Early Thermoplastic Vanity Sets

Victorian era thermoplastic vanity sets are highly collectible items that offer a fascinating glimpse into the early history of plastics and molding compounds. Here's a brief guide to assist you in collecting these unique and historical pieces:

• Understanding Thermoplastics: Thermoplastics were some of the earliest synthetic materials used in consumer goods production during the Victorian era. They were derived from natural substances like cellulose and camphor, then molded under heat and pressure to create intricate designs.

• Identification: Victorian thermoplastic vanity sets typically include a variety of items such as hairbrushes, hand mirrors, combs, powder jars, and other grooming accessories. They are known for their elaborate designs, often featuring intricate patterns and motifs inspired by nature, such as flowers, leaves, and vines.

• Materials: Thermoplastic vanity sets were commonly made from materials such as gutta-percha, celluloid, vulcanite, and casein. These materials were durable and moldable, allowing artisans to create intricate designs with fine details.

• Collecting Considerations: When collecting Victorian thermoplastic vanity sets, consider factors such as condition, rarity, and authenticity. Look for sets that are in good condition with minimal damage or wear, as well as sets that feature unique or unusual designs. Authenticity is important, so be wary of reproductions or modern replicas.

• Research and Documentation: Take the time to research different manufacturers, styles, and markings associated with Victorian thermoplastic vanity sets. Keep records of your collection, including photographs, descriptions, and any relevant documentation or provenance.

• Care and Preservation: Proper care and preservation are essential for maintaining the integrity and value of your collection. Avoid exposure to direct sunlight, extreme temperatures, and moisture, as these can cause damage to the thermoplastic material. Clean your vanity sets gently with a soft, damp cloth to remove dust and debris.

• Market Value: The value of Victorian thermoplastic vanity sets can vary depending on factors such as rarity, condition, and demand among collectors. Keep an eye on auction houses, antique shops, and online marketplaces to gauge market trends and prices.

By following these guidelines, you can build a unique and valuable collection of Victorian era thermoplastic vanity sets while gaining insight into the fascinating history of early plastics and molding compounds.

History:

Alfred Critchlow's experimentation with shellac resin led to the development of a durable substance known as "Florence Compound" around 1850. Derived from shellac resin, Florence Compound was a thermoplastic material capable of reproducing fine levels of molded detail. Critchlow's innovation found its initial application in the production of highly ornamental hinged frames known as "union cases," which were used to hold early photographic processes like daguerreotypes, ambrotypes, and tintypes.

Partnering with Samuel Hill and Isaac Parsons in 1853, Critchlow received a patent in 1856 related to the manufacture of these union cases. However, he was not specific about the composition of the molding compound, merely referring to it as a combination of various materials. This lack of specificity diminished the patent's effectiveness, as similar compounds were already known to manufacturers in the industry.

By 1857, union cases had reached the height of their popularity, prompting Critchlow to sell his interest in the business. The company's name was subsequently changed to Littlefield, Parsons & Company, which continued producing union cases. However, as photography evolved, the demand for union cases declined with the rise of ambrotypes, leading Littlefield Parsons & Co. to sell the company in 1866. The company was then renamed the "Florence Manufacturing Company," transitioning its focus from union cases to the production of beautiful hand mirrors and hairbrushes.

This transition marked a shift in the company's direction, highlighting its adaptability in response to changing market demands. While the era of union cases may have ended, the Florence Manufacturing Company continued to thrive, leaving behind a legacy of innovation and craftsmanship in the realm of decorative accessories.

During the 1870s, the Florence Manufacturing Company and its competitor, the Boston Diatite Company, were leading manufacturers of composition hand mirrors. These mirrors featured a novel design that included a wooden back and a strengthened handle, setting them apart from earlier models.

The construction of these hand mirrors involved several key steps:

• Base Piece: The mirror's base consisted of a wooden back shaped to match the mirror glass, providing support. This wooden piece also included an extension for the handle.

• Handle Strengthening: To reinforce the handle, a strip of metal, rods, or small nails was attached to the wooden base. This reinforcement helped stiffen the handle at its junction with the back and provided stability, reducing the risk of breakage.

