Borgia by Rosine c1914

In 1914, when the perfume Borgia by Rosine was launched, Europe and the world were on the brink of a cataclysmic war that would soon engulf them in the form of World War I. Tensions were escalating, and the fragility of peace was palpable. Amidst this backdrop of impending conflict, society was in a state of transition. The Belle Époque was fading, giving way to a more modern era characterized by changing social norms and women's increasing independence.

The name "Borgia" for a perfume was not chosen lightly. It evokes a historical period and a family infamous for their power, intrigue, and scandal. The Borgias, particularly Lucretia Borgia, were notorious figures from Renaissance Italy. Lucretia Borgia, daughter of Pope Alexander VI, was rumored to be involved in various scandals, including alleged incest and poisoning of her enemies. The Borgia family's reputation was one of ambition, ruthlessness, and a penchant for opulence and luxury. Naming a perfume after a figure associated with scandal and poison was likely a deliberate choice to provoke curiosity and controversy.

Perfume names often draw on historical or mythological figures to evoke certain qualities or narratives. The Borgia family's reputation for using poison as a tool of power and manipulation could symbolize the allure of power itself, or the intrigue and complexity of human relationships. Perfume itself is a blend of various fragrant substances, and the name "Borgia" juxtaposes the idea of something beautiful and alluring (perfume) with something dangerous and sinister (poison). This contrast may evoke a sense of mystery and fascination, appealing to those who are intrigued by the darker aspects of human nature.

Sa Chambre by Rosine c1920

The launch of Sa Chambre by Rosine in 1920 marked a pivotal moment in the world of perfumery, coinciding with the dawn of the Roaring Twenties. This era was defined by a dramatic shift in societal norms and a burgeoning sense of liberation, particularly for women who were increasingly asserting their independence. Against this backdrop of cultural dynamism, Sa Chambre, meaning "Her Room" in French, captured a nuanced essence reflective of its time.

The name "Sa Chambre" evokes a sense of intimacy and personal sanctuary. In French, it suggests a space that is private and personal, where one can retreat and indulge in moments of self-expression. For a perfume, such a name carries connotations of sensuality, comfort, and perhaps a hint of mystery, appealing to a woman's desire for elegance and individuality.

Henri Alméras, the perfumer behind Sa Chambre, was a prominent figure in early 20th-century perfumery. His creations were renowned for their sophistication and ability to encapsulate the spirit of their era. Beyond Sa Chambre, Alméras crafted several iconic fragrances that have stood the test of time. These include Joy by Jean Patou and Le Fruit Defendue for Rosine in 1916.

Each of Alméras' creations, including Sa Chambre, reflects his mastery in blending fragrances that resonate deeply with the cultural and social milieu of their time. With its name invoking images of personal allure and intimacy, Sa Chambre would have appealed to the cosmopolitan and emancipated women of the 1920s, offering them a fragrance that embodied both elegance and the spirit of the modern age.

Fan Fan La Tulipe by Rosine c1912

The year 1912 was an era characterized by significant cultural, social, and political changes, it was also the year that Rosine launched the perfume Fan Fan La Tulipe. This period, known as the Belle Époque, spanned from the late 19th century to the outbreak of World War I in 1914. It was a time of optimism, peace, and technological progress in Western Europe, particularly in France. The arts flourished, with movements such as Art Nouveau and Impressionism leaving a lasting impact. Fashion was also undergoing a transformation, with designers like Paul Poiret pioneering new, liberating styles for women that broke away from the restrictive corsets of the previous decades.

"Fan Fan La Tulipe" is a name imbued with French cultural heritage, evoking the spirit of a swashbuckling, charming soldier. This character, known for his bravery and romantic escapades, resonated with the French public as a symbol of gallantry and adventure. The name would be particularly appealing for a perfume as it suggests a blend of romanticism, courage, and a touch of mischievous charm—all qualities that would be attractive to women looking to embrace a more modern, self-assured identity in the early 20th century.

