Enigma by Alexa c1931

The history of Enigma by Alexandra de Markoff is a bit mysterious, much like its name suggests. It's often associated with its launch in 1931, but there are conflicting reports that suggest it might have been reintroduced or relaunched in 1944. The discrepancy could indeed be due to production being stalled during World War II, a common occurrence for many luxury goods during that time.

Regardless of its exact launch date or relaunch, Enigma remains an iconic fragrance, known for its timeless appeal and mysterious aura. Its blend of exotic notes has captured the imagination of perfume enthusiasts for decades.

El Encanto

El Encanto department store in Havana, Cuba.

On April 13, 1961 a dreadful fire caused by the explosion of several terrorist bombs in chain stores reduced to ashes, perhaps most emblematic of Central America: El Encanto de La Habana. It was founded in 1888 by brothers Bernard Solis and Pepe as fabric store. In 1900 the Spaniard enters another company, Entrialgo, and the company would be renamed Solis and Co. Entrialgo El Encanto.

Kislav of Paris

 Kislav of Paris is a French glove company. They launched fragrances in the early 1950’s. They were a subsidiary of Gants Buscarlet or "Gloves Buscarlet." 

Slumber Song by Helena Rubinstein c1938

Slumber Song by Helena Rubinstein: launched in 1938.

Mon Image by Lucien Lelong c1933

Mon Image by Lucien Lelong: launched in 1933. The name Mon Image, is pronounced MOHN-EEMAJH, and means "my image" in French.

Les Perles Ota

Les Perles Ota was a Parisian perfumery active between the World Wars located at 120 avenue des Champs-Elysées, Paris, France. I saw the Ota name advertised in 1928 and 1929 newspapers as "Ota Pearl Perfume Sets". 

Parfums de Surtou

 Parfums de Surtou was a French company that supplied various American department stores with their fine perfume starting around 1926 and ending with the beginning of the second world war in 1939.

 

The perfumes were distributed by Bullock's as well as Abraham & Strauss, Huntzler's and possibly others .

Fath de Fath by Jacques Fath c1953

Jacques Fath, a pivotal figure in the world of fashion, made a significant mark on the industry during the mid-20th century. Fath, a French fashion designer, founded his haute couture house in Paris in 1937. His designs were celebrated for their sophisticated elegance, which captured the essence of post-war glamour. By the early 1950s, Fath was firmly established as one of the leading designers in Paris, known for his luxurious and imaginative creations that epitomized the high-fashion ideals of the era.

In 1953, amidst a booming post-war fashion renaissance, Jacques Fath launched his first perfume, Fath de Fath. This period was characterized by a growing fascination with luxury and refinement as the world emerged from the austerity of World War II. The 1950s were a time of cultural and economic recovery, and there was a strong emphasis on sophistication and opulence. Fashion houses were expanding their influence beyond clothing, delving into fragrances and beauty products to complement their brand’s image.

Fath de Fath was crafted by Jacques Bersia, a perfumer whose creation sought to encapsulate the elegance and sophistication that Fath’s fashion line was known for. The perfume was a reflection of its time—an era where style and elegance were paramount. The scent of Fath de Fath mirrored the chic, refined aesthetics of Fath's designs, offering a fragrance that was both modern and timeless, much like the haute couture collections that defined the designer's career.

The launch of Fath de Fath represented a harmonious blend of high fashion and fine fragrance, embodying the luxurious spirit of the 1950s and marking Jacques Fath's entry into the world of perfumery with a signature scent that complemented his reputation as a style icon.

Azuree by Estee Lauder c1969

Azuree by Estee Lauder: launched in 1969. Created by Bernard Chant.

Gamin by Carmel Myers c1958

The perfume "Gamin" was launched in 1958, a period marked by the post-World War II economic boom and the height of Hollywood's Golden Age. The late 1950s was an era of elegance, glamour, and sophistication, which was reflected in the fashion, beauty products, and cultural trends of the time. The perfume industry was flourishing, with new scents often embodying the zeitgeist of sophistication and glamour.