• Composition Application: The base piece, along with the handle extension, was placed face down on a mold. A plasticized composition, typically made of shellac compound, was applied to cover the back and extend beyond the edges of the wooden base, surrounding the handle stiffener.

• Molding Process: An upper mold with ornamental designs on its interior was pressed down onto the plastic composition. This process gave the composition a smoothly finished ornamental back and handle, creating the distinctive appearance of the hand mirrors.

The Florence Manufacturing Company used the trade name "Florence," while the Boston Diatite Company used the trade name "Diatite" for their respective products, starting in 1868.

These shellac compound-based items were not limited to hand mirrors; they also included a variety of grooming and sewing accessories such as hairbrushes, patch boxes, nail buffers, scissors, nail files, toothbrushes, ribbon needles, crochet hooks, awls, buttons, button hooks, and thimbles. The shellac compounds were available in black or white, often imitating ivory, and could also be tinted with various colors such as tortoiseshell, offering consumers a range of options to suit their preferences and tastes.

Vulcanized rubber, commonly known as vulcanite or ebonite, played a significant role in the production of various household and ornamental objects, including hand mirrors and brushes. Charles Goodyear's discovery of the vulcanization process in 1839 revolutionized the rubber industry by introducing a method to harden rubber by mixing it with sulfur.

Vulcanite is formed by mixing rubber with sulfur and subjecting it to heat and pressure. The proportion of sulfur can be adjusted to achieve the desired level of hardening. Ebonite, a variation of vulcanite, contains linseed oil in addition to rubber, resulting in a material with a deeper black color and enhanced durability.

Over time, vulcanite can decompose, especially when exposed to heat and light. One of the first signs of deterioration is the appearance of a sulfur bloom on the surface, giving the material a dusty, khaki color. Additionally, when vulcanite is exposed to warm water or subjected to gentle friction, it may emit a faint odor of sulfur, helping to identify it.

Despite its susceptibility to deterioration, vulcanite and ebonite were widely used in the production of various items, including jewelry, combs, buttons, and decorative objects, due to their durability and versatility. Today, collectors value these vintage pieces for their historical significance and unique aesthetic appeal, although proper care and storage are essential to prevent further deterioration over time.

If your item is any of the following, you can try to determine what it is made of:

Dark colors:

• Bois durci (a small bird’s wing was used to indicate the use of the material bois durci.)
• Shellac Composition
• Gutta percha
• Vulcanized rubber

Rigid:

• Bois durci
• Shellac Composition
• Gutta percha
• Vulcanite

Decomposition of Material:

• Vulcanite smells sulphurous when decomposing.
• Shellac Composition fades, crumbles and cracks, exposure of the metal core is evident if the composition has crumbled away..
• Gutta Percha deteriorates with fading (khaki color), crazing, cracking and crumbling.
• Cellulose nitrate smells like camphor (mothballs) when decomposing.
• Cellulose acetate smells like vinegar when decomposing.

Gutta Percha:

Gutta-percha, a natural rubber derived from the sap of the Palaquium gutta tree, was extensively used in the 19th century for a variety of purposes, including household items, frames, jewelry, and even golf balls. Unlike vulcanized rubber, gutta-percha exhibits thermoplastic properties, meaning it softens when heated and hardens when cooled, allowing it to be molded into various shapes.

Items made from gutta-percha were typically molded, although carving was also sometimes employed after molding to achieve intricate designs. One of the distinctive characteristics of gutta-percha is its strength, which surpasses that of vulcanite (hard rubber), making it suitable for items requiring durability.

Additionally, gutta-percha is known for its ability to retain fine, sharp detail, resulting in intricately molded objects with crisp lines and patterns. Despite its strength, gutta-percha has a dull, oily appearance and is lightweight, feeling room temperature to the touch.

A distinctive characteristic of gutta-percha is its smell, which resembles burning rubber. When exposed to warm water or subjected to gentle friction, items made from gutta-percha may release this odor, helping to identify them.

Today, gutta-percha items are highly sought after by collectors for their historical significance, unique aesthetic appeal, and fine craftsmanship. Proper care and storage are essential to preserve the integrity of gutta-percha items and prevent deterioration over time.