Paul Poiret, known for his avant-garde fashion designs, chose "Fan Fan La Tulipe" to evoke a sense of nostalgia and national pride while aligning with the contemporary trends of romanticism and individualism. Poiret was a master of storytelling through his creations, and by naming his perfume after a folkloric hero, he tapped into the collective imagination of the French people. The name also suggests a playful elegance, which would have been appealing to the sophisticated women who wore his designs and aspired to embody the same qualities.

Espalier Du Roy by Rosine c1911

In 1911, when Paul Poiret launched his perfume "Espalier du Roy," the world was amidst the Belle Époque era, a period characterized by optimism, elegance, and cultural refinement in Europe. This was a time of flourishing arts, technological progress, and social change, particularly in fashion and fragrance.

The name "Espalier du Roy," translating to "Espalier of the King," evokes a sense of luxury and regality. An espalier is a horticultural technique where fruit trees or shrubs are trained to grow flat against a support structure, often a wall or lattice, through meticulous pruning and shaping. This method not only enhances the aesthetic appeal of the plants but also optimizes their fruit production or ornamental beauty.

Paul Poiret, a visionary in the world of fashion and lifestyle, chose to name his perfume after this technique likely due to its association with elegance, artistry, and the cultivated beauty found in the gardens of royalty and the elite. Poiret himself had espaliers in his garden, reflecting his personal appreciation for nature's artistry and meticulous cultivation.

In the context of perfume, the name "Espalier du Roy" suggests a fragrance that embodies sophistication, refinement, and perhaps a touch of natural allure. Perfumes during the Edwardian era were often floral or oriental, catering to the romantic and elegant sensibilities of women of that time. The idea of a perfume named after a technique that transforms plants into living artworks would have likely appealed to the Edwardian woman's appreciation for beauty and refinement.

The Edwardian era, overlapping with the Belle Époque, is indeed known for its opulence and cultural refinement, where fashion, art, and lifestyle reflected an optimistic and indulgent spirit. Images of this era conjure up visions of lavish soirées, intricate fashion designs, and a society that embraced both tradition and modernity.

In summary, "Espalier du Roy" by Rosine, launched in 1911, encapsulates the spirit of its time through its name, evoking images of controlled elegance, natural beauty crafted into art, and the refined tastes of the Belle Époque era, appealing to the sophisticated women who adorned themselves with the luxuries of the day.

Sakya Mouni by Rosine c1919

The perfume Sakya Mouni by Rosine was launched in 1919, a period marked by significant social and cultural changes in the aftermath of World War I. This era, known as the Roaring Twenties, saw a break from traditional norms, with a surge in artistic, cultural, and fashion innovations. Women, in particular, experienced newfound freedoms and began to explore and express their identities in ways previously constrained by societal norms.

Sakya Mouni translates to "Sage of the Sakyas," a title attributed to Siddhartha Gautama, the founder of Buddhism, commonly known as the Buddha. The name itself carries connotations of enlightenment, wisdom, and serenity. These qualities align well with the characteristics one might desire in a perfume: a sense of calm, an air of sophistication, and an aura of mystique.

Paul Poiret, a renowned French fashion designer, was known for his love of exoticism and his penchant for drawing inspiration from various cultures. His decision to name the perfume Sakya Mouni likely stemmed from several factors. During the early 20th century, there was a fascination with the "Orient" (a term broadly and often imprecisely used to refer to Asian cultures). This fascination was part of a larger trend in which Western art, fashion, and design drew heavily from Asian motifs and themes. By referencing the Buddha, Poiret tapped into the mystique and spiritual depth associated with Eastern philosophies, which were increasingly popular among the Western elite seeking new and exotic experiences. Furthermore, Poiret's own garden statue of the Buddha would have provided a personal and artistic connection, making the fragrance a reflection of his tastes and interests.

The name Sakya Mouni connects to the perfume by evoking an image of tranquility, spiritual depth, and exotic luxury. Perfume, as a sensory experience, often aims to transport the wearer to a different time or place, and the association with the Buddha could suggest a journey to an ancient, serene, and mystical land.

