Brocard

Henri Brocard, a visionary entrepreneur known as "Henri the Perfumer," was born in Paris in 1837 to Atanas Brocard, a perfumer with a modest yet well-established business. Though raised in the heart of the French fragrance industry, Henri recognized the immense competition in Paris and sought opportunities elsewhere. He turned his attention to Russia, where the perfume trade was still in its infancy, offering a fertile ground for innovation and growth.

The 1860s:

Between 1861 and late 1863, Brocard worked as the chief perfumer at the Moscow-based factory of Konstantin Gik. During this period, he revolutionized perfume manufacturing by developing an entirely new method of producing concentrated fragrance, a groundbreaking advancement in the field at the time. His expertise attracted the attention of major French firms, including the Legrand Trading House, which offered him a prestigious position as factory director. However, Brocard declined the offer, instead selling his innovative technique to another French company, Roure Bertrand, for 25,000 francs. With this capital, on May 15, 1864, he founded his own perfumery business in Teply Pereulok, Khamovniki. His first production site, located in the former stables of a house owned by Favorskaya, was modestly equipped with a stone mortar for grinding aromatic ingredients, a few pans, and a wood-fired stove. Brocard, alongside a single worker, Gerasim, and an apprentice, Alexei Ivanovich Burdakov, produced no more than 120 cakes of soap per day. Burdakov, who remained with the company from its inception through its later prosperity, would eventually become an honorary citizen of Moscow.

That same year, Brocard opened a shop in Moscow dedicated to fine soaps and perfumes. At the time, Russian nobility exclusively used French-imported toiletries, while the common classes had access only to coarse, alkaline soap from the marketplace. Luxury fragrances and personal care items were considered unattainable for the broader population. Brocard sought to change this, striving to prove that high-quality perfumery and cosmetics could be produced locally and sold at an affordable price.

A key figure in Brocard's success was his wife, Charlotte, who came from a Belgian family and possessed a keen understanding of Muscovite culture and consumer preferences. Her international education and deep familiarity with Russian customs enabled her to introduce innovative marketing strategies tailored to the local clientele. Charlotte played an instrumental role in shaping the business, ensuring that Brocard's products combined the refinement of French perfumery with a distinctly Russian character. This fusion of European elegance and local sensibilities became the hallmark of the Brocard brand.

The company initially focused on soap production, with Charlotte providing a formula that would define its success: "Let this soap cost a kopeck, but this kopeck will bring us millions." Her vision extended beyond affordability—she introduced specialized soap designs to appeal to various market segments. Delicately sculpted soaps in the shapes of rabbits, teddy bears, and alphabet letters captured the interest of children, while floral, fruit, and vegetable-shaped varieties attracted adult consumers. These artistic designs, along with Brocard’s expanding product line of powders, ointments, and even toothpaste, garnered widespread attention. However, the true challenge lay in convincing Russian consumers to embrace domestically produced perfumes.

To combat the prevailing bias against Russian-made fragrances, Brocard orchestrated a bold marketing experiment. He acquired a batch of perfume from the prestigious French house Lubin and repackaged it in bottles manufactured by his own factory. When customers returned, dissatisfied with the fragrance’s fleeting nature, Brocard publicly unveiled notarized documents confirming the perfume’s genuine French origin. By exposing this misconception, he not only reinforced the superior craftsmanship of his own products but also demonstrated his commitment to transparency and quality.

Brocard’s mastery of fragrance formulation, combined with his relentless pursuit of innovation, enabled him to craft perfumes that resonated with both the aristocracy and the broader public. To ensure the highest quality, he imported raw materials from Roure Bertrand et Fils, a renowned French supplier to Europe’s leading perfumers and whom he had prior dealings. As demand for his products soared, Brocard expanded his operations, relocating to a larger facility on Zubovsky Boulevard. However, by 1866, even this space proved insufficient. He soon moved the factory again, this time to Krasnaya Presnya, and in 1869, Brocard made a significant investment by acquiring a country estate near the Serpukhovsky Gate, at the intersection of Arsenyevsky Pereulok and Mytnaya Street. There, he initiated the construction of additional production facilities to accommodate his growing business.

By the late 19th century, Brocard had transformed his small perfumery into one of the most influential soap and fragrance manufacturers in Europe. Equipped with cutting-edge machinery, his factory produced a diverse range of products, catering both to the elite with finely crafted perfumes and to the masses with affordable yet high-quality toiletries. His dedication to excellence, accessibility, and constant innovation solidified Brocard’s legacy, making his name synonymous with luxury and refinement throughout the Russian Empire.

The 1870s:

In 1872, an extraordinary scene unfolded on Moscow’s Nikolskaya Street, near Red Square, as Brocard & Cie inaugurated its first boutique. The excitement was so intense that authorities had to intervene, barricading the area as eager customers—primarily women—attempted to surge into the store. To commemorate the occasion, the company introduced affordably priced fragrance sets containing soap, perfume, eau de cologne, sachets, and rouge, making fine perfumery accessible to a wider audience. When the same sets were later offered at Brocard’s shop on Tverskaya Street, an overwhelming crowd formed once again, prompting police intervention to restore order. Within just six hours, 2,000 sets had been sold. A similar frenzy erupted six years later when the company launched its second retail location, where an irresistible offer—a miniature collection of ten perfume samples priced at a mere one ruble—triggered a stampede. This innovative marketing approach cemented Brocard’s reputation as a pioneering force in the Russian perfumery industry.

Brocard et Cie was not only a dominant force in the Russian perfumery industry but also earned distinction as an official supplier to European royalty. Henri Brocard’s enterprise continued to flourish, and in 1873, he orchestrated a visit from Grand Duchess Maria Alexandrovna, the daughter of Emperor Alexander II of Russia, to his perfume factory. The following year, Maria Alexandrovna would marry into British royalty, becoming the Duchess of Edinburgh—a rare distinction as the only Romanov to join the British royal family.

During her visit, Brocard presented the Grand Duchess with an exquisitely crafted bouquet of wax flowers, each individually molded and delicately scented to mirror the fragrance she personally favored. The remarkable craftsmanship and ingenuity of this perfumed gift left a lasting impression on the duchess, solidifying Brocard’s esteemed relationship with the imperial family. The scent of the bouquet was so potent and enchanting that, in appreciation, the Grand Duchess granted Brocard the distinguished title of Supplier to the Imperial Court. This honor permitted the company to adorn its products with Maria Alexandrovna’s ducal coat of arms, further elevating its prestige.

Beyond the Russian imperial family, Brocard’s reputation extended to other European courts, including that of Spain, securing its status as a premier perfumer for royalty. This recognition reached its pinnacle in 1886 when Tsar Alexander III officially acknowledged Brocard’s exceptional craftsmanship by bestowing upon him a personal seal featuring the state coat of arms. This prestigious endorsement cemented the company’s position as a leading name in luxury perfumery, reinforcing its legacy of refinement, innovation, and regal patronage.

The Brocard family exhibited a sharp understanding of shifting trends within the perfumery industry, skillfully aligning their creations with contemporary events to capture public interest. During the Russo-Turkish War of 1877–1878, they introduced Le Bouquet de Plevna, a fragrance named after the city of Plevna (now Pleven), which had been the focal point of a pivotal battle. By associating the perfume with a momentous military victory, Brocard effectively capitalized on patriotic sentiment, appealing to national pride while reinforcing the company’s presence in the Russian market. This strategic approach not only enhanced the fragrance’s commercial success but also demonstrated Brocard’s ability to intertwine perfumery with cultural and historical milestones.

By 1878, Brocard & Cie had expanded its reach beyond Russia, making a notable impression at the Exposition Universelle in Paris. Displaying a sophisticated range of toilet soaps, pomades, and eau de cologne, the Moscow-based firm demonstrated that Russian perfumery could hold its own on the world stage. Despite having been established only 14 years earlier, the company had already achieved remarkable success, with production valued at an impressive 100,000 roubles. Operating with a workforce of just 35 employees, Brocard & Cie exemplified efficiency and ingenuity, integrating French fragrance techniques with Russian craftsmanship. At a time when France dominated the global perfumery market, Brocard’s presence at the Paris exposition marked a significant milestone, affirming its commitment to quality, innovation, and international recognition. This momentous event helped lay the groundwork for the company’s continued expansion, ultimately securing its status as a leader in Russian perfumery.

 

The 1880s:

In 1882, Brocard once again captivated audiences at the Moscow Industrial and Art Exhibition, unveiling a spectacular perfume fountain named "Eau Florale." This extravagant installation became a sensation, as women playfully held their hats under the cascading scented mist while men eagerly allowed their jackets to be imbued with fragrance. The display astonished onlookers and unsettled competitors, who were unprepared for Brocard’s unconventional yet effective marketing tactics. This grand gesture not only showcased the brand’s creative approach to perfumery but also reinforced its growing influence within the Russian market.