Carmel Myers, a prominent Hollywood actress, was deeply involved in the creation and promotion of "Gamin." Myers was known for her roles in silent films and early talkies, often portraying seductive vamp characters. Her collaboration with Fragonard, a prestigious French perfume house, was a testament to her status and influence in the entertainment industry.

The name "Gamin," meaning "mischievous" in French, likely drew inspiration from Myers' own on-screen persona and charm. It evoked a playful yet sophisticated image, aligning with the actress's legacy and the fashionable elegance of the 1950s. This collaboration highlighted the intersection of Hollywood glamour and luxury perfumery, encapsulating the allure and mystique that Myers represented.

Myers' career began at a young age, with her first film role at just 14. She quickly became a star, working with iconic actors like Lionel Barrymore, Douglas Fairbanks, and Rudolph Valentino. Her beauty and talent secured her roles as a seductive vamp, a character type that defined much of her career. Reflecting on her work, Myers noted the evolution of the "vamp" character from the overt portrayals by actresses like Theda Bara to the more nuanced performances by Greta Garbo. She later reminisced about the old days, "I suppose Theda Bara was the first 'vamp'. At first we were very obvious in our portrayals. Garbo was a new kind of vamp, because she acted in 'half-tones'."

The release of "Gamin" in 1958 not only celebrated Myers' illustrious career but also captured the essence of the glamorous and playful spirit of the time. It stands as a testament to the enduring legacy of Carmel Myers, an actress who left an indelible mark on Hollywood and contributed to the cultural fabric of the 1950s.

Parfumerie Wald'Ys

 Les Parfums de Produits de Beaute et Parfums de Luxe Waldys, known as Parfumerie Wald'Ys established around 1919 and located at 28 rue de Madrid. the Wald'ys general depositary was located at 64 Chausse d'Antin.

The company did not last to the 1930s. Any item with the Wald'Ys name should be considered very rare.

Le Sien by Jean Patou c1928

Sporty types of perfume and colognes are very popular today, especially among the younger set and it seems as if they have always been around, however that is not the case. Sporty or clean fragrances are named for their freshness, a quality that roughly akin to the smell of a warm shower or a good soap. These fragrances are found most often in eau de colognes. Given their refreshing nature, women and men who are active or athletic may find sporty fragrances appealing. Some classic sporty fragrances are Estee Lauder Alliage, Lily Chic by Escada, Cashmere Mist by Donna Karan, Ralph Lauren Polo for Women and Tommy Girl.

Pretexte by Lanvin c1937

Pretexte by Lanvin: launched in 1937, created by Andre Fraysse.

Grand Dame by Jean Desprez c1939

In 1939, the world was on the cusp of great change and turmoil. The looming shadow of World War II began to envelop Europe, and many nations were grappling with the aftershocks of the Great Depression. Despite the economic challenges and the imminent global conflict, the late 1930s also retained a glimmer of the glamour and sophistication of the previous decade. High society still cherished its soirées, elegant gowns, and luxurious lifestyles, even as uncertainty brewed in the background. It was within this context that Jean Desprez launched "Grand Dame," a perfume that seemed to embody the very essence of elegance and grace amidst a world teetering on the edge of chaos.

The term "Grand Dame" originates from the French language, meaning "great lady." In French, "grand" translates to "great" or "large," and "dame" means "lady." The phrase is often used to refer to a woman of dignified bearing, one who is respected and distinguished in society. Choosing this name for a perfume was a deliberate move by Desprez, aiming to evoke an aura of sophistication and timeless elegance. The name "Grand Dame" conveys not only a sense of grandeur but also a nod to the resilience and poise of women, particularly those who navigate the upper echelons of society with grace and strength.

"Grand Dame" is an apt name for a perfume as it suggests a scent that is both commanding and refined. A perfume with such a name would likely be rich and complex, designed to leave a lasting impression, much like the grand ladies who inspired it. It would be a fragrance that exudes confidence and sophistication, appealing to women who see themselves as cultured, influential, and stylish. These women would relate to "Grand Dame" as a reflection of their own identity and aspirations. The perfume would resonate with them, offering a sensory embodiment of their elegance and stature.

