Etoile D'Or by Volnay c2013

Etoile D'Or by Volnay: launched in 2013.  Created by Amelie Bourgeois who was inspired to create a modern interpretation of Etoile D'Or by using one of Volnay's original formulas dating back to the 1920s.

Andre Jollivet and Laitance de Hareng Perfume Bottles

Originally Posted on March 11, 2010 at 11:45 PM  on my original Cleopatra's Boudoir site.

Just after World War I, French glass designer Andre Jollivet embarked on an exploration of innovative finishes for perfume bottles. His quest led him to experiment with a substance known as "essence d'orient," a pearlized tincture initially developed in 1680 by French artist M. Jacquin. This unique material is crafted from guanine crystallites derived from the scales of bleak or herring fish, combined with natural oils from the fish themselves.

The production process for essence d'orient is remarkably labor-intensive, requiring approximately one hundred tons of herring to yield just one ton of scales, which in turn produces a mere pound of the pearlized essence. Originally used to simulate Oriental pearls on glass beads in jewelry making, this iridescent coating caught Jollivet's attention for its potential in enhancing perfume bottle designs.

Jollivet envisioned applying this lustrous finish to perfume bottles, transforming their appearance into something distinct and luxurious. To bring his vision to life, he collaborated with the Nesle Normandeuse Glassworks, renowned for their expertise in glass craftsmanship. Through meticulous refinement of the essence d'orient substance, Jollivet succeeded in developing a new, durable, and highly realistic pearlized finish, known as "laitance de hareng" (herring roe).

Thus, Andre Jollivet not only revitalized the use of essence d'orient but also pioneered its application in creating elegant and captivating presentations for perfume bottles, marking a significant innovation in the realm of glass design and perfume packaging.

The exquisite pearlized finish developed by Andre Jollivet found widespread adoption among perfume companies in France during its era. Leading brands like Volnay, Rochambeau, Isabey, Pleville, Parfums de Marcy, and others embraced variations of these bottles for their fragrance presentations. Each company adapted the finish to enhance the allure and elegance of their perfume offerings, showcasing the versatility and aesthetic appeal of the laitance de hareng finish.

One particularly notable use of this finish was in the presentation of the perfume Perlinette by Volnay. This fragrance presentation stood out as a testament to the influence and appeal of Jollivet's innovative pearlized finish. The use of such a sophisticated and realistic finish like laitance de hareng likely inspired the creation of Perlinette's bottle design, contributing to its distinctive charm and visual appeal in the competitive perfume market of the time.

Rochambeau made a significant splash in 1926 with the introduction of their Perles de France presentation, which featured a trio of small, round, pearlized bottles housed in a sleek black leatherette case. This elegant ensemble highlighted Rochambeau's commitment to blending sophistication with innovation in perfume packaging. A few years later, in 1929, a lesser-known company named Ota followed suit with a similar presentation for their fragrances Lilas and Violette, further exemplifying the trend towards using pearlized finishes to enhance perfume presentations.

Another standout in this trend was Parfums de Marcy, which achieved acclaim for their Trompe l'Oeil presentation called "Le Collier Miraculeux." Introduced in 1927, this presentation featured a box containing bottles shaped like pearls in graduated sizes, ingeniously mimicking the appearance of a genuine pearl necklace. Designed by Paul Heymann, this creation by Parfums de Marcy exemplified creativity and artistry in perfume packaging, setting a new standard in the industry.

The inspiration behind Parfums de Marcy's innovative presentation can be traced back to Delettrez's "String of Pearls" presentation for Parfum XXIII in 1923. Remarkably similar in design, Delettrez's creation likely served as a direct influence for Parfums de Marcy, underscoring the interconnected nature of trends and innovations in perfume packaging during this period of heightened creativity and competition among fragrance houses.

In 1925, Isabey unveiled the exquisite "Le Collier de Isabey" presentation, a testament to their artistry and innovation in perfume packaging. This ensemble featured six perfume bottles shaped like pearls, arranged to emulate a pearl necklace within a demi-lune presentation case. The meticulous design and attention to detail not only highlighted Isabey's commitment to elegance but also earned the company a prestigious gold medal at the Exposition Internationale des Arts Decoratifs et Industriels Modernes.