The fascination with the Orient, or Orientalism, was prevalent during the early 20th century. This cultural movement was characterized by a Western interpretation and romanticization of Eastern cultures. Paul Poiret was a significant figure in this trend. His contributions included Oriental-inspired fashion, where Poiret's designs often incorporated elements from Asian, Middle Eastern, and North African cultures. He popularized the use of exotic fabrics, bold colors, and intricate patterns. Poiret's fashion shows were known for their dramatic and theatrical presentations, often themed around exotic locales and stories. With his perfume line, Parfums de Rosine, Poiret extended his fascination with the Orient into the realm of fragrances, creating scents that evoked the exotic and the luxurious.

Women of the 1920s were breaking free from traditional roles and embracing new forms of self-expression. The exotic and sophisticated image projected by a perfume named Sakya Mouni would have been appealing to women seeking to embody modernity, independence, and a sense of adventure. The allure of the Orient, combined with the spiritual and serene connotations of the Buddha, would have made this fragrance particularly attractive to women looking to express their individuality and sophisticated tastes.

In summary, the name Sakya Mouni was appropriate and appealing due to its exotic and sophisticated connotations, aligning perfectly with the cultural and artistic trends of the time. Paul Poiret's choice reflected his own interests and the broader fascination with Orientalism, making it a desirable fragrance for the modern, adventurous woman of the 1920s.

Le Fruit Defendu by Rosine c1913

"Le Fruit Defendu" by Rosine is a fragrance with a rich history, crafted by the skilled hands of Henri Alméras and introduced to the world in 1913. Its allure likely reached the shores of the United States by 1916, captivating perfume enthusiasts with its mysterious charm. The name itself, translating to "The Forbidden Fruit" in French, evokes the timeless tale of Adam and Eve and their fateful encounter with temptation.

This fragrance holds a special place in the hearts of many, including the renowned American actress Gloria Swanson, who found herself enchanted by its alluring aroma. Just as the forbidden fruit tempted Adam and Eve, Le Fruit Defendu tantalizes the senses, weaving a narrative of seduction and desire with every delicate note. Its legacy endures through the decades, a testament to its timeless appeal and the artistry of its creators.

Coup de Foudre by Rosine c1925

In 1925, the year Coup de Foudre by Rosine was launched, the world was experiencing a transformative period marked by cultural dynamism and social liberation. The Roaring Twenties saw a flourishing of artistic expression, significant shifts in societal norms, and a newfound independence for women. It was an era characterized by jazz, flapper fashion, and a rejection of Victorian ideals in favor of modernity and freedom.

The name "Coup de Foudre" chosen by Paul Poiret for his perfume line was not just a linguistic choice; it carried deep cultural and emotional resonance. Translating to "bolt of lightning" or "thunderbolt" in French, the term signifies a sudden and intense romantic attraction—a notion synonymous with the French expression for "love at first sight." This choice was particularly poignant as it encapsulated the spirit of excitement and passion that defined the 1920s.

Henri Alméras, the perfumer behind Coup de Foudre, crafted a fragrance that embodied the essence of its name. Known for his expertise in creating elegant and evocative scents, Alméras likely tailored Coup de Foudre to reflect the era's sophistication and sensuality. The perfume would have been designed to captivate and enchant, offering a sensory experience that aligned with the liberated spirit of the time.

For women in the 1920s, the name "Coup de Foudre" would have held a powerful allure. It symbolized not only a romantic ideal but also a sense of daring and modernity. In an era where societal norms were being challenged and women were asserting their independence, the notion of being struck by a thunderbolt of love resonated deeply. The name suggested spontaneity, passion, and a rejection of traditional expectations—a sentiment that echoed the aspirations of many women embracing the freedoms of the Jazz Age.

In conclusion, Coup de Foudre by Rosine, created by Henri Alméras and launched in 1925, epitomized the spirit of its time. Its name, chosen by Paul Poiret, evoked the thrill of love's sudden impact, appealing to women who sought romance, adventure, and self-expression during the exhilarating decade of the 1920s. Henri Alméras's olfactory masterpiece would have complemented this spirit, offering a fragrance that was as bold and captivating as the era itself.