Brocard’s innovative spirit extended beyond theatrical displays. On May 5, 1885, the company, represented by Armengaud Jeune of Paris, secured Patent No. 168704 for the production and application of gaseous and foaming perfumes. This pioneering invention suggested a revolutionary departure from traditional liquid fragrances, possibly incorporating effervescent or aerosol-like elements—an early precursor to modern spray or mousse-based perfumes. By developing new methods for fragrance dispersion, Brocard further distinguished itself as a trailblazer in the perfume industry. This patent not only reinforced the brand’s technical ingenuity but also contributed to advancements in the way perfumes were applied and experienced, solidifying Brocard’s legacy in both Russian and European perfumery.

By the mid-1880s, Russia had made remarkable progress in the perfumery industry, despite its relatively recent emergence. Initially, Russian perfumers relied on imitation and, at times, counterfeiting of French products. However, as the industry matured, manufacturers transitioned to adopting French techniques, equipment, and raw materials, as well as employing skilled foreign workers, rather than simply replicating existing fragrances. Market conditions in Russia proved highly favorable for the expansion of perfumery. A wealthy and discerning upper class ensured consistent demand for high-quality scents, while large-scale trade fairs attracted a broader population seeking more affordable perfumed goods, often yielding substantial profits. These factors enabled Russian perfumery houses to flourish and compete on an international scale.

Among the most distinguished firms was Rallet, Alphonse et Cie, whose business volume rivaled that of the largest French perfume houses. Similarly, Brocard et Cie emerged as a major force in the industry, renowned for its refined fragrances and cosmetic products. At exhibitions, the company displayed an extensive selection of finely crafted items, reflecting its expertise and innovative approach. Russian perfumers benefitted from high import tariffs, which shielded them from foreign competition and allowed them to produce luxury fragrances without excessive cost constraints. This financial advantage was evident in the opulent packaging of many products, which often featured intricate designs. While French perfumes adhered to a more uniform aesthetic, Russian perfumers infused their branding with a distinctly national identity. Labels incorporated Cyrillic script, and packaging designs reflected Russian artistic traditions, setting them apart from Western competitors. This distinctive approach marked a shift away from imitation, as Russian perfumery houses began asserting their own creative and cultural identity.

By 1885, Brocard & Co. in Moscow had firmly established itself as a leading manufacturer of perfumes, soaps, pomades, cosmetics, and toilet powders. Originally founded in 1864, the company had undergone significant expansion, becoming a cornerstone of Russia’s perfumery and personal care industry. Its diverse product range catered to a wide audience, combining luxury with practicality. At this time, the factory’s annual output was valued at an impressive 800,000 rubles, underscoring its ability to meet the increasing demand for high-quality toiletries. Despite the company’s growing scale, Brocard remained committed to maintaining the superior craftsmanship for which it was known. The factory employed 150 workers, each contributing to various stages of production, from refining raw materials to assembling and packaging the finished products. This dedicated workforce played an essential role in upholding the company’s high standards and sustaining its rapid growth. The success of Brocard & Co. during this period laid the groundwork for its future dominance in the Russian perfumery market, leading to further innovations and international recognition.

Brocard’s reputation for excellence was cemented in 1885 when the company was awarded the prestigious Parfumerie Diplôme de Médaille d'Or at the Exposition Universelle d’Anvers (Antwerp World’s Fair). This gold medal distinction was a testament to Brocard’s superior quality and craftsmanship, affirming its place among the world’s leading perfume houses. The Antwerp exhibition, renowned for featuring cutting-edge industrial and artistic advancements, provided Brocard with the perfect platform to showcase its perfumes, cosmetics, and toiletries to an international audience. The accolade not only bolstered the company’s prestige within Russia but also solidified its reputation among European perfumers. Receiving such a distinguished honor underscored Brocard’s commitment to innovation and excellence, reinforcing its ability to rival the most esteemed perfumery houses of the era. The award served as a reflection of the skill and dedication of the company’s perfumers and artisans, whose expertise had propelled Brocard & Co. to the forefront of the industry.

Brocard’s reputation as an innovative perfumer was further reinforced through his participation in other prestigious international exhibitions. In 1889, he introduced Lilas Perse (Persian Lilac) at the Exposition Universelle in Paris, where it was met with widespread acclaim. Maison Brocard emerged as a key ambassador of Russian perfumery on the global stage, demonstrating the country's growing influence in the fragrance industry. By this period, Brocard & Co. had firmly established itself as a dominant force, with annual revenues soaring to 2,500,000 francs. The company’s production facility was outfitted with two steam engines, each generating 50 horsepower, ensuring the efficiency required for large-scale manufacturing. The workforce consisted of 50 male laborers and 150 female employees, emphasizing the significant role women played in the daily operations of the business.

The 1890s:

By 1890, Brocard & Co. had accrued 16 prestigious awards in recognition of its exceptional craftsmanship, including three notable distinctions received in Paris. These accolades further solidified its standing as one of Russia’s leading perfumery and soap manufacturers. During this period of expansion, the company’s workforce grew to 200 employees, and it developed plantations cultivating reseda, mint, anise, and basil, among other aromatic botanicals. These plantations provided a portion of the raw materials essential for its fragrance production. However, while some ingredients were sourced domestically, the highest-quality pomades and essential oils—integral to fine perfumery—were imported from Grasse, France. This strategic procurement reflected the enduring commercial relationship between the French and Russian fragrance industries, ensuring that Brocard’s perfumes maintained the highest standards of quality and sophistication.

Brocard’s distribution network extended well beyond Russia, reaching Central Asia, Persia, Romania, Bulgaria, and Turkey, a testament to its expanding presence in both European and Eastern markets. The company’s products were lauded for their refined craftsmanship and elegant presentation, earning accolades from the jury at the exhibition. Among the standout offerings were matte glycerin soap free of alcohol, floral Eau de Cologne, glycerin-based face powders, effervescent floral Eau de Cologne, and foaming toilet pastilles. These innovations exemplified Brocard’s commitment to excellence and creativity, solidifying its status as a premier name in the world of perfumery.

On December 25, 1892, a decree was issued authorizing the establishment of Société de Parfumerie Brocard et Cie in Moscow, marking a pivotal transition for the business. The Trading House of Brocard & Co. was formally restructured into a corporate entity, consolidating ownership entirely within the Brocard family. This transformation granted them exclusive control over the factory and retail establishments. The decision was officially documented in the Bulletin des Lois on March 4, 1893, affirming its legal legitimacy. The company’s capital was organized into shares, amounting to 1,000 rubles in total, with each share valued at 2 silver francs, equating to 900 shares altogether.

This legal reorganization signified a major milestone in Brocard & Co.’s evolution, reinforcing its position as a dominant force within the Russian perfume industry. By adopting a structured corporate framework with capital divided into shares, the company underscored its financial stability and ambitions for further expansion. This strategic move facilitated continued growth, enabling Brocard to strengthen its presence in both domestic and international markets. Specializing in fine perfumes, scented soaps, and colognes, the firm cemented its reputation for producing high-quality fragrance products that were sought after by consumers across various regions.

At the 1893 World's Columbian Exposition in Chicago, Brocard participated in Department H, Group 87, Class 549, where they presented their perfumery creations. Visitors to their exhibition booth were invited to sample a variety of their signature fragrances. Since its founding in 1864, Brocard & Co. had grown into a prominent manufacturer, boasting an annual production valued at 1,500,000 roubles. The company’s operations were powered by a 50-horsepower steam engine, with facilities equipped with 15 soap boilers, six presses, and 12 specialized machines. A workforce of 150 individuals, comprising 50 men and 100 women, was employed in the factory. The production of their perfumes relied on locally sourced Russian fats and oils, while essential pomades and essences were imported from France and Germany. Brocard’s products were distributed across Russia, France, Germany, Turkey, and Austria, a testament to the company’s broad international influence and its well-established presence in the global fragrance market.

In the 1894 Guide to the Caucasus, Brocard & Co. was prominently featured for its specialized perfumery offerings. Among their notable products were Matt Glycerin Soap, a premium toilet soap enriched with glycerin for a moisturizing and smooth finish, and Flower Eau de Cologne, a fragrant concoction likely inspired by traditional European colognes. The company also produced Parfumerie with Reseda, a perfume inspired by the delicate, sweet aroma of mignonette, and Parfumerie with Persian Lilac, a fragrance that captured the intoxicating essence of the Persian lilac flower. Another distinguished creation was Parfumerie with the Gold Medal, presumably a fragrance recognized for its superior quality. Additionally, Brocard offered Glycerin Powder, a finely milled powder infused with glycerin, intended to soften and soothe the skin.

Brocard & Co. had established a prominent retail presence within Russia, operating multiple stores in both Moscow and Saint Petersburg. In Moscow, customers could visit the company’s outlets located at 10 Nicolskaya Street in the Bostanjoglo House, 20 Tverskaya Street in the Günsbourg House, and 3 Marshals' Bridge in the Mikhailoff House. In Saint Petersburg, Brocard operated a prestigious store at 30 Nevsky Prospect, one of the city's most renowned commercial avenues. These strategic locations allowed Brocard’s products to be readily accessible to an affluent clientele, reinforcing the company’s status as a leading perfumery house within the Russian Empire.