Flambeau by Faberge c1955

Flambeau is a fragrance by Fabergé, launched in 1955. Fabergé, a company renowned for its luxury goods, ventured into the world of perfumery with several distinctive scents, and Flambeau was one of them. The perfume was likely designed to embody the elegance and sophistication associated with the Fabergé name, capturing the essence of luxury in a bottle.

"Flambeau" is a French word that translates to "torch" in English. A flambeau is typically a long stick with material at one end that can be set on fire and used as a source of light. The term evokes images of brightness, warmth, and illumination.

Naming the perfume "Flambeau" by Fabergé ties the fragrance to themes of brightness, warmth, elegance, and vibrancy. It suggests a scent that is both striking and comforting, luxurious and inviting, aligning perfectly with the brand's reputation for creating high-quality, sophisticated products.

This fragrance would be part of the mid-20th century era of perfumery, a time when many classic and iconic scents were created. Given its launch in 1955, Flambeau would have been crafted with the olfactory trends of that period, potentially featuring rich, opulent notes that were popular in that era.

The House of Fragrance

The House of Fragrance of St. Georges, established by Charles Richard Rutherford, began as a humble venture rooted in Rutherford's deep-seated passion for the art of perfume making. By 1931, Rutherford was already engrossed in the craft, experimenting with fragrances as a hobby. His fascination with perfume creation, paired with the unique allure of Bermuda's natural bounty, sparked an ambitious idea: to craft perfumes that celebrated both local ingredients and global aromatic treasures.

Set against the backdrop of Bermuda's lush landscapes and vibrant botanical diversity, Rutherford envisioned a perfume house that would capture the essence of the island. The House of Fragrance sought to blend Bermuda's native flora—such as the fragrant cedarwood and the tropical blooms like hibiscus—with exotic ingredients sourced from around the world. This innovative approach aimed to create a distinct olfactory identity that highlighted Bermuda's natural beauty while embracing the richness of international fragrance traditions.

Knowing by Estee Lauder c1988

Knowing by Estee Lauder: launched in 1988. Created by Jean Kerléo in collaboration with Elie Roger (Firmenich) and Estee Lauder's perfumer, Karyn Khoury..

The name of the fragrance is meant to suggest the attitude of a sophisticated woman who has developed into a self-assured, confident, uncompromising individual. “When a woman wears it, she feels like she knows it all,” said Estee Lauder who described Knowing as “a fragrance for the 21st century.”

The marketing campaign used for the fragrance was meant to change the entire Lauder image. The ads pictured gorgeous model Paulina Porizkova, who left Revlon in order to become the spokesperson for Estee Lauder. The ad below illustrates the exact image of a sexy, confident woman that Lauder wished to portray.

Le Baiser by Lalique c1999

Le Baiser by Lalique: launched in 1999. Created by Laurent Bruyere.

Barynia by Helena Rubinstein c1985

Barynia by Helena Rubinstein: launched in 1985. Barynia, is a Russian word meaning princess, and was the first fine fragrance launched under the Helena Rubinstein name. The fragrance was created by Norbert Bijaoui as a tribute to the company's creator Madame Helena Rubinstein, who died in 1965.

Barynia was originally available in the following products:

• 0.17 oz Parfum Mini
• 0.25 oz Parfum Purse Spray
• 0.50 oz Parfum
• 0.17 oz Eau de Parfum Mini
• 1.7 oz Eau de Parfum
• 3.3 oz Eau de Parfum
• 6.8 oz Eau de Parfum
• 3.3 oz Perfumed Body Oil
• Savon Parfumee (Perfumed Soap)

Fragrance Composition:

So what does it smell like? It is classified as an aldehydic fruity floral fragrance for women with a chypre dry down.

• Top notes: aldehydes, Amalfi lemon, bergamot
• Heart notes: carnation, hyacinth, orris root, jasmine, lily-of-the-valley, orchid, rose, tuberose, violet
• Base notes: vanilla, patchouli, oakmoss, benzoin, musk, sandalwood, vetiver, civet

Fate of the Fragrance:

Discontinued, date unknown. It was still being sold in 1990. At some time in the 1990s, the Barynia name and trademark, but not the formula, was purchased by G.D. Incorporated, who introduced their version of the fragrance and relaunched it. These reformulated boxes will be marked with the GD Incorporated name and not Helena Rubinstein.

