L'Heure Romantique by Corday c1928

"L'Heure Romantique" translates to "The Romantic Hour" in English. The perfume was launched in 1928, a time known for its distinctive blend of sensuality, romance, and intimacy.

In the 1920s, particularly in Western societies, there was a notable shift towards more liberated attitudes regarding love, relationships, and personal expression. The era was characterized by jazz, flappers, and a sense of freedom after the end of World War I. Women's fashion became more daring, and there was a growing emphasis on enjoying life and indulging in pleasures, including romantic ones.

The name "L'Heure Romantique" captures the essence of this period perfectly. It suggests a specific moment in time dedicated to romance and intimacy, evoking images of candlelit dinners, whispered confessions of love, and stolen kisses. During the 1920s, notions of romance were evolving beyond traditional norms, embracing new forms of expression and freedom in relationships.

Blanche Arvoy, the founder of Corday perfumes, likely chose the name "L'Heure Romantique" to tap into the spirit of the times and appeal to women who sought elegance, sensuality, and a touch of allure in their fragrances. The name suggests a perfume designed for a woman who appreciates romance and understands its nuances, someone who values moments of intimacy and wishes to enhance them with a scent that complements the atmosphere.

Women of that era would likely respond positively to such a perfume with a name like "L'Heure Romantique." It would resonate with their desire for sophistication and romance, offering them a way to enhance their allure and create an aura of mystery and sensuality.

The name "L'Heure Romantique" conjures images of moonlit walks, silk dresses, and whispered promises. It evokes feelings of nostalgia for a time when romance was celebrated openly and passionately. In the context of the 1920s, it signifies a departure from Victorian restraint to a more modern, liberated approach to love and relationships.

Overall, "L'Heure Romantique" by Corday not only captures the essence of its time but also embodies the desires and aspirations of women who sought romance and intimacy amidst the changing social landscape of the 1920s.

Le Dandy by D'Orsay c1925

Le Dandy by D'Orsay was launched in 1925, a time characterized by cultural and social transformation. The 1920s, often referred to as the "Roaring Twenties" or the "Jazz Age," saw a significant shift in societal norms and lifestyles. This period followed the devastation of World War I, leading to a desire for change and a break from tradition. It was an era marked by economic prosperity, technological advancements, and a flourishing of the arts. The fashion and social scene of the 1920s was vibrant, with women challenging conventional roles and embracing newfound freedoms.

The term "dandy" refers to a man who places particular importance on physical appearance, refined language, and leisurely hobbies, often associated with a flamboyant and sophisticated lifestyle. Originating in the late 18th century, the concept of the dandy was epitomized by figures such as Beau Brummell, who became icons of elegance and fashion. By the 1920s, the idea of the dandy had evolved, symbolizing not just a well-dressed man but also a certain nonchalance and sophistication in both men and women.

The term "La Garçonne," popularized by the 1922 novel by Victor Margueritte, refers to a young woman who adopts a boyish style and attitude, defying traditional feminine norms. This concept closely parallels the flapper, a term used to describe women in the 1920s who embraced new fashions, bobbed their hair, listened to jazz, and engaged in behaviors previously reserved for men, such as smoking and drinking. Flappers represented the rebellion against societal expectations and the embrace of a modern, liberated lifestyle.

D'Orsay's choice of the name "Le Dandy" for a perfume aligns perfectly with the cultural milieu of the 1920s. The name evokes the elegance, sophistication, and rebellious spirit of the time. By naming the perfume "Le Dandy," D'Orsay tapped into the zeitgeist, appealing to the modern woman who identified with the freedom and audacity of both the dandy and the flapper. This choice reflected the perfume's target audience—women who were bold, fashionable, and unafraid to challenge societal norms.

Champagne by Yves Saint Laurent c1993

 Champagne by Yves Saint Laurent: launched in 1993.

Azzaro by Loris Azzaro c1970

Azzaro by Loris Azzaro: launched in 1970, some sites state it was launched in 1975 (distributed by CosmEurop). The fragrance is also known as Azzaro Couture (Le Parfum-Couture de Loris Azzaro). Created by Maurice Thibond.

"Azzaro — the slightly wicked evening perfume."