At the All-Russia Exhibition in Nizhny-Novgorod in 1896, the Brocard firm was awarded the highest honor, the State Emblem of Russia. By 1897, Brocard et Cie had firmly established itself as a premier perfumery and soap manufacturer in Russia. Since its inception in 1864, the company had blossomed into a prestigious business, accumulating numerous accolades and receiving imperial recognition. Among its most significant achievements was the Gold Medal at the 1889 Exposition Universelle in Paris, a distinction that was officially endorsed by an Imperial Ukase (decree), solidifying Brocard’s reputation within the industry.

Throughout the years, Brocard et Cie garnered an impressive array of awards, amassing 18 gold and silver medals at various international exhibitions. These prestigious honors were earned at events in cities such as Moscow, Paris, St. Petersburg, Nice, Boston, Antwerp, Riga, Odessa, and Yekaterinburg. These accolades underscored the company’s unwavering commitment to exceptional craftsmanship and its innovative approach to perfumery and toiletries, further cementing its standing as one of the leading fragrance houses in Russia and abroad.

In 1897, the perfume industry was well-represented at the Exposition de Nijni-Novgorod, showcasing a comprehensive range of products. However, it quickly became apparent that Russian perfumery had not yet achieved the refinement and sophistication associated with French fragrance houses. Visitors noted that Russian perfume production lacked the artistic sensibility that defined French designs, evident in the label artwork, bottle shapes, ornamentation, and the overall presentation of the products. Instead of innovating, Russian manufacturers often replicated the designs and styles imported from France.

While Russian perfumers sourced certain basic ingredients locally, such as fats, soda, and alcohol, they heavily relied on foreign imports for essential components, including essential oils, cosmetics, pomades, and fragrance extracts. Although some aromatic plants like anise, cumin, mint, and fennel grew in Russian regions, they were seldom used in local perfumery. These botanicals were typically exported for processing and later re-imported as essential oils. A notable exception was a Moscow perfumer who established extensive plantations of réséda (mignonette) near his factory—a pioneering effort that, unfortunately, was not widely emulated within the country.

Russia's reliance on foreign perfume products was considerable, with annual imports totaling around 1,000,000 roubles. The lion's share of this expenditure benefited Grasse, the renowned French perfume-producing region, which supplied not only fragrance essences but also essential oils used in confectionery and pharmaceuticals. The French and German markets dominated the ethereal oil trade, while France and Italy provided most of the essential oils. Additionally, France was the principal supplier of cosmetics and pomades. Despite the Russian government's imposition of tariffs on foreign perfumes to protect the domestic industry, it was French entrepreneurs who ultimately benefitted. These tariffs created a shield for French perfumers, allowing them to establish the most prominent perfume factories within the Russian Empire.

Among these companies, Brocard & Co. stood out as the most successful, operating alongside other French firms such as Rallet and Siou in Moscow. The French influence extended beyond production, with French experts reportedly managing the chemical laboratory in Saint Petersburg. Brocard, in particular, was the most prominent player, generating an impressive 1,800,000 roubles in annual revenue and importing 300,000 roubles worth of raw materials. The company's eaux de Cologne aux fleurs and savons de toilette à la glycérine earned a stellar reputation for their exceptional quality. In addition to its strong Russian clientele, Brocard expanded its reach internationally, selling products in Turkey, Persia, and Romania. Its booth at the Nijni-Novgorod Fair was widely recognized by Eastern merchants, solidifying its influence in the region.

 

In contrast, Russian perfume manufacturers struggled to carve out a unique identity. Local companies like Prokofiev and Ostroumov, based in Moscow, attempted to rival their French counterparts. Prokofiev, for example, tried marketing its products under the label Flore du Nord, but these offerings were little more than imitations of French perfumes. Some Russian exhibitors at the Nijni-Novgorod Fair even claimed to be exporting fragrances to France, but these claims were met with skepticism. The reality was that French perfumers continued to dominate the Russian market, with Russian manufacturers still relying on French imports.

Brocard's retail presence in Moscow included multiple locations, such as 1er Pont des Maréchaux, 20 Rue Nicolski, 3 Tverskaïa Street, Maison Centrale Ilienka, and Place de la Bourse. Additionally, the company had expanded its reach to St. Petersburg and maintained a prominent stall at the Nizhny Novgorod Fair, one of Russia's largest trade events. Brocard also operated a distribution depot in Odessa, ensuring that its products were accessible throughout the empire.

By the end of the 19th century, Brocard et Cie had firmly established itself as one of Russia's leading perfumery houses, successfully blending French expertise with Russian entrepreneurship. With widespread recognition, royal patronage, and a collection of award-winning products, Brocard played a pivotal role in shaping the development of Russian perfumery.

 

1900-1915:

At the 1900 Exposition Universelle in Paris, Brocard et Cie proudly exhibited its extensive range of products under the auspices of the Imperial Russian Commission. The Russian perfumery industry, categorized under Class XXVIII, was prominently represented by several key companies, including Brocard et Cie from Moscow, G. Dutfoy from St. Petersburg, and A. Rallet from Moscow, all of which had deep French connections. Brocard et Cie, in particular, stood out with a remarkable annual turnover of 2,500,000 francs, underscoring the significant influence of French expertise in shaping the Russian perfumery market. These companies not only contributed to the industry's development but also played a pivotal role in educating the younger generation, with initiatives aimed at teaching youths aged 11 to 18 about industrial work, particularly in the field of perfumery. This initiative reflected a broader effort to cultivate skilled labor and drive innovation within Russia's industrial sector, positioning these firms as essential contributors to the nation’s economic growth.

Henri Afanasievich Brocard, the founder of the company, passed away in December 1900. The last recognition he received during his lifetime was the Grand Prix at the World Exhibition in Paris, where some of the most renowned perfumery houses from across the globe participated. At the 1900 Exposition Universelle, Brocard et Cie was awarded the prestigious Grand Prix, marking the pinnacle of Brocard’s career and further cementing his legacy as one of Europe’s foremost perfumers. The company, with its headquarters on Moscow’s renowned Ilyinka Street, presented an impressive array of luxury products, including soaps, perfumes, eau de cologne, pomades, cosmetics, essential oils, rice powders, and sachet powders. These offerings highlighted both the elegance and exceptional quality of Russian-made goods, which contributed to Brocard et Cie’s growing international reputation.

The company’s participation in the exhibition showcased its critical role in Russia’s flourishing perfumery and cosmetics sector, reflecting the increasing demand for high-quality, refined products within Russia’s elite circles and beyond. Through its success at this prestigious event, Brocard et Cie reinforced its status as one of the leading names in the perfumery industry, with an expanding market not just within Russia but internationally.

 

In 1902, Russian rose essence had yet to be introduced to the French market. M. Ferrand, the director of Parfumerie Brocard in Moscow, revealed that this exquisite essence was distilled on the imperial estates of the Russian Emperor. Although the exact location was not specified, it is likely that the distillation occurred on the expansive Romanov estates, which spanned regions such as Crimea, the Caucasus, and the fertile black soil provinces of southern Russia. These areas were renowned for their ideal climate and soil conditions for cultivating roses. The imperial estates were self-sustaining agricultural hubs, producing high-quality raw materials, including rose petals for perfumery. These petals were then distilled into a precious rose essence—an exclusive product that was uniquely Russian at the time.

Moscow became the heart of Russia's perfumery industry, housing the nation's leading factories and acting as a distribution center for European Russia. These factories, predominantly French-owned, played an instrumental role in Russia's industrial and economic expansion. They also provided a vital market for various sectors of French commerce, with flower essences being a major import. Similar to the silk industry, the perfumery sector required the continuous import of machinery and equipment from France, as tools and technology were constantly evolving. Additionally, the packaging of perfume and soap products adhered to high standards of elegance, with French-imported flacons, labels, and decorative cartons ensuring a sophisticated presentation.

Among the most influential companies in the Russian perfumery sector was Brocard, which had evolved into a major enterprise over its fifty years of operation. In its first year, 1864, the company recorded a turnover of nearly 40,000 francs—a substantial sum for the time. By 1912, under the leadership of Alexandre Brocard, Emile Brocard, and Georges Ferrand, Brocard’s turnover had skyrocketed to 18,900,000 francs. The company’s products were distributed not only across Russia but also in distant markets such as Turkestan, Persia, and China. The company’s reputation was further solidified by the numerous awards it garnered at exhibitions, reflecting the quality and prestige of its offerings.

One notable feature of Brocard was its laboratory, managed by the chief chemist, M. Maisonnier. His workspace exuded a distinctly French ambiance, with Maisonnier's lively personality, enthusiasm, and unmistakable Parisian accent infusing the perfumery process. Amidst an array of fine aromatic materials—such as civet, musk, and amber—he earned the affectionate title of “chief of sweet odors.” Brocard’s factory was also a significant employer in Moscow, providing jobs to over a thousand workers. This success underscored the profound influence of French perfumery in Russia and Brocard’s pivotal role in the industry.

Although Henri Brocard retained his French citizenship throughout his life, his 39 years in Russia instilled a profound sense of loyalty to his adopted country. He famously declared, “I will return to France only to die, but it is only in Russia that I can live and work, for this country offers greater freedom for the artist that I am.” Henri's deep connection to Russia and its culture remained steadfast until his death in Cannes in December 1900, at the age of 61. He was laid to rest in Provins, a town situated about 70 kilometers southeast of Paris.