Mea Culpa by Rosine c1922

In 1922, the world was emerging from the shadows of World War I, transitioning into a period known as the Roaring Twenties. This era was characterized by significant cultural shifts, economic growth, and a newfound sense of freedom and modernity. In the world of fashion and perfumery, innovation and bold experimentation were at the forefront. It was during this vibrant and transformative time that Paul Poiret, a visionary French fashion designer, launched the perfume "Mea Culpa" under his brand, Rosine.

The name "Mea Culpa," meaning "through my fault" or "my fault" in Latin, carries profound connotations of personal acknowledgment of mistakes or guilt. This name is particularly appropriate for a perfume as it invokes a sense of deep introspection and emotional complexity. Perfumes often aim to evoke emotions and tell a story, and "Mea Culpa" suggests a narrative of self-reflection, redemption, and perhaps even a confession of personal shortcomings. This emotional depth can resonate with consumers who seek more than just a pleasant scent but a meaningful experience.

For Paul Poiret, issuing a perfume named "Mea Culpa" could have been a way to express a sense of humility and humanity, qualities that might have been rare in the often ego-driven world of high fashion. Poiret was known for his dramatic and avant-garde designs, which revolutionized women's fashion by liberating them from restrictive corsets and introducing freer, more expressive silhouettes. By naming a perfume "Mea Culpa," Poiret might have been acknowledging the imperfections or missteps in his journey, offering a scent that symbolizes the complex interplay of guilt and grace.

Poiret's reasoning behind this name could be multi-faceted. It could reflect a personal acknowledgment of the trials and errors inherent in the creative process, a nod to the tumultuous times that shaped his career, or a broader commentary on the human condition. The name could also be seen as an invitation to his audience to engage in their own moments of self-reflection, making the perfume not just a product but a catalyst for personal introspection.

With "Mea Culpa," Paul Poiret would be speaking to those who appreciate the fusion of art and emotion in fashion and perfumery. He would be saying "Mea Culpa" to his audience, inviting them to share in a collective recognition of human flaws and the beauty that can emerge from them. This deeply personal and poetic approach would appeal to individuals who value the stories and sentiments behind their fragrances, creating a unique and enduring connection with the perfume. 

La Rose de Rosine by Rosine c1912

During the Belle Époque, spanning roughly from the late 19th to early 20th century, Europe was a hub of cultural flourishing, marked by optimism, technological progress, and artistic innovation. This period was synonymous with opulence and luxury, epitomized by the extravagant lifestyles of the elite, who frequented fashionable capitals like Paris for the latest in haute couture and luxury goods. Transatlantic travel was a glamorous affair, with grand ocean liners offering plush accommodations and prestigious voyages connecting Europe to America and beyond.

In 1912, against this backdrop of cultural dynamism, La Rose de Rosine by Rosine was introduced. Named after Paul Poiret's daughter, Rosine, the perfume captured the essence of sophistication and refinement prized during the Belle Époque. The rose, central to its name and fragrance, symbolized love, beauty, and elegance in the Victorian language of flowers—a language richly embraced by the era's romantic sensibilities.

For women of the Belle Époque, La Rose de Rosine represented more than just a perfume; it embodied their desire for grace, femininity, and social distinction. The perfume's presentation in a lavish bottle embellished with gold enamel underscored its appeal to discerning tastes and aesthetic appreciation. American women, among other international travelers, journeyed to Paris not only for its renowned fashion houses but also to acquire prestigious scents like those from Poiret's salon.

Thus, La Rose de Rosine became a cherished accessory, symbolizing the aspirational lifestyle and cultural refinement of the Belle Époque. Its launch in 1912 coincided with a period of unparalleled elegance and artistic creativity, where every detail—from fashion to fragrance—contributed to the allure and allure of the era's sophisticated elite.

Rosine Tester Rack for Perfumes

photo by Perfume Bottles Auction

1920s Rosine perfume tester for the following perfumes:

• Maharadjah
• Qui-es-tu?
• Nuit de Chin
• Hahna
• Toute la Foret
• Coupe d'Or

6 bottles and dauber-stoppers, clear glass, labels, plastic and metal holder.  Length 8 1/2 in.

