warm, sensual, and bold composition, evoking the mystery and allure of the East. Un Peau d'Orient would have been a complex, opulent fragrance, appealing to those drawn to the seductive and exotic nature of leather with a touch of Eastern mystique. The leather note, combined with the spices and woods, would create a captivating, intense scent that embodied both strength and sensuality, reflecting the timeless appeal of Oriental perfumes in the 1920s.

Un Peau d'Orient differed from Peau d'Espagne and Cuir de Russie, two other historic perfumes known for their distinctive leather compositions. While all three fragrances feature leather as a central note, the cultural and olfactory context of each is quite different.

Peau d'Espagne (meaning Spanish Leather) typically evokes the rich, warm, and spicy essence of Spanish leather goods, often blending leathery notes with sweet, floral, and citrusy accents. The fragrance suggests the soft, aromatic leather of gloves or fine clothing, accented with nuances of orange blossom and herbs, creating a more refined and delicate interpretation of leather.

Cuir de Russie (meaning Russian Leather), on the other hand, evokes a much more rugged and animalistic interpretation of leather, often with smoky, tarry, and slightly floral elements, reminiscent of the tanneries of Russia. This fragrance is known for its bold, powerful, and sometimes industrial scent, where the leather note is paired with birch, pine, and other robust ingredients, creating a scent profile that is both earthy and complex.

Un Peau d'Orient, in contrast, suggests a softer, more sensual leather, intertwined with the warmth and mystery of Eastern spices and resins. The emphasis would be on the deep, exotic nature of the leather, paired with the warmth of cardamom, cinnamon, and amber. It evokes a sense of luxury and opulence, with the leather note taking on a smoother, more intimate quality compared to the sharper or smokier characteristics found in Peau d'Espagne or Cuir de Russie.

Thus, while all three perfumes share a leather element, Un Peau d'Orient would offer a more exotic, sensual, and rich interpretation of leather, distinct from the more European and robust styles seen in Peau d'Espagne and Cuir de Russie.

Vivette Joncaire:

Launched in 1920, this perfume likely had a soft, feminine character, perhaps floral with powdery undertones. It could have featured a blend of delicate flowers like roses or violets, with subtle notes of iris or heliotrope to create a powdery, romantic aura. The fragrance might also have had some light, musky undertones to enhance its elegance.

Enfin:

Launched in 1930, Enfin translates to "Finally," and the perfume likely embodied a sense of relief or completion, perhaps through a calm, balanced composition. It might have included soothing floral notes like lavender or rose, combined with fresh citrus or green leaves, to create a fresh, serene scent. The fragrance may have also had a soft, powdery finish, evoking the feeling of peace and tranquility.

Riviera:

Launched in 1931, and named after the glamorous French Riviera, this fragrance likely had a fresh, citrusy composition to evoke the sparkling Mediterranean coast. Riviera would have featured zesty notes of lemon, orange, and bergamot, with a touch of jasmine or neroli to add a floral depth. The perfume might have been refreshing and uplifting, capturing the sunny, breezy essence of the Riviera.

Coeur de Moi:

Launched in 1931, and translating to "Heart of Me," Coeur de Moi likely had an emotional and romantic character. The fragrance may have combined rich floral notes, such as rose or jasmine, with warm, sensual notes like vanilla or musk. The scent could have been deep and intimate, evoking the feeling of affection and personal connection.

Pois de Senteur:

Launched in 1935, Pois de Senteur means "Sweet Peas," and this fragrance likely had a fresh, green floral profile, evoking the sweet smell of flowering peas. The perfume might have had green, herbaceous notes with a light, sweet floral heart of pea blossoms, combined with subtle hints of powdery florals like violet or iris.

Gardenia:

Launched in 1935, this classic floral scent, Gardenia would have been dominated by the creamy, sweet, and slightly tropical aroma of gardenias. The fragrance might have been rich and heady, with floral notes balanced by smooth, woody undertones of sandalwood or musk, creating a deep, romantic scent.

Jasmine:

Launched in 1935, as the name suggests, this perfume would have centered on the intoxicating floral fragrance of jasmine. Likely rich and sensual, Jasmine would have featured the complex, sweet, and slightly indolic notes of jasmine flowers, with a creamy, slightly powdery background from ingredients like iris or vanilla.

Muguet:

Launched in 1935, Muguet means "Lily of the Valley," and this perfume would have had a light, fresh floral scent. The fragrance would likely have been dominated by the sweet, delicate aroma of lily of the valley, with green, dewy notes that evoke the first blooms of spring. Subtle touches of musk or powder would have rounded out the fragrance, giving it a clean, elegant finish.

Le Parfum Joncaire:

Launched in 1935, Le Parfum Joncaire was the signature fragrance of the brand, likely blending several of the elements from the perfumes already mentioned, creating a complex and luxurious scent. It could have included a mix of florals, such as roses or gardenias, with soft, powdery notes and hints of warm, woody elements like sandalwood or musk. This perfume would have been a statement of elegance and refinement.

Violette Joncaire:

Launched in 1940, with Violette meaning violet, this fragrance would have focused on the soft, powdery, and sweet aroma of violets. The perfume might have featured delicate floral notes with a subtle powdery touch, possibly enhanced by iris or heliotrope, with a gentle, green undertone evoking freshly bloomed violets.

Songe d'Ambre:

Launched in 1940, and translating to "Dream of Amber," this fragrance would likely have been warm, rich, and resinous. Songe d'Ambre would have centered on the deep, golden notes of amber, possibly blended with spicy, balsamic touches like myrrh or frankincense, creating an enveloping, luxurious scent that evokes a sense of warmth and opulence.

Apple Blossom:

Launched in 1940, this perfume, named after the fresh, sweet fragrance of apple blossoms, would have been light, airy, and floral. The scent would likely have combined the crisp, fruity aroma of apples with the delicate, floral notes of the blossoms, possibly enhanced by soft green or musky undertones, giving it a fresh, spring-like quality.