Nuit Persane by Rosine c1911 and Nuit de Chine by Rosine c1912

Nuit Persane by Parfums Rosine is a distinguished fragrance first launched in 1911. Parfums Rosine, the brand behind Nuit Persane, was founded by Paul Poiret, a celebrated French fashion designer known for his avant-garde approach to fashion and perfume. Nuit Persane was part of Poiret's vision to create a complete sensory experience, combining his innovative fashion designs with equally captivating scents.

DuPont Pyralin & Lucite Vanity Sets

DuPont aggressively advertised their new celluloid product which they called "Pyralin Toilet Ware" from 1917-1929.  Though celluloid was formally introduced at the 1862 World's Fair, and small companies had produced some celluloid items, it was DuPont who was one of the first companies to really push the celluloid dresser sets to the national public using widespread advertising campaigns especially in magazines.

The first celluloid dresser sets were of imitation ivory, at first these really did look like ivory, complete with the characteristic Schreger lines. Some of these items could be had with monograms engraved into the celluloid with flourishing scripts or affixed with luxurious sterling silver plaques. Eventually the items were adorned with elegant engraved decor around the borders which was piqued out in black or blue staining.

By the early 1920s, the Ivory Pyralin was seen as outdated and consumers wanted more modern styled vanity accessories. So to give the ladies a little more variety, DuPont introduced the "Amber Pyralin" line of solid amber colored translucent celluloid and the "Shell Pyralin" line of imitation tortoiseshell celluloid in 1923. These items could be had in duo tone "Ivory on Amber" and "Shell on Amber".

Advertisements encouraged women to "build up complete sets" starting off with just a few pieces such as a mirror and brush and then adding hair receivers, trays or manicure items.

Some of these 1920s ads were colorized and showed off the beauty of the dresser sets, which made them attractive options for feminine gifts. In 1925, DuPont purchased the Viscoloid Company and merged into a single subsidiary called the DuPont Viscoloid Company.

Between 1925-1927 the company began to introduce bright, new colors to the vanity lines: white pearl, rose pearl (pink), jade pearl (green), and maize pearl (yellow), instead of the boring old ivory. These pieces could be found with the marbleized tops and amber celluloid bottoms, known as "Pearl on Amber".

DuPont's direct competitor for these items was the "Arch Amerith" line of celluloid (cellulose nitrate/pyroxylin) products made by the Celanese Corp. of America. (Celluloid was actually a trade name used by Celanese Corp.)

Another competitor's marking to be found is "Art-Y-Zan" made by the Celluloid Corp., of New York. Across the pond, in England, the trade name "La Futuriste" was used for a modernistic line of celluloid toilet ware known as "Agalin" manufactured by NTS. The Futuriste line was directly inspired by the early designs by Gustav Jensen for DuPont's "Pyralin" line and Paul Frankl's "Amerith" line for Celluloid Corp. in 1929.

In 1928, the Viscoloid Company announced the invention of a "new material," Lucite. Advertised as an entirely new product, it was in fact a celluloid product, just like Pyralin was. In reality, this original Lucite (not to be confused with the acrylic plastic of a decade later also known as Plexiglas) was the same old celluloid enhanced by bright colors and “modernistic” styles .Vanity sets made from Viscoloid's Lucite came in translucent bright colors.  Other vanity sets had Pyralin parts and crystal clear, translucent, Lucite handles.

 DuPont conducted many surveys and did extensive market research into what the modern woman was looking for in a vanity set, including what colors she was most attracted to. Based on their market research, the company introduced several new vanity set designs: Ming, Wedgwood, Watteau, Empire, Diane, Sonya, Venetia, Navarre and Orchis.

The new opaque Lucite colors were a big leap from the plain old imitation ivory sets of yesteryear. With newly dubbed names such as Napoleonic blue, imperial green, colonial buff, and mandarin red, these exotic hues helped rein in potential customers.