Antinea by Rosine c1922

The launch of the perfume Antinea by Rosine in 1922 coincided with a period of burgeoning artistic and cultural exploration known as the Roaring Twenties. This era was characterized by a spirit of liberation, innovation, and a fascination with the exotic and the unknown. Society was captivated by stories of exploration, discovery, and mythical tales, which permeated literature, art, and fashion.

The name "Antinea" would have been particularly appealing for a perfume during this time. Antinea, as the legendary figure from Pierre Benoit's novel "L'Atlantide," symbolized a femme fatale archetype—mysterious, alluring, and enigmatic. She was the queen of Atlantis, a mythical city submerged beneath the sea, embodying both beauty and danger. Women of the 1920s were increasingly asserting their independence and breaking away from traditional roles, seeking to embody qualities of empowerment and allure. Antinea represented a compelling figure of feminine strength and allure, resonating with women who sought to challenge conventions and embrace their own sensuality and mystique.

The connection to Pierre Benoit's novel adds a sophisticated layer of intrigue to the perfume. It suggests a blend of literature and artistry, appealing to those with a penchant for storytelling and romance. The fragrance itself, inspired by the mysterious depths of the sea and the mythical allure of Atlantis, would evoke a sense of adventure and exoticism. Imagine wearing a scent that transports you to the ethereal beauty of underwater realms, evoking images of hidden treasures and lost civilizations.

For women of the 1920s, wearing Antinea would have been more than just applying a fragrance—it would have been a statement. It would signify a connection to mythical narratives, a celebration of feminine allure and strength, and a way to indulge in the romanticism of lost worlds and unexplored mysteries. The allure of Antinea lay not only in its captivating scent but also in its ability to evoke a sense of fantasy and escapism, appealing to the imaginations of those who dared to dream beyond the ordinary.

Arlequinade by Rosine c1919

Arlequinade by Rosine is a timeless fragrance that first graced the olfactory landscape in 1919, marking its debut in the United States by the illustrious year of 1923. Crafted by the masterful hands of Henri Alméras, this scent embodies a symphony of nuanced notes that dance harmoniously on the skin.

Toute La Foret by Rosine c1911

The perfume "Toute La Foret" by Rosine was launched in 1911, during a period characterized by significant changes in societal norms and aesthetics. This was the early 20th century, a time marked by the Belle Époque in France, where there was a flourishing of arts, fashion, and a growing interest in naturalism and romanticism.

The name "Toute La Foret," meaning "The Whole Forest," suggests a connection to nature and a desire to evoke natural landscapes through scent. At the time, there was a romanticized fascination with the outdoors and the idea of pristine, untouched wilderness. Perfumes with names evoking nature and natural elements appealed to the sensibilities of the era's women, who often sought escapism and a connection to the natural world amidst the rapid urbanization and industrialization.

For women in the early 20th century, perfumes like "Toute La Foret" offered a way to indulge in fantasies of leisurely strolls through lush forests, filled with herbal aromas and the delicate fragrances of forest flowers. The scent aimed to capture the essence of happy moments spent in Fontainebleau, a renowned forest near Paris known for its beauty and tranquility. This association with a specific place added a layer of nostalgia and sophistication to the perfume's allure.

The promotional artwork by Raoul Dufy, featuring stylized prints of leaves and birds, further enhanced the perfume's appeal. Such visuals not only complemented the natural theme but also conveyed a sense of artistic refinement and elegance, appealing to the artistic and cultural sensibilities of the time.

The endorsement of "Toute La Foret" by American actress Mary Pickford, known for her charm and influence in shaping early 20th-century beauty ideals, would have undoubtedly contributed to its popularity among women seeking to emulate the glamour and sophistication associated with celebrities of the era.

In summary, the name "Toute La Foret" was apt for its time as it evoked romanticized visions of nature, nostalgia for idyllic landscapes, and a desire for artistic and sensory experiences that transcended the everyday. Its appeal lay in offering women a fragrance that symbolized both luxury and a connection to the natural world, catering to the romantic and aspirational ideals prevalent in early 20th-century society.

Nuit Persane c1911 and Nuit de Chine by Rosine c1912

Nuit Persane by Rosine: launched in 1911.