Celluloid:

Celluloid emerged as a revolutionary material in the late 19th century, ultimately supplanting vulcanite and gutta-percha due to its versatility and practicality. The first significant advancements in celluloid production occurred in 1869 when John Wesley Hyatt patented the material and established the Newark Celluloid Manufacturing Company.

Celluloid is composed of several key ingredients, including pyroxylin (a form of nitrocellulose), camphor, zinc oxide, and vermillion (a red pigment). This combination forms a mechanical mixture that exhibits unique properties ideal for a wide range of applications.

One of the key advantages of celluloid is its versatility. It is hard, tough, and elastic, making it suitable for use in various products ranging from household items to decorative objects. Celluloid is also a fair non-conductor of heat and electricity, adding to its usefulness in electrical insulation and other applications.

One of the most significant features of celluloid is its thermoplastic nature. It becomes plastic at temperatures between 250 to 300 degrees Fahrenheit, allowing it to be easily molded into different shapes and forms. This property made celluloid highly desirable for the manufacturing of a diverse array of products, including combs, hairbrushes, jewelry, photographic film, and even early film stock.

Celluloid's introduction marked a significant advancement in material science, revolutionizing industries and paving the way for further innovations in the field of plastics. Despite its eventual decline in popularity due to safety concerns and the development of newer synthetic materials, celluloid remains an important milestone in the history of plastic manufacturing.

Bakelite:

The material introduced by Leo Baekeland in 1909 is known as Bakelite. Bakelite is a synthetic thermosetting phenol-formaldehyde resin, which was a pioneering development in the field of synthetic plastics.

Like celluloid, Bakelite could be molded into a variety of objects, making it highly versatile and suitable for a wide range of applications. It was celebrated for its heat resistance, electrical non-conductivity, and durability, which made it particularly well-suited for use in electrical insulators, automotive parts, kitchenware, jewelry, and other consumer products.

Bakelite played a significant role in the advancement of industrial design and mass production, and its introduction marked a turning point in the development of modern plastics. It quickly gained popularity and became widely used throughout the first half of the 20th century.

Today, Bakelite is highly collectible and prized for its historical significance, unique aesthetic qualities, and enduring durability. Its introduction by Leo Baekeland represents a landmark achievement in the field of materials science, and it continues to be appreciated by collectors and enthusiasts alike.

1840 – 1880 Period, Materials and Manufacturing processes:

• Bois durci - Compression moulding
• Gutta percha (first used around 1822)- Compression moulding, extrusion
• Vulcanite - Compression moulding
• Celluloid (cellulose nitrate, patented in 1868) - Compression moulding , fabrication
• Xylonite (cellulose nitrate) - Compression moulding , fabrication
• Parkesine (cellulose nitrate, patented in 1859) - Compression moulding, fabrication
• Shellac - Compression moulding

1880 -1915 Period, Materials and Manufacturing processes:

• Cellulose nitrate - Blow moulding, fabrication, thermoforming
• Shellac - Compression moulding
• Vulcanised rubber - Compression moulding, fabrication, turning

1915 -1925 Period, Materials and Manufacturing processes:

• Casein formaldehyde - Fabrication, extrusion
• Cellulose nitrate - Blow moulding, fabrication, thermoforming
• Phenol formaldehyde - Compression moulding, casting
• Shellac - Compression moulding
• Vulcanite - Compression moulding, fabrication, turning

1925 -1940 Period, Materials and Manufacturing processes

• Casein - Extrusion, fabrication, thermoforming
• Cellulose acetate - Compression moulding, fabrication, injection moulding
• Cellulose nitrate - Blow moulding, fabrication, thermoforming
• Phenol formaldehyde - Compression moulding, casting
• Urea formaldehyde - Compression moulding
• Shellac - Compression moulding

Florence Mfg Co.:

Below you can see the various markings and patterns seen on Florence items.

The History of Florence, Massachusetts, by Charles Arthur Sheffeld, 1895:

"FLORENCE MANUFACTURING COMPANY - In 1854 S.L. Hill and I.S. Parsons became associated with A.P. Critchlow in the manufacture of papier mache buttons, and union cases for daguerreotypes and ambrotypes. The firm was A.P. Critchlow & Co. In 1857 D.G. Littlefield became a partner, and in 1868 Mr. Critchlow sold out and the firm name was changed to Littlefield, Parsons & Co., and so remained till in the summer of 1866, the demand for the daguerreotype cases having declined, George A. Scott, S.L. Hinckley, George A. Burr, Mr. Littlefield, and Mr. Parsons formed the Florence Manufacturing Company, this company being the successors of Littlefield, Parsons & Co. The new firm began manufacturing toilet brushes, mirrors, lockets, etc. The reputation these "Florence" articles enjoy is an enviable one, and from the first the policy of the company has always been to stand at the head for variety of styles and elegance of designs.