 Azzaro by Loris Azzaro, is a fragrance that's been around for quite some time. Indeed, there can be discrepancies in launch dates, as different sources might provide varying information, but Maurice Thibond is indeed credited with its creation. It's fascinating how fragrances can evolve over time and sometimes take on different names or variations.

Complice de Francois Coty c1973

Francois Coty originally created Complice ('Accomplice') in 1934, but died before it could be launched. It remained on ice until 1973, when the Coty company launched it in a period design bottle. The name Complice was filed for trademark in 1939, company claimed use since 1938.

That's quite an interesting history! François Coty was a prominent figure in the world of perfumery. It's fascinating to see how Complice had such a prolonged journey from its conception in 1934 to its eventual launch almost four decades later. The fact that the name was filed for trademark in 1939, with the company claiming use since 1938, adds an intriguing layer to its backstory. It's a testament to the enduring appeal and significance of certain fragrances that they can transcend time and still find success when brought to market years later.

Bleu de Chine by Marc de la Morandiere c1987

The launch of "Bleu de Chine" perfume in 1987 occurred during a period marked by significant cultural exchange between China and the West. This era saw an increasing fascination with Chinese art, fashion, and cinema in Western societies. Films such as "The Last Emperor" (1987), which won multiple Oscars for its portrayal of Chinese imperial history, captured the imagination of audiences worldwide. In fashion, designers like Vivienne Tam and Jean Paul Gaultier incorporated Chinese motifs and silhouettes into their collections, reflecting a trend towards Eastern-inspired elegance. Moreover, in music, artists like David Bowie and Peter Gabriel began integrating Chinese instruments and melodies into their compositions, signaling a cross-cultural exchange in popular music.

The name "Bleu de Chine," translating to "Blue of China," carries with it a sense of exoticism and sophistication. Marc de la Morandiere likely chose this name to evoke the serene beauty and cultural richness associated with traditional Chinese ceramics and textiles, which often feature deep, vibrant shades of blue. This choice aligns with the perfume's aspiration to embody elegance and timeless allure, appealing to those who appreciate both the mystique of the East and the refinement of Western luxury.

"Bleu de Chine" makes a compelling name for a perfume due to its evocative nature. The color blue symbolizes tranquility and depth, qualities that are desirable in a fragrance meant to captivate and soothe the senses. Additionally, the reference to China adds an element of exotic allure and cultural richness, suggesting a perfume that promises both sophistication and a hint of mystery.

Women of the late 1980s would likely have related to a perfume called "Bleu de Chine" for its association with elegance and cultural sophistication. In a time when fashion and beauty trends were embracing diverse influences, a perfume named after a symbol of Eastern artistry would have appealed to those seeking to express their appreciation for global aesthetics and luxury.

Parfum Douka by Marquay c1949

The perfume "Parfum Douka" was launched in 1949, a time when the world was undergoing significant transformations and there was a growing fascination with African culture and exoticism. Post-World War II, there was a surge of interest in the arts, including film, fashion, home decor, and music, which often drew inspiration from African themes. This era saw the emergence of films such as "Tarzan" and "King Solomon's Mines," which romanticized the African landscape and captivated audiences with their adventurous narratives. In fashion, designers like Christian Dior were introducing collections that included bold patterns and earthy tones, reminiscent of African aesthetics.

"Parfum Douka" derives its name from Douka, Tieghemella africana, a type of wood also known as Makore wood, sometimes used in place of African Mahogany. Marquay's choice of this name likely stems from the luxurious and exotic connotations associated with rare African woods, and the sophisticated sound of "Parfum Douka." The name suggests a sense of elegance and prestige, aligning with the refined image Marquay sought to project.

As a perfume name, "Parfum Douka" evokes an air of mystery and allure, suggesting a rich, exotic experience. This would have resonated with women in 1949, who were increasingly drawn to products that offered a sense of adventure and escape. The name conjures images of vast African landscapes, majestic wildlife, and the natural beauty of the continent, appealing to a sense of romance and fantasy.