Following Henri's death, his wife and children took over the management of the family business. In 1913, during the celebration of the 300th anniversary of the Romanov dynasty, Auguste Michel, chief perfumer at Brocard & Cie, presented the imperial family with Le Bouquet Favori de L'Impératrice, a fragrance that had been favored by Empress Catherine the Great, also known as Bouquet de Catherine II. By this time, the Brocard family business was flourishing, generating tens of millions of rubles annually, and had firmly established itself as one of the wealthiest and most influential families in Russia.

 

In a 1913 advertisement published in the United States, Brocard’s fragrance Milaja, meaning “my dear” or “my sweetie,” was presented as the ideal gift—one that would serve as a lasting reminder of the giver long after the Christmas celebrations had ended. The ad highlighted the fragrance’s elegant and delicate bottle, suggesting it as the perfect addition to a lady’s dressing table. It positioned Milaja as a symbol of exclusivity, describing it as "The Exquisite Perfume of the Most Luxurious Women in the World—the Russian Lady of Fashion." This marketing strategy aimed to associate the scent with the sophistication and elegance of the Russian aristocracy.

The advertisement further emphasized that Milaja was a creation of the renowned Société Brocard of Moscow, perfumers to the Court of St. Petersburg. It was marketed as a high-quality perfume available at a significantly lower price than comparable foreign fragrances. This clever positioning targeted the American market, offering Milaja as a luxurious yet affordable alternative to pricier European perfumes of similar refinement, scent, and lasting power.

The ad also included a breakdown of the pricing for various Milaja products: the Extract was priced at $1.75 per bottle, the Toilet Water at $1.35 for a large bottle, the Milaja Complexion Powder at 50 cents per box (available in white, rose, and Rachel shades), and the Milaja Toilet Soap at 35 cents per cake. These accessible prices allowed a wider audience to indulge in the luxury of the fragrance line, while still maintaining an aura of sophistication and elegance.

In 1914, as the world was plunged into the turmoil of the First World War, the Brocard family introduced Voinskoye (Military) soap, which was prominently displayed in shop windows to align with the patriotic fervor of the time. Russia’s participation in the war was significant, as it joined the Allied powers in a fight against the Central Powers. The Russian Empire mobilized millions of soldiers and contributed considerable resources to the war effort, although the conflict strained the empire’s economy and social structures, eventually contributing to the political upheaval that would lead to the Russian Revolution in 1917.

"Flowers of Ukraine":

A year after launching Bouquet Favori de l'Imperatrice, Brocard marked a significant occasion in its history. In 1914, the company celebrated its 50th anniversary by introducing Цветы Украины , meaning "Flowers of Ukraine," a fragrance encapsulated in an extraordinary bottle that has since been open to various interpretations. The bottle features an entirely frosted surface, achieved through a process of submerging it in hydrofluoric acid, a technique popularized by renowned glassmakers such as René Lalique and Julien Viard. Given Henri Brocard’s French background, it is plausible that he was influenced by the delicate, frosted glass bottles created by these prominent French manufacturers, known for their translucent, ethereal appearance.

The bottle for Flowers of Ukraine is substantial, with a triangular base and an inner glass stopper, crowned by a large, heavy crystal overcap in a demi-lune shape. The distinctive design of the bottle has been compared favorably to the Lillbjärs picture stone, a Viking-era grave marker found in Gotland, Sweden. Dating from around 800 CE, the limestone stone is intricately carved with two motifs framed by knotted ribbon loops. One image depicts a ship navigating a stormy sea, while the other shows a welcoming scene where a fallen hero is received in Valhalla. The Lillbjärs stone’s Viking connection may have influenced Brocard’s choice of imagery, as the Varangians—Viking traders and settlers—played a key role in the formation of the Kievan Rus state in Ukraine during the 8th and 9th centuries. By incorporating these Viking symbols, Brocard may have sought to honor the deep historical ties between Ukraine and its Nordic heritage. The Varangians’ role in shaping both Ukrainian and Russian identities could have resonated with the broader cultural significance of the fragrance and its bottle.

An alternative, albeit subtler, interpretation of the bottle’s design suggests that it represents the silhouette of a Russian woman in traditional attire. The lower portion of the bottle, resembling the body of a robed woman, and the demi-lune overcap may evoke the shape of a kokoshnik, a traditional Russian headdress. The kokoshnik, a distinctive crown-like garment worn by married women, was an emblem of Russian femininity, dignity, and national pride. By using this design, Brocard may have aimed to connect with Russian women of the period, many of whom would have identified with the cultural significance of the kokoshnik. In the context of early 20th-century Russia, such imagery would have held sentimental value, particularly as the country was undergoing significant political and social changes. Brocard’s use of a stylized kokoshnik motif could have appealed to Russian women’s desire to preserve their cultural heritage while embracing modern luxury.

The bottle’s front and back surfaces, as well as its overcap, were adorned with fantastical motifs drawn from medieval art, which in turn simplified earlier Celtic and Scandinavian designs. The overcap features a pair of phoenix birds, while the bottom portion of the bottle is adorned with lion-shaped mythical creatures. These figures are linked together by scrolling patterns, symbolizing an unbreakable connection. In Celtic and Scandinavian culture, the phoenix represents rebirth, renewal, and the cyclical nature of life. It embodies the belief that destruction is followed by the rise of new life, a theme central to Celtic philosophy. Similarly, lions in both Celtic and Viking traditions symbolized nobility, strength, and protection, often appearing in mythology and heraldry. The interlacing or braided motifs on the overcap are refined versions of the rope patterns seen on the Viking picture stone, adding historical depth to the design. Ultimately, the interpretation of these motifs was left to the viewer, who could draw personal meaning from the symbolic connections embedded in the bottle’s design.

The bottle was offered in two sizes: a smaller version for parfum and a larger one for Eau de Cologne. Both bottles featured chromo-lithographed paper labels bearing the inscription Flowers of Ukraine Brocard et Cie, complemented by a cross-stitched pattern reflecting the French translation of the word brocard, meaning "embroidery." The choice of naming the fragrance Flowers of Ukraine in celebration of the company’s 50th anniversary likely stems from Brocard’s desire to evoke the beauty and historical richness of Ukraine, a land known for its lush, blooming landscapes. This name would have resonated deeply with both French and Russian audiences, intertwining national pride with the idea of timeless beauty, which was fitting for a commemorative fragrance marking such a significant milestone in the company’s history.

Today, you have the rare chance to acquire a piece of Russia's forgotten history. The larger bottle, originally used for Eau de Cologne, will be featured in the upcoming Perfume Bottles Auction on April 15, 2025.

Since its inception in 2009, the Perfume Bottles Auction, led by internationally-renowned specialist Ken Leach, has become the official annual auction of the International Perfume Bottle Association (IPBA). It has since become the centerpiece of the organization’s annual convention. Every year, the auction seeks out the most coveted and distinctive perfume bottles, making it the longest-running specialty auction of its kind in the world. A portion of the auction's proceeds benefits the IPBA, supporting the continued growth and preservation of perfume bottle history.

Bidders can participate in the auction in person, by telephone, or online through LIVE AUCTIONEERS. This platform allows participants from around the globe to take part in the excitement from the comfort of their own homes, as though they are right on the auction floor. Be sure to grab a copy of the stunning full-color catalog, where each item is beautifully illustrated—an invaluable resource for collectors and enthusiasts alike.

1915 to 1917:

By 1915, Brocard & Co., one of Moscow's most prestigious perfumeries, had expanded its reach internationally. The company established a partnership with F.R. Arnold & Co., located at 7 West 22nd Street in New York City, to distribute and promote Brocard's fragrances across the United States. This collaboration helped broaden the appeal of Russian perfumery to a larger American audience, bringing the elegance and refinement of Brocard’s creations to a new and appreciative market.

After the October Revolution of 1917, the Brocard perfumery company was nationalized by the newly established Bolshevik government. Nationalization refers to the process by which private companies and industries are taken over and placed under state control. In the case of the Brocard company, this meant that the factory, once a symbol of private enterprise, became a state-owned entity. The company was renamed "Soap and Perfumery Factory No. 5" to reflect its new status within the Soviet economy. The Brocard family, previously in charge of the business, lost ownership and control over their enterprise, as was common during the revolutionary period when many businesses were seized by the state as part of the broader socialist agenda.

The nationalization of the Brocard company was part of a larger wave of expropriations that followed the revolution. The Bolshevik government, under Lenin, sought to dismantle the capitalist system and establish a command economy. Private property was abolished, and industries were brought into state ownership to ensure that production could be organized to meet the needs of the people. For the Brocard family, this meant a complete loss of their business empire and livelihood. While some family members may have fled the country, others faced uncertain futures as the country transitioned into a communist regime. The company, now part of the state machinery, continued its operations, but under the direction of new managers and workers who were loyal to the revolution.

It is highly plausible that during the period of nationalization under the Bolshevik regime, many private businesses, including perfumeries like Brocard, faced significant losses. The Bolsheviks, upon taking power after the Russian Revolution in 1917, moved swiftly to implement sweeping economic reforms, one of which was the nationalization of industries and private enterprises. This often involved the confiscation of assets, the dissolution of companies, and the eradication of any traces of their previous operations.