The company at the present time manufacture toothbrushes, making a specialty of the Prophylactic, "Cosmeon" pure aluminium goods, "Florence" composition brushes and mirrors, and wood back toilet articles. The aluminium goods possess great merit, and seem destined to be even more popular than the well known "Florence" line. The main factory, a brick building, three stories high, one hundred and forty by forty five feet, was built in 1866. In 1885 a building one hundred by fifty feet, and two stories high, was erected adjoining the main structure, and in 1893 the office addition, thirty by forty five feet, three stories high, was made necessary owing to the constantly increasing business. 

The company has a capital of 100,000, and employs from one hundred fifty to one hundred seventy five hands. The present officers are: E.W. Eaton, president; Frank N. Look, treasurer and general manager; J.E. Winchell, secretary; E.W. Eaton, H.R. Hinckley, and Frank N. Look, directors."

 

 

The Boston Diatite Company:

The Boston Diatite Company, Boston, Mass., was organized on August 12 1869.  

SCOTT'S ELECTRIC

SCOTT'S ELECTRIC, 

 Old unusual gutta percha hair brush electricity motif. "Electric", with an arm holding lightning and a round design that says, " The Germ Of All Life Is Electricity". It is 9 1/4" long. 

Black -  quackery cures available in the late 1800's. Each brush could treat about every condition known from headaches to losing hair. Each brush had a magnet embedded in the brush, hence the electric mention. The large black brush is 9.5 inches in length and about 2.75 inches wide. Believed to be boars hair bristles. Gutta Percha handle, black. Marked "No. 5"Shipping with USPS and item will be well protected. Sorry, no returns and no warranty.Enjoy the great value/price instead.Dr. Scott, an Englishman, was the most prolific advertiser and maker of "electric hair brushes"and related quackery in America, in the 1880's. He received his first U.S. patent for a brush handle in 1872, and introduced his line of "electric brushes" in 1880. The Scott brushes and other devices all contain slightly magnetized iron rods in their handles, thus, the curative power could only have been provided by magnetism. However, Scott apparently preferred using the term "electric" in all of his advertising. Although, hair growth and relief from headaches are the two obvious claims that would come to mind for the possible use of an electric hair brush, Scott went on to make many wild claims for the curative power of his electric brushes. The conditions his brushes could cure included constipation, malarial lameness, rheumatism, diseases of the blood, and paralysis. While such claims seem outlandish to most people (and would have in 1880), each disease added to the advertising claims opened up a wider potential market for his brushes. Most of the (financially) successful quacks advertised devices that were claimed to cure almost every ailment, or, at least, the most common ones. Perhaps more outlandish than the medical claims for Scott's brushes is this warning printed on the hair brush box " Inno case should more than one person use the brush. If always used by the same person it retains its full curative power. Families sharing the brush, of course, wasn't in Scott's best interest - better to have two brushes in every home. Perhaps some of the dissatisfied users,for whom brushing their hair didn't cure their constipation, blamed their spouse for sucking up the power of their personal electric brush. In addition to his popular hair and flesh brushes,Scott marketed electric plasters, insoles, rheumatic rings, shoulder braces, throat protectors,nerve and lung invigorators, body belts, wristlets, sciatic appliances, anklets, leg appliances,office caps, and other special appliances made to order. He also offered electric curry combs for horses. His brochure states, " There need not be a sick person in America (save from accidents), if our appliances become a part of the wardrobe of every lady and gentleman, asalso of infants and children."  

Unknown Makers:

Celluloid Vanity Boxes:

During the mid to late Victorian era, thermoplastic sets were often sold in celluloid-covered boxes. These sets included various grooming and vanity items such as hairbrushes, combs, mirrors, manicure sets and other accessories, all housed within decorative boxes made of celluloid.