Women of the time would likely have responded enthusiastically to a perfume called "Parfum Douka," drawn by its promise of luxury and uniqueness. The name, with its exotic and noble implications, would make them feel sophisticated and worldly. This fascination with African themes was also evident in home decor trends, where items such as African masks, animal prints, and handcrafted wooden furniture became popular. In music, artists like Harry Belafonte were bringing African rhythms and instruments into the mainstream, further fueling the exotic allure.

The uniqueness of the name "Parfum Douka" sets it apart from more common floral or abstract names of the time. It is memorable and intriguing, inviting curiosity and desire. The name suggests not just a fragrance but an experience, promising an escape to an exotic world of luxury and elegance.

Interpreting "Parfum Douka," one might envision a product that embodies both sophistication and natural beauty, reflecting the allure of African exoticism. For women in 1949, "Parfum Douka" would represent more than just a perfume; it would be a symbol of elegance and adventure, encapsulating the essence of a distant, enchanting land. The name would evoke images of regal African landscapes and noble heritage, making it an ideal choice for a perfume meant to transport its wearer to a world of refined, exotic beauty.

Rudi Gernreich by Rudi Gernreich c1974

Rudi Gernreich, the iconic fashion designer, ventured into the world of fragrance with the launch of Rudi Gernreich perfume in 1974, in collaboration with American Essence, Inc. This olfactory masterpiece was brought to life through the creative genius of perfumer Betty Busse, with production entrusted to the esteemed International Flavors and Fragrances (IFF).

Rudi Gernreich was a renowned Austrian-American fashion designer celebrated for his bold, avant-garde designs and innovative approach to fashion. Born on August 8, 1922, in Vienna, Austria, he fled to the United States in 1938 to escape the Nazi regime. Settling in Los Angeles, Gernreich began his career in the fashion industry and quickly gained a reputation for his unconventional and progressive designs.

He is best known for his minimalist and futuristic aesthetic, often challenging societal norms and conventions. Some of his most famous creations include the monokini, a topless swimsuit that caused a sensation in the 1960s, and unisex clothing that blurred the lines between men's and women's fashion. Gernreich was a pioneer in promoting body positivity and freedom of expression through his work, making a lasting impact on the fashion world. He passed away on April 21, 1985, leaving behind a legacy of innovation and boundary-pushing design.

Passion by Elizabeth Taylor c1986

In 1986, Elizabeth Taylor licensed her name to a perfume company, the Parfums International division of Chesebrough-Ponds.

Tempest by Lucien Lelong c1947

Launched in 1947, Tempest by Lucien Lelong is a notable fragrance that has left a lasting mark in the world of perfumery. Originally named 'Orage' for the French market, this fragrance was rebranded as 'Tempest' to appeal to the English-speaking audience.

Lucien Lelong, a prominent figure in the fashion and fragrance world, was known for his innovative approach and high standards. Tempest reflects this legacy, embodying the elegance and sophistication of the late 1940s. It remains a classic example of how a fragrance can encapsulate the spirit of an era while offering a timeless appeal.

Halston Night by Halston c1980

Halston Night by Halston: launched in 1980.

Heure Intime by Vigny c1933

Launching in 1933, "Heure Intime" by Vigny emerged during a tumultuous yet culturally rich period marked by the Great Depression. Despite economic hardships, this era also saw a resurgence of opulence and escapism in fashion, art, and fragrance.

The Great Depression, which began in 1929, cast a shadow over global economies, leading to widespread unemployment and financial insecurity. However, amidst these challenges, there was a cultural movement towards elegance and sophistication as a form of escapism from the harsh realities of the time. This was reflected in the fashion trends of the era, which embraced luxurious materials and intricate designs.

"Heure Intime," with its launch in 1933, encapsulated this dichotomy. The name itself, meaning "Intimate Hour," hinted at a desire for personal connection and escapism during uncertain times. Perfumes during this period often served not just as personal adornments but as a means of expressing elegance, grace, and a desire for a better world beyond economic hardships.

Jacques Vogel, the perfumer behind "Heure Intime," likely crafted a fragrance that resonated with the mood of the era. It might have blended floral notes with deeper, more complex undertones, providing wearers with a sense of sophistication and luxury that was increasingly sought after during the Great Depression.

