Parfums Boue Soeurs

Boué Soeurs, a successful couture house established by two French sisters, Sylvie and Jeanne, in 1899, offered perfumes as part of their exquisite fashion line. Talented and business minded, they opened ateliers in Paris, New York , Palm Beach, San Francisco, London and Bucharest from 1899-1953.

L'Air du Temps by Nina Ricci c1948

 L'Air du Temps was launched in 1948. Created by perfumer Francis Fabron, when the world wanted a breath of fresh air after the ravaged years of the war. Women who had worked in munitions and related wartime factories wanted to regain their femininity and were seeking to bring back romance into their lives. Their answer was to come in the form of precious perfume. L'Air du Temps is a French idiom, difficult to pin down as to its specific meaning. "L'Air du Temps" has been defined, literally, as "the air of time," and idiomatically as "timelessness," "in the air," or "of the moment.

Blue Waltz by Joubert c1920

Blue Waltz, this endearing perfume from the past was created by either Joubert et Cie or Jolind Inc. around 1920.

Djer-Kiss by Kerkoff c1908

Djer Kiss by Kerkoff has been a favorite since its inception in 1908. Djer Kiss was actually pronounced "Dear-Kiss" according to original advertisements.

It was distributed exclusively by its sole agent, the Alfred H. Smith Co. of New York. The Smith company distributed it to the many departments stores and drug stores in the USA and Canada in the early 1900s.

c1920 ad showing all of the Djer Kiss products for that year

Un Air Embaume by Rigaud c1914

In 1914, Henri Rigaud became sole proprietor of the French perfumerie Veuve Rigaud, whose name then became simply “Rigaud.” For the occasion, he launched the famous perfume “Un Air Embaumé.” (Perfumed Breezes). Created by Marius Reboul, it was a remarkable success; 30 years after its creation, its users were still faithful to it.

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.

Chamart France Perfume Bottles

Chamart (JOHN R. WALKER CO.) was an importing company that originally started in the early 1950's by Charles Martine, hence the name "Chamart". They specialized in fine dinnerware, hand painted ceramics, replica and unusual perfume bottles and crystal.

J&S Saleh Yadgar Perfume Oils

J&S Saleh Yadgar of Bahrain, Perfume Oils are not the actual designer perfumes, they are renditions (copies/versions) of the popular designer perfumes.

They are made with high quality essential oils and may smell quite close to the actual designer fragrances. They do not contain alcohol, as this is forbidden (haram) according to Islamic law.

I regularly see these and similar Middle Eastern and North African perfume oils listed on ebay and craigslist. Usually the people selling them are not aware that they are NOT actual designer perfumes made by the actual designer companies.

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Perfume Nips and Perfume Typers

Perfume nips are small plastene or glass vials which hold tiny samples of perfume. The most famous of perfume nip companies was the Nipola Products Company and Nips,Inc. The ends of the vials could be broken off and the perfume would then be applied to the skin or handkerchief.

Keep Perfume in the Dark!

Ever wonder how to store your perfume properly? Well I have compiled a few vintage newspaper articles here to answer your questions. Enjoy!


A March 26, 1928 article in the Reading Eagle newspaper:

"KEEP PERFUME IN DARK, PARISIAN ADVISES. Air and sunlight may change finest odors , according to French expert. Have you ever wondered why the perfume on your dressing table seems to change odor week from week? Perhaps you have been puzzled by a fragrance which smelled agreeable at the time you bought it, becomes commonplace or even unpleasant after you have used it a few weeks, writes a Paris correspondent of the Kansas City Star.

Such thoughts may be considered a confession - an admission that you have not learned how to care for your perfume. These delicate scents for which fashion orders for modern use particularly when they are of high quality, deteriorate and lose all traces of their original fragrance if they are handled remissly.

"Always keep perfume in a dark place, advises Lucien Lelong, the Paris dressmaker whose study of perfume has resulted in valuable suggestions for its use. "Daylight will affect every odor differently according to its formula, and in extreme cases, the perfume turns bright red as soon as it's exposed to the sun.

Jasmine becomes black in the light, other flower extracts darken less noticeably, but as soon as they change color, even slightly, the perfume changes scent. According to Monsieur Lelong, certain chemicals suffer similarly as a result of exposure to light. If a product such as indol has been used in the perfume, it will form ether and emit a foul odor soon after it is allowed to stand in the sun.

So carefully must the elements that compose a perfume be guarded that many of the more fragile extracts are bought in a discolored state by the perfumer to prevent darkening after they have been mixed. Discolored floral elements cost a great deal more than flowers in a natural state and they are reserved for expensive perfumes.

The need is evident for keeping perfume flacons tightly stoppered. Air, sunlight will harm the scent and carelessness in keeping the odor airtight results in a noticeable loss strenth and quality."

A Jan 14, 1945 article in the Milwaukee Journal newspaper reads:

"KEEP PRECIOUS NEW PERFUME IN COOL, DARK SPOT. That bottle of floating enchantment which won you perfume praise for Christmas will be filched from you by light and air if you don't watch out.

Warning you to put yours back in the box and stow it in a closet after use, perfume wise model Pat Powers, insists this is the best way to outwit the ultraviolet thief and says, "Although my swanky black bottle bearing a question mark and an enigmatic label is a temptation to exhibit on my dressing table, I don't take chances."

To lock a bottle against leakage and evaporation, Pat says twist the stopper tightly until you've lined up the "thread" with the ground surfaces of the bottle. To unlock, here's her trick to save a temper, tap the stopper lightly against another piece of glass, and she does mean l-i-g-h-t-l-y."