In the case of a perfumery such as Brocard, this could have resulted in the destruction of company records, including important documents, catalogs, and other business materials. The Bolshevik authorities sought to eliminate the capitalist class and the bourgeois symbols of pre-revolutionary Russia, and businesses were seen as symbols of this system. As such, the regime likely viewed any remaining records or products tied to pre-revolutionary enterprises as remnants of an outdated and exploitative system. Many such records would have been deliberately destroyed or confiscated as part of a broader effort to erase the old order and consolidate power over the economy.

It is also conceivable that the Bolsheviks may have targeted the physical assets of perfumeries like Brocard, which would have included their inventories of perfumes, decorative bottles, ornate packaging and other supplies. Any remaining alcohol may have been diverted for other uses. Perfume bottles, especially those made from fine materials like crystal or glass, would have been viewed as unnecessary luxuries in the context of the new regime's drive to create a more egalitarian society. These items, along with the perfumes themselves, would likely have been discarded, destroyed, or repurposed for more utilitarian uses. The delicate and intricate bottles, which represented the height of luxury and craftsmanship, would have been seen as decadent and possibly discarded or even destroyed to align with the Bolshevik ideal of austerity.

In addition to physical destruction, the Bolshevik nationalization process also led to the reorganization of industries, including the perfume and cosmetic sectors. Brocard, like many other companies, would have been forced to either cease operations or join state-run enterprises. As part of this process, any remaining business materials, including marketing tools like catalogs, promotional literature, posters, and business correspondence, may have been lost or discarded. The focus during nationalization was not on preserving the legacy or history of these companies, but rather on dismantling the capitalist framework that supported them.

Therefore, while it is impossible to confirm every specific detail without direct historical evidence, it is entirely reasonable to assume that the nationalization process under the Bolsheviks resulted in the widespread destruction of company records, product inventories, and other supplies, as part of their efforts to erase the old economic system and establish a new, state-controlled order.

Amidst the turmoil of the revolution, another pressing issue emerged: the phenomenon of "wheelbarrow expulsions." This term described a brutal and demeaning method by which factory workers ousted their superiors—directors, engineers, or foremen—whom they deemed undesirable. Once a consensus was reached among the workers, the target would be seized, placed in a wheelbarrow, and physically pushed out of the workplace, often subjected to insults, threats, or even violence. In some extreme cases, these expulsions led to tragic outcomes, with victims being wheeled to nearby rivers and thrown in. These acts, once rare, became increasingly common in the wake of the March 1917 Revolution as workers sought to assert their power in the volatile post-revolutionary period.

At the Congress of Engineers in 1917, the growing issue of these violent expulsions was discussed, as they were seen as a major problem in maintaining workplace stability. Just prior to this meeting, P., the director of the Brocard Perfumery Factory, was forced to resign after workers made it clear that his refusal would result in a "wheelbarrow" for him. The Congress recognized the gravity of the situation and called for measures to address the increasingly volatile industrial environment. The workers, who had previously been indifferent to past injustices, now used old grievances as justification for these violent acts, a reflection of the deep divisions and unrest following the revolution.

Meanwhile, in 1919, a new business bearing the Brocard name emerged in Paris. The company, Société Française de Parfumerie Brocard et Cie, was founded on October 24 with an initial capital of 30,000 francs. The establishment focused on the production and sale of perfumes and soaps, operating from its headquarters at 8 rue Nouvelle. This new venture came at a time of economic recovery in France, following the devastation of World War I. The company capitalized on the rebuilding efforts and sought to tap into the growing consumer markets. The new company marked a fresh chapter for the Brocard name, though the legacy of the family’s original business in Russia had been forever altered by the revolution.

Henri Brocard’s legacy is carefully maintained by his great-great-granddaughter, Nicole Cherpitel, and his nephew, Bertrand Estrangin. Nicole recounts that her great-grandmother, Eugénie, left Russia for France before the Revolution, with the rest of Henri’s children eventually following. However, Henri’s son, Alexandre Brocard, remained in Russia to safeguard the family business. In 1919, the Soviet political police, the Cheka, arrested him along with other company board members on charges of anti-Soviet activity. After enduring five months in prison, Alexandre managed to escape to France, where he reestablished himself professionally.

Raised in a bilingual household, the Brocard children spoke Russian as their first language and French as their second. When they married, they often chose French spouses while maintaining Orthodox wedding traditions.

Henri Brocard’s influence extended beyond perfumery; he was also an avid art collector, amassing a remarkable collection of Western European paintings. Many of these works are now housed in the Pushkin Museum of Fine Arts and other institutions across Russia. Despite his French origins, Brocard is far more celebrated in Russia than in his native country. His descendants have pursued diverse careers, including medicine, law, and entrepreneurship, with one even becoming a Russian language instructor. Nicole Cherpitel reflects on Henri’s enduring philosophy, a simple yet powerful maxim passed down through generations: “Believe in your star.”

The "New Dawn":

In 1922, the Bolshevik government renamed the state-operated Zamoskvoretskiy Soap and Perfumery Factory No. 5 to Novaya Zarya (New Dawn). While the factory underwent this transformation, many key figures from the original workforce, including Auguste Michel, a Frenchman who had worked closely with Henri Brocard, continued their roles. Michel, however, found the factory’s new name unappealing and proposed Novaya Zarya ("New Dawn") as a more fitting alternative. This suggestion, symbolizing a fresh start under Soviet governance, was accepted by the Bolsheviks, much to his surprise. With the new name, the production of popular perfumes resumed, marking the continuity of the business despite the political upheaval.

The name Novaya Zarya was rich with symbolic meaning, evoking the imagery of a new beginning. It reflected the ideological shift brought on by the revolution, signaling a move away from the old, pre-revolutionary Russian society and the start of a new, socialist order. The Bolsheviks aimed to align state-owned industries with the revolutionary ideals of progress, equality, and collective control, positioning the factory’s renaming as an emblem of the transition from the capitalist past to the emerging socialist future. The name embodied the vision of a better, brighter society, shaped by the values of the Communist Party and infused with the optimism of the era.

For customers, especially those who had been accustomed to the Brocard brand, the renaming could have been met with mixed reactions. Some may have felt a sense of loss or nostalgia for the old company, which was once associated with high-end luxury and prestige. The Brocard name had become synonymous with Russian aristocratic refinement, and its transformation into Novaya Zarya might have caused confusion or disillusionment among former loyal customers. Others, however, might have embraced the change as a symbol of progress and a necessary adaptation to the new political and social climate. As the factory was now part of the Soviet system, it was expected to serve the needs of the masses rather than catering exclusively to the wealthy elite.

The Bolsheviks renamed the factory to reflect the ideological shift and to eliminate any remaining associations with the pre-revolutionary aristocracy. By rebranding the factory, they aimed to create a sense of unity and collective identity that aligned with the goals of the new government. The renaming also helped reinforce the message that industries previously controlled by private owners were now integral to the state’s planned economy. This was part of a broader effort to nationalize industries and demonstrate the transition to a socialist society, ensuring that all enterprises, including the once-privileged perfume industry, were now in the service of the people and the state.

A 1928 U.S. newspaper article highlighted the Soviet government's strict stance on luxury imports, emphasizing its efforts to curb foreign spending. To discourage the purchase of non-essential goods from abroad, Soviet authorities imposed exorbitantly high customs duties on cosmetics and fragrances. As a result, imported Eau de Cologne reached an astronomical retail price of $100 per bottle, while a modest five-ounce supply of perfume cost $50. Even everyday beauty items were affected—lipsticks were priced at $10 each, and a single box of face powder demanded $25. These inflated costs placed imported cosmetics far beyond the reach of the average citizen, reinforcing the Soviet commitment to economic self-sufficiency and the promotion of domestic production over foreign luxury.

Red Moscow:

Following the nationalization of Brocard’s business, Bolshevik party member Yevdokiya Ivanovna Uvarova was appointed as its director. Recognizing the factory’s potential, she personally petitioned Lenin to secure its survival. As a result, some of the precious fragrance essences that had once been used by Brocard and other perfumers were recovered, allowing production to resume—albeit on a significantly smaller scale. Fortunately, the company's head perfumer, Auguste Ippolitovich Michel, already possessed the original formulas for Brocard’s fragrances. Once Russia was able to resume importing essential oils, Michel began composing new perfumes, marking a cautious revival of the industry.

The first fragrance to emerge from this renewed effort was Manon, introduced in 1925 and named after an opera. That same year, Krasnaya Moskva—better known as Red Moscow—was either recreated or refined, though it was not officially launched until 1927, in celebration of the tenth anniversary of the October Revolution. Released under the newly established state-run perfumery Novaya Zarya, Red Moscow quickly became one of the most emblematic scents of the Soviet era. Recognized internationally as Red Moscow in English-speaking markets and Moscou Rouge in French-speaking regions, the fragrance gained a reputation as a symbol of Soviet identity.