Celluloid, being a versatile material, allowed for the creation of boxes with a wide range of decorations and motifs. Some boxes featured simple designs, while others were adorned with elaborate patterns and fancy shapes, often reflecting the popular decorative styles of the Victorian era such as Art Nouveau and Rococo Revival.

These celluloid-covered boxes served both functional and decorative purposes. They provided a convenient and stylish way to store and transport grooming and vanity sets while also adding a touch of elegance to dressing tables and boudoirs.

Today, these Victorian-era celluloid-covered boxes are highly collectible, prized for their historical significance and intricate designs. They offer a glimpse into the decorative tastes and social customs of the time, serving as both functional artifacts and decorative pieces of art.

Jontue Moonlight by Revlon c1995

"Jontue Moonlight" by Revlon, introduced in 1995, is a dreamy and evocative fragrance that captures the essence of romance and magic. With its enchanting tagline, "Under the night sky, every dream of romance comes true," this scent transports you to a world where love and enchantment are ever-present under the shimmering night sky. The fragrance's composition and branding beautifully paint a picture of endless possibilities and romantic adventures, making it a timeless choice for those who dream of fairy-tale moments.

Alambic by Perfumes Jacques Heim c1930

Alambic by Perfumes Jacques Heim was launched in 1930, a time marked by significant social and cultural changes. The 1930s were defined by the aftermath of the Roaring Twenties, a period of economic prosperity and cultural exuberance that came to a sudden halt with the Great Depression beginning in 1929. The world faced economic hardship, leading to widespread unemployment and poverty. Despite these challenges, the decade also saw remarkable developments in art, fashion, and technology. People sought escapism through films, radio, and other forms of entertainment, and luxury goods like perfumes offered a sense of elegance and respite from daily struggles.

An alembic, from the Arabic "al-anbīq" meaning "the still," is a traditional distillation apparatus used historically in alchemy and perfumery. It consists of two vessels connected by a tube, designed to heat and cool liquids to separate their components based on different boiling points. In perfumery, the alembic is crucial for extracting essential oils from flowers, herbs, and other raw materials, creating the foundation for fragrances. Its association with perfumery lies in its role in refining and capturing the essence of natural ingredients, symbolizing the transformation of raw materials into something precious and pure.

Jacques Heim, a renowned French couturier, chose the name "Alambic" for his perfume, reflecting the meticulous and transformative process of creating a fragrance. The word "alambic" is French, directly referring to the distillation apparatus. Naming a perfume "Alambic" is appropriate because it evokes the image of craftsmanship, precision, and the art of distillation. It suggests a perfume crafted with care, involving the extraction of the finest elements to produce a luxurious and refined scent.

Antique French Cut Crystal and 950 Sterling Guilloche Toilette Set

Antique toiletry sets from the late Victorian era and into the Edwardian era are fascinating pieces of history. They offer a glimpse into the grooming rituals and aesthetics of the time, showcasing the craftsmanship and decorative styles popular during that period. In this article, I am sharing with you a lovely set from my personal collection.

A complete set with a cologne bottle, perfume bottle, powder box, and hairbrush would have been a luxurious and elegant addition to any dressing table or vanity. Each piece would have served both functional and decorative purposes, contributing to the overall ambiance of the dressing area.

It's fascinating to imagine how such a set would have been used and displayed in a Victorian or Edwardian home, perhaps accompanied by other decorative items and personal accessories. These sets often reflect the refined tastes and social customs of the era, making them cherished collectibles for enthusiasts and historians alike.

The bottles and the powder box are made up of heavy, clear cut leaded crystal, cut from top to bottom in a ribbed pattern so that when the light catches the facets, they sparkle beautifully. The rounded bases are cut flat and fire polished so that they will sit correctly on a dressing table. The bottles are fitted with a crystal inner stopper with notched edges for grip. The inner stopper helps seal the bottle so that it will not spill when traveling. It also keeps the costly perfume from evaporating.

The collar of the bottles are solid 950 silver which looks elegant in my opinion. The over caps for the bottles, the lid for the powder jar and the brush are also made up of solid 950 silver and are engine turned with a guilloche pattern on the top. Guilloche refers to a pattern etched into a metal surface by means of engine-turning with a lathe-like machine called a "tours à guilloché." A circle in the center of the pieces was meant for a monogram, but they have not been monogrammed. 