Isabey further showcased their creativity by utilizing these small, round pearl-shaped bottles for their individual fragrances. Among them were celebrated scents such as Ambre de Carthage, Chypre Celtique, Bleu de Chine, Violette, Gardenia, and Chypre, each benefiting from the allure and sophistication imparted by the pearlized packaging. This innovative approach not only enhanced the visual appeal of Isabey's perfumes but also solidified their reputation as a leader in the art of perfume presentation during the early 20th century.

Since 1919, Volnay has distinguished itself by introducing a range of perfumes housed in pearlized bottles, showcasing their commitment to both aesthetic elegance and olfactory excellence. Among their notable offerings were fragrances with evocative names like Lilas, Rosee de Bois, Perlerette, Perlinette, Iris Neige, and Firefly. These perfumes were presented in bottles of various shapes, including simple cylinders, upside-down cone shapes, and both large and small globular pearl bottles. This variety in bottle design mirrored the creative approaches of contemporaries such as Elliot Brothers, who also utilized pearlized bottles for their perfume Boronia during the 1920s.

Volnay's decision to employ pearlized bottles not only enhanced the visual appeal of their perfumes but also underscored their commitment to innovation in fragrance packaging. This strategy aligned with broader trends in the perfume industry during the early 20th century, where packaging became increasingly intertwined with the branding and presentation of luxury scents. By incorporating diverse bottle shapes and a pearlized finish, Volnay and similar companies aimed to captivate consumers with both the allure of their scents and the elegance of their packaging choices.

In 1938, Varva unveiled a trompe l’oeil perfume bottle designed to resemble a pearl ring, housed in an elaborate presentation box. The bottle itself was made of pearlized glass and cleverly positioned upside-down within a silver-tone Bakelite ring setting. This unique design was embellished with two faux baguette diamonds, adding to its luxurious appearance. The base of the box was covered in fuchsia velveteen, enhancing the overall aesthetic and ensuring a striking presentation for the perfume. Varva's creation not only showcased their ingenuity in perfume packaging but also highlighted their attention to detail and commitment to offering a unique and visually appealing product.

For a comprehensive view of exquisite perfume bottles in vibrant illustrations, I recommend exploring "Masterpieces of the Perfume Industry" and "The Art of Perfume," authored by Christie Mayer Lefkowith. These books provide a detailed exploration of the artistic and historical significance of perfume bottles, offering readers a visual feast of beauty and craftsmanship within the fragrance industry.

It is essential to exercise caution when handling pearlized bottles, as their delicate finish, although initially designed to be resilient, can become fragile over time. After several decades, typically around 70 to 80 years, the pearlized coating can be easily damaged or removed by cleaning or rough handling. Once the finish is lost, it is irreparable and cannot be restored to its original state. Therefore, it is advisable to handle these bottles with utmost care and avoid any actions that could potentially compromise their delicate surface.

Fontanis

Fontanis of Paris and Neuilly was established in 1919 by Daniel Jaquet, situated at 38 Boulevard de la Saussaye, Neuilly-sur-Seine, France. The company quickly made a name for itself in the realm of perfumes and cosmetics, reflecting the burgeoning industry of its time. Alongside Fontanis, Daniel Jaquet also founded Madhva in 1923, expanding his footprint in the fragrance market.

Despite its promising start, Fontanis faced a brief existence, being sold to Volnay in 1927. This acquisition marked a pivotal moment for the company, leading to a collaborative effort between Fontanis and Volnay for their final creations. Notably, Prelude and Blue Îles were the last two perfumes attributed to Fontanis, produced in association with Volnay.

The story of Fontanis encapsulates the dynamism and consolidation characteristic of the perfume industry in the early 20th century. It highlights the entrepreneurial spirit of Daniel Jaquet and the evolution of perfume houses during a transformative period in French cultural and economic history.