For years, Red Moscow was believed to be a reformulation of Le Bouquet Favori de l'Impératrice (The Empress’s Favorite Bouquet), a fragrance introduced by Henri Brocard’s perfume house in 1913 to commemorate the Romanov dynasty’s 300th anniversary. This earlier perfume was composed using a selection of notes personally favored by Empress Maria Alexandrovna. However, after the Russian Revolution and the fall of the monarchy, the association with imperial Russia became politically undesirable. To adapt to the new ideological climate, the fragrance was rebranded as Krasnaya Moskva, transforming it from a symbol of royal luxury into a hallmark of Soviet sophistication and resilience.

As I inhale the fragrance, the top notes immediately make their presence known. The fresh, citrusy scent of bergamot bursts forth, crisp and invigorating, like the first rays of sunlight cutting through the morning mist. It’s immediately followed by a soft yet slightly spicy note of coriander, which adds a warm, herbaceous depth. The orange blossom brings an airy sweetness, delicate and elegant, reminiscent of spring blooms catching the early sunlight. These top notes create an opening that is both bright and fresh, exuding a clean, almost effervescent energy.

As the perfume settles, the heart notes unfold with a stunning complexity. The intoxicating aroma of jasmine rises, rich and floral, with a honeyed sweetness that fills the air. It is joined by the classic, timeless scent of rose, its velvety smoothness creating a harmonious and romantic bouquet. Carnation adds a subtle spiciness, its clove-like warmth grounding the fragrance and giving it a deeper, more dynamic profile. Ylang-ylang brings an exotic sweetness, soft and creamy, evoking a sense of tropical warmth, while violet adds a soft, green, powdery note, its lightness balancing the heavier florals and adding a delicate freshness to the mix.

In the base, the perfume’s complexity reaches its full depth. The iris brings a powdery, elegant note that feels both refined and sophisticated, like a silken fabric brushing against the skin. This is softened by the creamy warmth of tonka bean, which lends a slightly sweet, vanilla-like richness to the fragrance. Finally, the vanilla itself emerges, adding a comforting, warm sweetness that wraps around the entire composition, leaving behind a soft, lingering trail. Together, these base notes provide a smooth, velvety finish that complements the floral heart, creating a perfectly balanced, enduring fragrance.

Krasnaya Moskva was created with a blend of natural and synthetic ingredients, including methyl ionone, a compound that enhances the floral notes in perfumes. Methyl ionone, known for its violet-like scent, contributes a powdery, floral aspect that deepens the perfume’s complexity and gives it a modern, aldehydic edge. This synthetic ingredient brings a unique depth, lending the fragrance an almost ethereal quality, while maintaining its elegance and grace.

Upon its introduction, Le Bouquet Favori de l'Impératrice quickly became a favorite of the Russian Imperial Court, cementing Brocard and Co.'s position as the official supplier to the monarchy. However, after the Bolshevik Revolution, the perfume's royal connotations became problematic, and the Brocard perfumery was nationalized. With the fall of the Romanovs and the rejection of imperial symbols, the rebranded Krasnaya Moskva captured the spirit of the new Soviet era. The perfume’s bold red and white packaging, designed by artist Andrei Evseev, further emphasized its transformation into a symbol of the changing political landscape. It quickly became available in Moscow’s stores, and despite its roots in pre-revolutionary times, it resonated with the public as a product of the new regime.

Over time, Krasnaya Moskva gained international acclaim, securing its place in perfume history when it won the prestigious "Grand Prix" at the 1958 International Exhibition in Brussels, along with a coveted gold medal. This recognition not only celebrated the craftsmanship behind the fragrance but also highlighted its cultural and symbolic importance. By the 1970s, Krasnaya Moskva had earned a beloved nickname, "the people’s perfume," due to its widespread appeal across the Soviet Union. Its affordability, often priced lower than a bottle of brandy, made it a ubiquitous presence in homes throughout the country. Its high alcohol content, which played a key role in its accessibility, became just as notable as its scent. For many Soviet citizens, the perfume symbolized the essence of Soviet ingenuity and accessibility—affordable luxury for the masses.

This unique status, where the perfume’s cultural significance and its role as an everyday luxury far outweighed its olfactory attributes, cemented Krasnaya Moskva as an emblem of the Soviet era. It was as much a symbol of Soviet pride and resourcefulness as it was a fragrance. The perfume became intertwined with the spirit of the time, evoking feelings of nostalgia and national identity for millions of women in the USSR and across socialist countries. Its distinctively Soviet character made it a cherished part of daily life, forever linked to the memories and experiences of the era.

Decades later, Krasnaya Moskva continues to endure as a symbol of the past, with Novaya Zarya preserving its historical legacy by continuing to produce the fragrance. As the perfume remains available today, it stands as a testament to a bygone era, allowing a new generation to experience a piece of Soviet history and culture through its iconic scent.

1930s:

By 1932, the landscape of Russian perfumery had undergone a profound shift. In an article published in Izvestia on December 15 of that year, S. Nikolajeff reflected on the state of the Soviet volatile oil and perfume industry. He noted that under the czarist regime, Russia had been entirely dependent on importing raw materials for perfume production. Prominent French manufacturers, such as Brocard and Rallet, had relied on imports from southern France, where fragrant plants like wisteria, violets, narcissus, and oranges had been cultivated for generations. During this period, the Russian perfumery industry lacked an independent domestic source of the essential volatile oils needed for production.

However, following the revolution, the Soviet Union began to take steps toward self-sufficiency in perfume manufacturing. In 1926, the Te-Ge Trust (Trust of the Fat Working Industry) initiated the cultivation of aromatic plants within Soviet territory, marking a critical shift towards domestic production. This marked the beginning of a long and challenging journey to break free from foreign dependency and establish an indigenous supply chain for the perfume industry.

The transition to growing fragrant plants locally was fraught with difficulties. The Soviet perfume industry had little experience with the large-scale cultivation of aromatic plants, having only conducted limited research on wildflowers. As a result, the process required nearly three years of extensive experimentation and research to overcome the many hurdles. This effort represented a bold departure from the previous reliance on foreign imports, as the Soviet government worked to establish a robust infrastructure for perfume production within its own borders. This move not only helped to secure the nation’s fragrance industry but also laid the foundation for a new era of Soviet self-reliance in the field.

1940's and Beyond:

During World War II, many factories in the Soviet Union, including the old Brocard factory, which had been nationalized and was operating under the name Novaya Zarya, were evacuated to Sverdlovsk (now Ekaterinburg) in the Ural region. The move was part of a broader strategy to protect critical industries from the threat of German advances and air raids on major industrial centers. With many factories in western Soviet territories vulnerable to bombing, key production facilities were relocated to the eastern regions, away from the front lines, where they could continue to operate and support the war effort without the immediate threat of destruction.

While stationed in Sverdlovsk, the Brocard factory, under the name Novaya Zarya, not only resumed production but also gave rise to a new factory called Kalina. This factory would go on to play an important role in Soviet perfumery. In 1974, Kalina was renamed “Uralskye Samotsvety,” but later returned to its original name. The relocation of factories, combined with the ongoing war, led to a period of innovation and development within the Soviet perfume industry, as well as the establishment of new companies and products that would continue to shape the landscape of Soviet perfumery in the years to come.

Following the war, Novaya Zarya continued its operations, with exports handled through Sojuzchinexport, a Soviet state-run company responsible for foreign trade. This export system was associated with organizations such as Glav and Bashova, which were tasked with managing the production and distribution of goods internationally. In 1978, Novaya Zarya underwent significant redevelopment, introducing new fragrances and re-orchestrating its existing product line to meet the evolving tastes of the global market.

In 1990, Brocard-branded perfumes reappeared on the U.S. market, marking a revival of the historic name in Western retail. A select range of these fragrances was introduced at Barneys New York, a prestigious department store known for its curated selection of luxury goods. This placement signified an effort to position Brocard as a high-end brand, appealing to discerning consumers who valued both heritage and quality. Though the offering was limited, its presence at Barneys underscored the brand’s enduring reputation and its ability to captivate a new generation of perfume enthusiasts.

In the mid-2000s, Novaya Zarya formed a joint venture with French perfume house Nouvelle Etoile, marking a new chapter in the company’s history. This partnership led to the launch of new fragrances such as Temps de Femme and Moving, which debuted around 2007. These offerings reflected the growing influence of international perfume trends, blending Russian production with global design and innovation, helping Novaya Zarya regain a place in the competitive world of fragrance creation.

 

Packaging:

Russian perfumery was renowned for its exquisite packaging, meticulously crafted to captivate consumers and reflect the luxurious essence of the fragrances within. The elaborate presentation played a crucial role in defining the identity of these products, combining intricate illustrations, lavish materials, and refined designs to distinguish them in the marketplace. More than mere containers, these packages served as tangible expressions of artistry, reinforcing the prestige and sophistication associated with Russian perfumes.

Though many of the artists behind these remarkable designs remain unknown, a few names stand out. One such figure was V. I. Rossinsky, a distinguished court artist who collaborated closely with the Brocard factory. His association with Henri Brocard lent the company an air of refinement, merging fine art with commercial enterprise. Rossinsky was particularly noted for his portraits of the Brocard family, demonstrating his mastery in capturing both likeness and character. His contributions to the brand extended beyond portraiture, as his artistic vision played a vital role in shaping Brocard’s advertising and overall aesthetic.