In 1930, DuPont introduced their newest line based on period designs. New patterns were Monticello, Trianon, Lustris and Belle Fleur. Trianon is embellished in the manner of Louis XVI period, in colors Springtime Green or Peach Antoinette. The Monticello, in Lucite, came in Continental Blue, Buff and Gold, or Colonial Rose and Silver effects. The "Madelon" pattern was obtainable in Jade, Rose, Maize or White pearl-on-amber Pyralin.

 

In 1936, the market for the large vanity set had diminished with women's ever changing tastes, and a new Plastics Department had taken over the Pyralin and Lucite manufacturing, gradually phasing out the vanity sets to focus on other products. The name Lucite was revived with the new invention of an acrylic plastic which made an appearance about a decade later, also known as Plexiglas.

Some information paraphrased here was gleaned from the book "Producing Fashion: Commerce, Culture, and Consumers".

General Care Tips for All Early Plastics:

• Store items separately to avoid scratching, rubbing or being nicked by other pieces.

• Be careful handling early plastic vanity items, the material can crack or break when dropped onto a hard surface.

• Avoid storing plastics of different materials together. Also do not store items in deteriorating or dirty condition. Clean them first. Be sure to find out what to use and not to use to clean your specific plastic.

• MAAS Polishing Creme is a good polish also recommended for polishing and buffing out slight scratched on the surface of plastics. 

• Do not use gritty or abrasives when cleaning plastics as they can scratch the surface.

• Wash with mild soap or detergent, with plenty of lukewarm water, and dry with soft cloth or chamois.

• Goo gone works wonders on plastics, especially to remove remnants of price stickers.

• Grease, tar or oil can be removed with hexane or kerosene. Solvent residue should be removed by washing immediately.

• Do not use window cleaning sprays such as Windex, or scouring compounds, acetone, gasoline, benzene, carbon tetrachloride or lacquer thinner to clean plastics.

• Wax will help hide scratches that may appear. Buffing may help remove deep scratches.  

General Care Tips for Celluloid:

• Do not put disintegrating celluloid items near other pieces of celluloid, it will cause others to start decomposing due to off gassing. Always store celluloid in a dry place. 

• If you celluloid item is in very fine or excellent condition without cracks, peeling or holes, it can be gently cleaned.

• Use a damp, soft, clean, cotton cloth to wipe off surface dust and dirt build up. Very little mild soap such as castile soap, can be applied to your soft cloth, at your own discretion, making sure your cloth is never dripping or too wet. 

• If your piece of celluloid is decomposing, it may help to briefly soak it in washing soda (sodium carbonate) as recommended by the Kovels. Rinse well, and after it is completely dry, coat the item with clean nail polish, which is cellulose nitrate or cellulose acetate in solution. Inspect pieces for deterioration occasionally, and if it is deteriorating either discard it or store it separately. The chemical degradation of acetate over time, often identified by a characteristic vinegar odor given off as acetic acid. Decomposing celluloid starts as crystallization.

• Remember, celluloid is flammable and must be stored in a well ventilated area where the temperature is never over 120 degrees Fahrenheit. 

• Outgassing of the acetic acid increases in a hot, enclosed area and less when it is cooler and well ventilated.

• Use MAAS with a soft cloth and gently wipe clean celluloid surfaces. I was also recommended to try Meguire’s PlastRx polish. Keep in mind that celluloid can crack if you press too hard. Never submerge celluloid in water if there is metal appliques, trim or steel parts on the item, it will rust and ruin the celluloid. Also outgassed acetic acid can rust the steel parts of manicure sets.

• Do not use ammonia to clean celluloid as it will discolor.

General Tips for Bakelite & Catalin:

• Use a clean cloth to wipe away any loose dirt or debris.

• Simichrome polish has been recommended for polishing Bakelite. Gently rub with a soft cloth and do not overdo it.

• Avoid sunlight or heat for Bakelite and catalin plastics. Store items in a cool, dry and dust free environment if possible.

• Bakelite should never ever go in a dishwasher, even if you skip the heat drying cycle. Dishwashers are simply too harsh for Bakelite and other vintage treasures and I can guarantee that the dishwasher will dry out the Bakelite and cause it to change color and crack.

General Tips for Acrylics (including later Lucite & Plexiglas):

• Brilliantize is the product recommended by Plexiglas dealers and experts for cleaning and shining Plexiglas and acrylics. Do not use Windex or other glass cleaners on Plexiglas.

