Mistigri by Jacques Griffe c1953

Mistigri by Jacques Griffe, launched in 1953, is a fragrance that carries with it a name rich in cultural and emotional significance. The word "Mistigri" is French and is often associated with the image of a mischievous, playful cat. The term originates from the French language, where "Mistigri" or "Mistou" is a colloquial name for a cat, particularly one that is endearing, cunning, or even a little mysterious. The name has been used in French literature and popular culture, sometimes as a character name, depicting a creature or a person with a playful yet elusive nature. The name "Mistigri" carries dual meanings in French, referring both to a cat and to the "Jack of Clubs" in a deck of cards.

Jacques Griffe's choice of the name Mistigri for his 1953 fragrance suggests a deliberate evocation of these characteristics. The image of a cat, with its grace, mystery, and playful unpredictability, aligns with the nature of the fragrance itself—a spicy green composition designed for women. The fragrance likely intended to capture a sense of feminine allure that is both captivating and a little enigmatic, much like a cat that one cannot fully understand or predict. The name "Mistigri" would evoke feelings of intrigue, charm, and subtle seduction, making it a fitting and unique name for a perfume.

The choice of such a name also aligns with the broader context of the early 1950s, a time when the world was emerging from the austerity of the post-war period and beginning to embrace a new sense of glamour, sophistication, and freedom. The 1950s saw the rise of more adventurous and bold fragrances, as women sought to express themselves in ways that had been restrained during the war years. Mistigri, with its spicy green notes, would have stood out as a unique and daring choice, offering something different from the more traditional floral or powdery scents that had dominated earlier decades.

Detchema by Revillon c1953

Launched in 1953, Detchéma by Revillon captures a moment in time where exoticism, luxury, and a fascination with the mysticism of the East were at their height. The name Detchéma is derived from Tibetan lore, specifically the sorceress of joy. In Tibetan, "Detchéma" (pronounced "deh-chay-ma") evokes an image of an enchanting figure, a mystical being associated with delight and bliss. The name itself conjures notions of happiness, allure, and an otherworldly presence, drawing on the spiritual and magical connotations often linked to Tibetan culture during the mid-20th century. The association with joy and sorcery aligns well with the perfume's opulent and intoxicating character, inviting wearers into a world of sensory indulgence. The idea of a "sorceress of joy" would appeal to a post-war generation that was looking to escape from the austerity and hardship of the past, seeking comfort, pleasure, and luxury in the form of new, exotic experiences.

The early 1950s, when Detchéma was launched, was a time of transformation in fashion and culture. Post-World War II, the world was rebuilding, and in the West, this period saw the emergence of a new optimism and a desire for escapism. The period is often referred to as the "Golden Age of Perfume," with the perfume industry experiencing a boom fueled by increased wealth, consumerism, and a yearning for indulgence. In fashion, the New Look, popularized by Christian Dior, dominated, with its emphasis on femininity, opulence, and elegance. The 1950s was also the peak of fur-wearing, a symbol of wealth and luxury, which ties directly into Detchéma's creation. Fur was not just a fashion statement but a reflection of status, and perfume for furs became a niche market. Perfumes like Detchéma were designed to complement fur, masking the natural odor of the animal pelts and leaving behind a fragrant trace that was as luxurious as the fur itself. Women of the 1950s, especially those who could afford such extravagant items, would have related to Detchéma as a symbol of both mystique and indulgence, elevating their fur and the very essence of their glamour.

Noa Noa by Helena Rubinstein c1953

Noa Noa, launched by Helena Rubinstein in 1953, was a fragrance steeped in exoticism and romantic escapism. Its very name—Noa Noa—evokes a sensual world far removed from postwar modernity, drawing inspiration from the vibrant culture and intoxicating natural beauty of Tahiti as seen through the eyes of the artist Paul Gauguin. The name Noa Noa originates from the Tahitian language and is pronounced [NO-ah NO-ah]. It means "fragrant" or "scented," specifically referring to the sweet, warm aroma of monoi—a traditional Tahitian oil made by soaking tiare (Tahitian gardenia) petals in coconut oil. This perfumed oil was—and still is—used by Polynesian women to anoint their hair and skin, and was sensually described by Gauguin as the scent worn by his young Tahitian muse, Teha'amana.

The name Noa Noa was borrowed from Gauguin's 1897 manuscript, "Présentation de l’ancien culte mahorie: La clef de Noa-Noa" ("Presentation of the Ancient Mahori Cult: The Key to Noa Noa"), a poetic and dreamlike account of his time in Tahiti. This work, along with his vivid, color-saturated paintings, offered European audiences a romanticized vision of Polynesia—lush landscapes, golden skin, primitive ritual, and unspoiled sensuality. Rubinstein’s fragrance, by adopting this name, was tapping into the same emotional current: an idealized, tropical escape that would have resonated deeply with women in the early 1950s.

The postwar era in which Noa Noa was introduced was a time of significant transition. After the deprivations of World War II, there was a hunger for luxury, beauty, and femininity. The 1950s are often characterized as the return to glamour. Women’s fashion—led by Dior’s 1947 New Look—emphasized cinched waists, full skirts, and a romantic, ultra-feminine silhouette. Perfume followed suit, shifting away from the austerity and practical colognes of the war years toward more opulent, long-lasting scents that emphasized sophistication and allure. This was a decade that prized escapism and sensuality, which Noa Noa captured with finesse.