Rossinsky’s most significant artistic endeavor was his collaboration with Brocard & Cie., a company  that initially specialized in soap production. By the late 19th century, Brocard had become Europe’s leading soap manufacturer, later expanding into a comprehensive range of personal care products, including shampoos, creams, lipsticks, perfumes, and colognes. The brand’s soaring popularity was fueled by innovative marketing strategies and a commitment to quality.

A hallmark of Brocard’s advertising ingenuity was the introduction of uniquely molded soaps. Playful animal-shaped soaps were designed for children, while intricately carved bars catered to adult consumers. Additionally, the company launched an affordable “folk” soap priced at a single kopeck, ensuring accessibility to a broader audience. To further establish its market dominance, Brocard became a pioneer in Russian branding, introducing one of the first registered trademarks in the empire.

Advertising was integral to Brocard’s success, and the company invested heavily in visually striking promotions. Beyond traditional posters and booklets, its most celebrated marketing tool was The Muscovite Calendar, a beautifully illustrated almanac blending advertisements with seasonal imagery. Designed by Rossinsky, the calendar featured elaborate borders, thematic compositions, and carefully curated color schemes that complemented the featured products, whether talcum powders, fragrances, or soaps.

Printed at the prestigious A. A. Levenson lithographic press, The Muscovite Calendar was both an artistic triumph and a powerful marketing instrument. Each month was represented by a distinctive visual theme, such as Derby for June, paired with an advertisement for antiseptic boric talc: “A daily essential—softens, refreshes, and protects the skin. Ideal as baby powder.” The July page, framed by delicate fireweed blossoms, seamlessly integrated art with commerce.

The calendar’s illustrations encompassed a wide array of cultural and seasonal motifs, including New Year, Troika Ride, Flower Day, Petrovsky Park, Theater, Exhibition, and Ball. With the exception of Countryside Stroll and Crimea, all depicted scenes were set in Moscow, reinforcing the city’s status as the epicenter of Russian luxury and commerce. Rossinsky’s long-standing collaboration with Brocard exemplified the early 20th-century trend of esteemed artists aligning with commercial enterprises, elevating both advertising and visual culture.

Another influential figure in Russian perfumery’s artistic landscape was Ivan Bilibin, renowned for his signature style rooted in Russian folklore and decorative traditions. Best known for his illustrations of fairy tales, Bilibin’s work featured bold colors, intricate patterns, and a distinctive sense of mysticism. His artistic influence extended beyond literature, finding its way into the realm of commercial design, including perfumery packaging.

Bilibin’s contributions to perfume branding infused Russian products with a distinct national identity, differentiating them from their European counterparts. His designs often evoked themes of heritage and mythology, transforming perfume bottles and labels into miniature canvases that told a visual story. This seamless blend of art and commerce not only enhanced the aesthetic appeal of the products but also deepened their cultural resonance.

The collaboration between Russian artists and perfumers highlights the profound intersection of craftsmanship and commerce during this period. Whether through Rossinsky’s refined advertising work or Bilibin’s folkloric embellishments, these artistic contributions elevated perfumery beyond mere luxury goods, transforming them into cultural artifacts that reflected the tastes and values of Russian society.

Author's Note: Brocard's creations are highly coveted by collectors worldwide, yet they remain exceedingly rare due to the widespread destruction that occurred during nationalization. Many of the company’s exquisite bottles, packaging, and other artifacts were either lost, repurposed, or destroyed as the Soviet government took control of private enterprises. As a result, surviving pieces are not only scarce but also hold immense historical and artistic value, making them treasured finds for enthusiasts.

Unearthing these long-lost relics requires patience, expertise, and often a stroke of luck. Their rarity makes them difficult to acquire, and when they do surface on the market, they are quickly snapped up by eager collectors. If you happen upon an authentic Brocard item, it is well worth serious consideration—provided your budget allows—since such opportunities are fleeting. These remnants of a bygone era serve as tangible connections to a legendary perfumery and the opulence of imperial Russia, making them exceptional additions to any collection.

List of known Perfumes of Brocard:

• 1889 Lilas Perse (Persian Lilac)
• 1893 Parma Violet
• 1893 In honor of Madame San Zhen (Sans-Gene)
• 1893 Chinese Bouquet
• 1893 Night Beauty
• 1893 Indian Lawsonia
• 1893 Spring Flowers
• 1893 The End of the Day
• 1893 Thai Bouquet
• 1893 Apple Blossom
• 1893 Royal Song (or Hymn)
• 1893 Soulful Jasmine
• 1893 Love Me
• 1893 Daphne
• 1893 Reseda / Rezeda (Mignonette)
• 1893 Japanese Corylopsis
• 1893 Peau d'Espagne (Spanish Leather)
• 1893 End of the World
• 1893 Forest Lily of the Valley
• 1896 Muguet Merveille
• 1896 Bouquet Merveille
• 1896 Lilas Merveille
• 1897 La Gioconda 
• 1902 Opoponax
• 1903 Vera Violette
• 1906 Bouquet Psyche
• 1906 Lilas Nouveau
• 1906 Reve Ideal
• 1906 Mai Fleuri
• 1906 Sweet Pea
• 1909 Violette
• 1909 Bruyere de Compiegne
• 1910 Milaja
• 1910 Rose Ducale
• 1910 Russian Lily
• 1910 Musk
• 1910 Ideal Rose
• 1911 Poeme
• 1912 Muguet (Lily of the Valley)
• 1913 Le Bouquet Prefere de l'Imperatrice (La Bouquet Favori de L'Imperatrice/Red Moscow)
• 1913 La Reine des Cygnes
• 1914 Flowers of Ukraine
• 1915 Lilas (Lilac)
• 1915 Heliotrope
• 1915 Trefle
• 1915 A-YA-ME (Ayame)
• 1915 Ideal Reve
• 1915 Famosa
• 1916 Fresia Alba
• 1917 La Reine
• 1917 Volna (Wave)
• 1917 Tagore 
• 1917 Opia
• 1917 Cream Medea (face cream)
• 1919 Muguet
• 1920 En Cachette
• 1920 Fleur Polonaise
• 1920 Heliotrope Blanc
• 1922 Taimyr
• 1922 Le Secret de Lulu
• 1926 Flor Efflure
• 1927 Royal Flush
• 1927 Chypre Fleuri
• 1927 Heliotrope Blanc
• 1927 Des Fleurs
• 1933 Fairy Tale
• 1942 Le Rêve de Nanouk (in Baccarat glass bottle)
• Mon Reve
• Russian Leather
• Eau de Cologne Fountain
• Trefle du Japon
• Vision d'Amour
• Eau de Cologne Ozvezhitelny (refreshment)
• Sourire Printanie
• Levkoi (Gillyflower)
• Violette Riviera
• Valflore
• Butterfly
• Un Peu Beaucoup Passionnément
• Eau de Cologne Napoleon

An Exploration of Brocard's Perfumes:

Brocard's extensive perfume catalog reflects the opulence and artistry of late 19th- and early 20th-century perfumery. Many of these fragrances were inspired by nature, exotic locales, and romantic themes, offering a glimpse into the olfactory trends of their time. Below is a detailed look at the known perfumes from Brocard, with descriptions based on their names and the likely ingredients used to craft them.

19th Century Creations

1889 - Lilas Perse (Persian Lilac)

Likely a delicate, powdery floral with soft, sweet, and slightly green lilac notes, possibly enriched with heliotrope and musk for depth.

1893 - Parma Violet

A rich and powdery violet fragrance, characteristic of the famous Parma violet variety, often blended with iris, orris root, and a touch of vanilla for a velvety softness.

1893 - In Honor of Madame Sans-Gêne

Named after a famous French play about a spirited laundress who married into nobility, this scent may have had bold yet elegant notes—perhaps an aldehydic floral or chypre composition with jasmine, rose, and oakmoss.

1893 - Chinese Bouquet

An oriental floral, likely featuring exotic white florals such as jasmine and osmanthus, with hints of sandalwood and amber for warmth.

1893 - Night Beauty

Suggestive of an intoxicating evening bloom like tuberose or gardenia, this perfume was likely deep, heady, and sensual, accented with spices or resins.

1893 - Indian Lawsonia

Lawsonia is the plant used to produce henna. This fragrance may have been an earthy, slightly green floral with herbal undertones, possibly featuring saffron, rose, and myrrh.

1893 - Spring Flowers

A bright, fresh floral bouquet that could have included hyacinth, lily of the valley, narcissus, and violets, capturing the essence of a blooming meadow.

1893 - The End of the Day

A romantic, warm scent that may have evoked the dusky evening air—perhaps a blend of soft florals like heliotrope and iris with comforting amber, musk, or vanilla.

1893 - Thai Bouquet

An exotic floral blend, possibly featuring tropical blossoms such as ylang-ylang, champaca, and frangipani, along with creamy sandalwood.

1893 - Apple Blossom

A crisp, fruity-floral composition, likely capturing the delicate, sweet scent of apple blossoms with hints of green leaves and soft musk.

1893 - Royal Song (or Hymn)

A majestic fragrance, possibly a blend of noble florals like rose and lily with opulent woods, incense, and amber to create a regal effect.

1893 - Soulful Jasmine

A rich jasmine soliflore, possibly with indolic facets deepened by spices, amber, or animalic notes for a heady intensity.