The smaller bottle stands 4" tall with stopper in place x 2.25" diameter. Based on the size, it was used to hold perfume (parfum). The larger bottle stands 5.25" tall with stopper in place x 3.25" diameter. Based on the generous size, it was used to hold eau de cologne or eau de toilette, which were meant to be used liberally all over the body.

The collars and caps of the bottles, the hair brush and the lid for the powder jar are all stamped with the "Minerva head" assay mark used in France accompanied with the number one at the forehead. This number indicates this is the finest grade of silver used in France, which was 950, higher silver content than sterling silver which is 925. French silver marks are usually very small and hard to read due to being partially worn from polishing or wear over time. 

The French assay mark for solid silver, the head of the Roman goddess Minerva in profile, has been used since 1838. The mark is used to denote the standard of a piece of French silver. There are two variants of the mark, one for 800 grade (80%) silver and one for 950 (95%) silver. The higher standard is 950 parts per thousand, or 95% silver, and is referred to as 1st Standard. The French refer to it as "Minerve 1st. Titre" or "argent massif." Pieces with Minerva marks bearing the number one (near the forehead) are of .950 quality and are often considered "sterling" even with the higher silver content.

The manufacturer's punch mark is also stamped on the collars, brush, lid and caps. This diamond shaped lozenge is what French silversmiths used to mark their silver. Normally a combination of initials and a symbol are used. In this case, the diamond shaped lozenge has the letters "SF" with an anchor in between the letters. This was the mark used by Saglier Frères when used on silver, not silverplate. The mark was entered in 1897, 12 rue d’Enghien, Paris.

To see these items and more photos, you can view them and other treasures in my etsy shop, TresorsduBoudoir.

Do you collect toilette sets? 

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.

Projets by Worth c1936

"Projets" by Worth was indeed launched in 1936, and it was later renamed "Clear Sailing" when it was sold in the United States. The perfume was created by Maurice Blanchet, a renowned perfumer known for his contributions to the fragrance industry during that era. Blanchet crafted many iconic scents, and "Projets" by Worth, later known as "Clear Sailing," was one of his notable creations.

Laughter by Yardley c1975

The mid-1970s was a vibrant and dynamic period marked by cultural shifts and a sense of liberation. The era saw a significant rise in the popularity of disco music, characterized by its upbeat, danceable rhythms and the exuberant atmosphere of nightclubs. Fashion was bold and expressive, with people embracing colorful, eclectic styles that celebrated individuality and freedom. The world was also experiencing economic changes, with many enjoying the fruits of post-war prosperity, allowing for greater indulgence in luxury items, including perfumes.

Yardley chose the name "Laughter" for their 1975 fragrance to encapsulate the essence of this carefree and joyous time. The name "Laughter" evokes the sound of pure, unbridled joy and happiness, resonating with the spirit of the era. It suggests a perfume that is light-hearted, vibrant, and effervescent, capturing the mood of people who were embracing a more relaxed and playful lifestyle.

"Laughter" is an appropriate name for a perfume because it conveys a sense of joy and positivity. Perfume is often used to enhance one's mood and evoke certain emotions, and a fragrance named "Laughter" would aim to bring a smile to the wearer's face and those around them. It implies a scent that is uplifting and cheerful, perfect for social gatherings, parties, or any occasion where one wants to feel happy and carefree.

The target audience for a perfume called "Laughter" in the 1970s would likely have been young adults and those young at heart, who were embracing the new social freedoms of the time. These individuals would have been drawn to the idea of a fragrance that represents fun, spontaneity, and enjoyment of life. They would respond to this perfume with a sense of delight and anticipation, eager to capture the essence of a time filled with laughter and good times.

The word "Laughter" evokes images of joyous moments shared with friends, the sound of giggles and chuckles at a lively gathering, and the carefree abandon of dancing the night away at a disco. It brings to mind the warmth of sunny days, the light-heartedness of playful banter, and the simple pleasures of life that bring happiness. The feelings associated with "Laughter" include joy, warmth, and a sense of community, reflecting the positive and upbeat nature of the mid-1970s.