• Wax will help hide scratches that may appear. Buffing may help remove deep scratches. Anti-static polishes are available for acrylics.

• Do not use gritty or abrasives when cleaning plastics, especially Lucite or Plexiglas as they can scratch the surface.

• Decomposing acrylic starts as a whitish, bloomed haze on the surface, and then crystallization.

Jabot by Lucien Lelong c1939

Jabot by Lucien Lelong: launched in 1939.

Chasuble by Jacques Fath c1945

Chasuble by Jacques Fath: launched in 1945.

The chasuble is the outermost liturgical vestment worn by clergy for the celebration of the Eucharist in Western-tradition Christian Churches that use full vestments, primarily in the Roman Catholic, Anglican and Lutheran churches, as well as in some parts of the United Methodist Church. In the Eastern Churches of Byzantine Rite, the equivalent vestment is the phelonion.

L'Heure Attendue by Jean Patou c1946

L'Heure Attendue by Jean Patou: launched in 1946. Created by Henri Almeras as an homage to end of the Nazi occupation of Paris during World War II. Patou registered the perfume's name as early as 1940 in anticipation for the war to end. It was recommended to be worn by brunettes.

Deja le Printemps by Oriza Legrand c1922

The perfume "Deja le Printemps" by Oriza L. Legrand, launched in 1922, carries a name that resonates deeply with the essence of springtime in Paris during that era.

During the 1920s in Paris, there was a cultural renaissance known as the "Années folles" or "Roaring Twenties," characterized by artistic innovation, social liberation, and a flourishing of literature, music, and fashion. This period saw a shift towards more daring and modern expressions in art and fashion, paralleled by the emergence of new fragrances that captured the spirit of the time.

The name of the perfume evokes a sense of anticipation and joy associated with the arrival of spring. It suggests that wearing this fragrance transports one to a state where spring is not just a season but a state of being—refreshing, invigorating, and full of promise. The scent likely combines floral notes that were popular during that era, possibly incorporating elements like jasmine, rose, or iris, which were beloved by perfumers of the time.

Furthermore, the choice of "Deja le Printemps" as a name for a perfume launched in 1922 also aligns with the broader cultural context of the interwar period in Paris. It reflects a longing for beauty, optimism, and a celebration of life after the turmoil of World War I. The perfume's name encapsulates the sentiment that despite challenges, the spirit of spring—of renewal and hope—can always be embraced and cherished.

In summary, "Deja le Printemps" as a perfume name launched in 1922 in Paris not only captures the olfactory essence of springtime but also resonates with the cultural milieu of the time, symbolizing a return to joy, beauty, and a newfound sense of freedom and creativity.

Fendi by Fendi c1985

Fendi by Fendi: launched in 1985 in association with Florbath Profumi di Parma. In USA in 1987.

Quartz by Molyneux c1977

Quartz by Molyneux: launched in 1977, in USA by 1978. In association with Sanofi. Created by Jean-Pierre Subrenat.

Nuit de Longchamp by Lubin c1934

Nuit de Longchamp by Lubin, launched in 1934, emerged during a period marked by a blend of pre-war optimism and the lingering shadows of the Great Depression. The early 1930s were a time when the world was grappling with economic instability, but Paris remained a beacon of cultural and artistic vibrancy. This period saw the rise of glamorous nightlife, with the city’s fashion and fragrance industries flourishing amid the economic challenges. Parisian society was captivated by the allure of luxury, which was a stark contrast to the widespread austerity. Lubin's choice of "Nuit de Longchamp" for the perfume reflects the enchanting and sophisticated atmosphere of the Parisian night.

The French phrase "Nuit de Longchamp" translates to "Night of Longchamp" in English. This name is a nod to the Longchamp area in Paris, known for its elegant and high-society associations. The name evokes the image of a night filled with luxury and exclusivity, perhaps linked to the grandeur of the Longchamp racetrack, which was a popular destination for the Parisian elite. By naming the perfume "Nuit de Longchamp," Lubin effectively connected the fragrance to a sense of high-class sophistication and nighttime allure, suggesting an evening of opulence and charm.