Choosing "Heure Intime" not only honors its historical significance but also reflects a taste for timeless elegance and resilience in the face of adversity. Its blend of floral and possibly oriental notes continues to evoke a sense of mystery and allure, making it a poignant choice for those who appreciate fragrances with depth and a connection to history.

Privilege by Parfums Privilege c1986

Privilege by Parfums Privilege, launched in 1986, emerged during a time marked by a growing emphasis on luxury and individualism. This era was characterized by a fascination with opulence and exclusivity, reflecting a broader cultural shift towards celebrating personal success and sophisticated tastes. In the mid-1980s, the fragrance industry was embracing bold, distinctive scents that conveyed a sense of grandeur and personal distinction, making Privilege a fitting embodiment of these trends.

The word "privilege" itself evokes images of exclusivity and elite status. It conjures a sense of being part of a select group who are afforded rare and exceptional experiences. In the context of Privilege by Parfums Privilege, the term suggests a perfume that is not just a fragrance but a symbol of high status and refined taste. The press materials highlight this sentiment, portraying the scent as the essence of "glamorous elegance" and "splendor," reserved for those who possess an innate sense of style and sophistication. This portrayal aligns with the perfume's positioning as something extraordinarily special and coveted.

The fragrance is described as being "so rare, so subtly sumptuous, so refinedly elegant" that it is available only in limited quantities, intended for "the fortunate few." This language reinforces the notion of Privilege as an exclusive luxury, designed for those who appreciate the finest things in life. The emotion evoked is one of aspiration and admiration, suggesting that to wear Privilege is to embody a certain elite status and to experience a level of sophistication reserved for a select group. The perfume, thus, not only represents a scent but also a lifestyle and an ideal of exclusivity and refinement.

Trigere by Pauline Trigere c1973

Trigère by Pauline Trigère: launched in 1973.

Wings by Giorgio Beverly Hills c1992

Launched in November 1992, Wings by Giorgio Beverly Hills emerged during a time of significant transition in the fragrance industry and broader cultural landscape. The early 1990s were marked by a burgeoning interest in more complex, layered fragrances that moved beyond the simplistic, heavily floral compositions of the previous decade. This period saw a shift towards fragrances that combined diverse notes to create sophisticated, multifaceted scents, reflecting the era's inclination towards both innovation and elegance. In this context, Wings embodied a modern vision of luxury, aligning with the contemporary preference for rich, intricate olfactory experiences.

The choice of the name "Wings" was both evocative and strategic. The name suggests a sense of freedom, lightness, and transcendence—emotions that align well with the fragrance’s airy and sophisticated composition. Imagery associated with "Wings" conjures thoughts of soaring through open skies, the sensation of liberation, and the elegance of flight. It evokes a feeling of elevation and boundless possibility, appealing to the aspirational and dynamic spirit of the early 1990s.

The fragrance itself, created by Jean-Claude Delville, is designed to capture these feelings through its intricate blend of top, middle, and base notes. The concept of "Wings" reflects not only the physical sensation of being lifted and carried away but also the emotional upliftment that a beautifully crafted scent can provide. This name encapsulates the perfume’s ability to transport the wearer to a place of grace and sophistication, mirroring the sentiments of aspiration and renewal prevalent during that era.

Niki de Saint Phalle c1982

"dangerous but worth the risk..."

Niki de Saint Phalle was launched in 1982 in association with Jacqueline Cochran, Inc..

Uninhibited by Cher c1988

"Uninhibited. Bottled, but not contained."

In 1988 Cher decided to introduce her own line of perfume. Called “Uninhibited,” a name that seemed quite appropriate for Cher, the line debuted with much fanfare that year. Distributed by Parfums Stern in association with Avon.

Shalimar by Guerlain c1925

Shalimar perfume was originally created in 1921 by Guerlain. It was re-released during the Art Deco Exhibition in Paris in 1925. I have separate blog posts on Shalimar bottles and its flanker scents on my Guerlain blog site.

Jet by Corday c1924

Jet by Corday: launched in 1924. Originally named "Jet Parfume" from 1924 until around 1929.

Balalaïka by Lucien Lelong c1939

Balalaïka by Lucien Lelong: launched in 1939.