1893 - Love Me

A romantic and playful fragrance, likely featuring notes of red berries, rose, and powdery musk, evoking the charm of courtship.

1893 - Daphne

Inspired by the daphne flower, this scent was likely a soft, creamy floral with green and slightly citrusy undertones, balanced by a woody base.

1893 - Reseda / Rezeda (Mignonette)

Mignonette is a sweet, slightly spicy floral with hints of green and powdery notes, making this perfume a refined and nostalgic floral blend.

1893 - Japanese Corylopsis

Corylopsis, also called winter hazel, has a fresh, citrusy-floral scent reminiscent of mimosa and acacia, making this a light, airy floral perfume.

1893 - Peau d’Espagne (Spanish Leather)

A classic leather fragrance, likely infused with warm spices, animalic notes, and smoky birch tar, complemented by hints of rose and citrus.

1893 - End of the World

A dramatic and evocative name, suggesting a mysterious, deep fragrance—potentially a dark, smoky chypre with incense, myrrh, and patchouli.

1893 - Forest Lily of the Valley

A fresh, green floral capturing the delicate, dewy scent of wild lily of the valley, possibly combined with earthy mosses for depth.

Expanding the Perfume Line (1896-1917)

1896 - Muguet Merveille (Marvelous Lily of the Valley)

A delicate and enchanting lily of the valley scent, perhaps enhanced with aldehydes for radiance and green notes for freshness.

1896 - Bouquet Merveille (Marvelous Bouquet)

A lavish floral arrangement, likely featuring a medley of roses, violets, jasmine, and orange blossom, softened by creamy sandalwood.

1896 - Lilas Merveille (Marvelous Lilac)

A refined lilac soliflore with a creamy, powdery texture, possibly enriched with heliotrope and vanilla for a vintage feel.

1897 - La Gioconda

Named after the Mona Lisa, this perfume may have been a sophisticated floral-oriental blend with iris, amber, and balsamic notes.

1902 - Opoponax

A resinous, balsamic fragrance featuring opoponax, a warm, honeyed resin similar to myrrh, likely paired with vanilla and spices.

1903 - Vera Violette

An elegant violet soliflore, possibly enhanced with orris root and heliotrope for a sweet, powdery effect.

1906 - Bouquet Psyché

A mystical, romantic floral bouquet, possibly featuring exotic florals, musk, and incense to evoke a dreamy atmosphere.

1906 - Mai Fleuri (May Flowers)

A fresh, springtime floral, likely dominated by lily of the valley, hyacinth, and narcissus.

1906 - Sweet Pea

A light, airy floral with a fresh, slightly honeyed aroma, accented by green leaves and soft musk.

1909 - Bruyère de Compiègne (Heather of Compiègne)

Inspired by the heather fields of France, this scent may have blended lavender, wildflowers, and woody notes.

1910 - Musk

A sensual, animalic fragrance, possibly a blend of natural musk, civet, and soft florals for depth.

1913 - Le Bouquet Préféré de l’Impératrice (The Empress’s Favorite Bouquet, later Red Moscow)

Originally created for the Romanov dynasty, this rich floral likely featured carnation, jasmine, rose, and creamy balsams, later evolving into the legendary Red Moscow.

World War I Era Fragrances (1914-1917)

1914 - Flowers of Ukraine

A floral tribute to Ukraine, possibly featuring indigenous blooms like chamomile, wild rose, and honeyed linden blossom.

1915 - Trefle (Clover)

A fresh, green fragrance capturing the grassy, slightly sweet aroma of clover fields, with herbal undertones.

1917 - Volna (Wave)

An aquatic-inspired perfume, possibly featuring fresh ozonic notes, sea breezes, and driftwood-like nuances.

Brocard’s fragrances were not just perfumes; they were reflections of art, culture, and history. Each scent carried a story, often rooted in nature, romance, or exotic influences, making them highly treasured by collectors and perfume enthusiasts alike.

Other Fragrances:

The following perfumes were created by Brocard, although their exact date of introduction is unknown. Most were probably created in the late 19th century. 

Mon Rêve (My Dream)

Likely created in the late 19th century, Mon Rêve evokes the romanticism of a dreamscape, potentially featuring soft floral and powdery notes. Given its name, the fragrance may have been a delicate and ethereal blend of violet, iris, and heliotrope, complemented by creamy sandalwood and tonka bean, creating a warm, musky dry-down. The scent was likely designed to be both elegant and comforting, a reflection of idealized dreams and desires.

Russian Leather

This perfume was likely a rich, smoky leather scent, inspired by the distinctive aroma of Russian-tanned leather, which was famously treated with birch tar. The fragrance may have featured bold notes of smoky birch, resinous labdanum, and spicy carnation, softened with tonka bean and a touch of vanilla. A masculine and commanding scent, Russian Leather would have embodied strength, tradition, and sophistication.

Eau de Cologne Fountain

Colognes of this era were known for their invigorating and refreshing qualities, often featuring citrus and aromatic notes. Eau de Cologne Fountain was likely a bright and zesty blend of lemon, bergamot, and neroli, accented with lavender and rosemary. A base of oakmoss and musk would have provided depth, while hints of petitgrain and orange blossom added a touch of elegance. This fragrance was most likely a revitalizing and uplifting tonic, intended for both men and women.

Trèfle du Japon (Japanese Clover)

Trèfle, meaning "clover," suggests a fresh, green fragrance with soft floral undertones. This perfume may have combined the crisp, grassy scent of clover with delicate white florals such as jasmine or lily of the valley. Given the reference to Japan, there may have been subtle tea or citrusy yuzu notes, lending a refined, airy quality. The result was likely a clean, uplifting scent reminiscent of dewy meadows in the morning light.

Vision d'Amour (Vision of Love)

As its name suggests, Vision d'Amour was probably a romantic and sensual composition, centered around classic floral notes like rose, jasmine, and orange blossom. Soft powdery elements such as iris or orris root may have added a dreamy, vintage feel, while a musky or amber-infused base ensured warmth and longevity. This fragrance likely captured the essence of love’s tender and intoxicating beauty.

Eau de Cologne Ozvezhitelny (Refreshing Eau de Cologne)

With a name that translates to refreshing, this cologne was likely an energizing blend of crisp citrus notes, such as lemon, bergamot, and grapefruit, paired with cooling herbal elements like mint, juniper, lavender, or verbena. A hint of cedar or vetiver in the base may have given it a slightly woody depth, making it a versatile and uplifting scent, perfect for daily wear.

Sourire Printanier (Spring Smile)

This fragrance was likely a bright, cheerful bouquet celebrating the arrival of spring. Notes of fresh-cut grass, blooming lilacs, hyacinths, and tender roses may have created a soft floral heart, while a gentle musk or vanilla base provided warmth. A hint of fruit, such as peach or pear, could have added a touch of sweetness, evoking the joy and renewal of springtime.

Levkoï (Gillyflower)

Gillyflower, or stock, is known for its spicy, clove-like scent, often compared to carnations. Levkoï was probably a rich floral fragrance, blending the warm, peppery aroma of gillyflower with creamy ylang-ylang, rose, and heliotrope. A hint of vanilla or benzoin may have softened the spiciness, resulting in a sophisticated yet comforting composition.

Violette Riviera

As its name suggests, Violette Riviera likely focused on the delicate yet powdery scent of violets, capturing the romantic and nostalgic qualities of the flower. The Riviera reference might hint at a breezy freshness, perhaps incorporating hints of sea air, citrus, or green notes. A soft musk and orris root base would have provided depth, making it an elegant and timeless floral.

Valflore

The name suggests a lush floral bouquet, possibly featuring a blend of rich, heady blossoms like tuberose, gardenia, and orange blossom. With its opulent character, Valflore may have also included touches of jasmine and heliotrope, underscored by creamy sandalwood and vanilla, creating a luxurious and sophisticated scent.

Butterfly

A name like Butterfly evokes lightness, delicacy, and grace. This fragrance was likely a soft, airy floral with hints of peony, lilac, or mimosa, enhanced by fresh green notes and a touch of citrus. The addition of white musk or soft powdery elements would have created a smooth, fluttering effect, making it a graceful and feminine composition.

Un Peu, Beaucoup, Passionnément (A Little, A Lot, Passionately)

This romantic fragrance likely played on the whimsical tradition of plucking daisy petals to determine love’s fate. The scent may have opened with fresh, youthful notes of lily of the valley, green apple, or pear, leading to a tender floral heart of rose and jasmine. A soft base of white musk, amber, and creamy sandalwood would have added sensuality, creating a fragrance that captured the stages of love, from innocence to deep passion.

Eau de Cologne Napoléon

Named after the legendary French emperor, this cologne was likely a bold, traditional fragrance inspired by classic 19th-century colognes. Bright citrus notes of lemon, bergamot, and orange were probably paired with aromatic lavender and rosemary, while deeper elements like oakmoss, cedar, and musk provided a commanding presence. This scent would have exuded strength, refinement, and timeless elegance, much like its namesake.

Each of these fragrances by Brocard reflects the artistry and sophistication of late 19th-century perfumery, capturing emotions, nature, and historical inspirations in scent.