1929 Prices for Rosine Perfumes

1929 Prices for Rosine Perfumes as seen in the Kansas City Star. You can see how the prices for Rosine's perfumes dropped


Perfumes:

• Rosine’s Nuit de Chine Extract ...Originally $2.50... Now  $1.00 
• Rosine’s Nuit de Chine Extract....Originally $7.50... Now  $4.69 
• Rosine's Nuit de Chine Extract ...Originally $14.00... Now $7.35 
• Rosine’s Maharadjah Extract ..Originally $2.50... Now$1.00 
• Rosine’s Maharadjah Extract ..Originally $3.50...Now $1.79 
• Rosine’s Maharadjah Extract ..Originally $18.00... Now  $9.95 
• Rosine's Qui es tu Extract ...Originally $2.50... Now  $1.00 
• Rosine’s Qui es tu Extract ...Originally $3.50... Now  $1.79 
• Rosine's Chypre Extract ......Originally $5.00... Now  $3.49 
• Rosine’s Jasmin Extract ..... Originally $5.00... Now  $3.49 

Powders:

• Rosine’s Dusting Powder ...Originally $1.50... Now  $1.00 
• Rosine’s Talcum—tin container ...Originally $1.50... Now  $1.00 
• Rosine’s Talcum—glass container ..Originally $1.09...  Now 79c

Avenue du Bois by Rosine c1912

The fragrance Avenue du Bois by Rosine was introduced in 1912, amidst the vibrant cultural milieu of the Belle Époque in Paris. This era, characterized by economic prosperity and artistic flourishing, saw Paris as a center of sophistication and elegance. The perfume's name, translating to "Avenue of the Woods" in French, pays homage to the prestigious Avenue du Bois leading to the Bois de Boulogne, a renowned park in Paris known for its natural beauty and leisurely atmosphere.

During the Belle Époque, the Bois de Boulogne and its surrounding avenues were favored by the wealthy and fashionable elite of Paris. These areas were synonymous with leisurely strolls, carriage rides, and social gatherings among the well-dressed residents and visitors of the city. The choice of naming a perfume after Avenue du Bois would have been particularly appealing for its associations with elegance, refinement, and historical significance.

The name Avenue du Bois suggests a connection to both nature and luxury. It evokes images of tree-lined avenues, elegant homes, and the opulent lifestyle of the Belle Époque era. Moreover, the avenue was home to notable figures like Jacques Doucet, whose residence further adds to the allure of exclusivity and sophistication associated with the fragrance.

In summary, Avenue du Bois by Rosine, launched in 1912, captures the essence of a bygone era in Parisian history. The name not only reflects the natural beauty and leisurely ambiance of the Avenue du Bois leading to the Bois de Boulogne but also resonates with the elegance and luxury of the Belle Époque period, appealing to those who appreciate the historical and cultural richness of early 20th-century Paris.

Le Mouchoir de Rosine by Rosine c1914

In 1914, the year "Le Mouchoir de Rosine" was introduced by Paul Poiret, the cultural milieu in France was characterized by the waning days of the Belle Époque era. This period was marked by artistic innovation, societal shifts, and a departure from Victorian conservatism towards a more liberated, modern outlook. Paul Poiret, a visionary in haute couture, was renowned for challenging traditional fashion norms with his avant-garde designs that emphasized freedom and expression.

The name "Le Mouchoir de Rosine," translating to "The Handkerchief of Rosine," holds significance rooted in both practicality and symbolism. During the Victorian era, wearing perfume openly was often frowned upon due to conservative social norms. In response, perfumers devised "handkerchief perfumes," which allowed individuals to discreetly carry and apply fragrance by sprinkling it on their handkerchiefs rather than directly on their skin. This method circumvented societal taboos while still allowing individuals to enjoy the scents they desired.

Paul Poiret's choice of "Le Mouchoir de Rosine" as a name for his perfume line is a direct homage to this Victorian innovation. By evoking the concept of handkerchief perfumes, Poiret not only pays tribute to historical perfume practices but also aligns his line with a sense of refinement and elegance reminiscent of the Belle Époque era. Each bottle of "Le Mouchoir de Rosine" was meticulously wrapped in a vibrantly colored silk handkerchief, tailored to match the mood and preferences of the buyer. This personalized touch not only enhanced the allure of the fragrance but also allowed patrons to express their individuality through their choice of scent and accompanying fabric.

Furthermore, Poiret drew inspiration from the Victorian and Edwardian fascination with the Language of Flowers, a symbolic system where specific flowers conveyed nuanced messages and emotions. By infusing his fragrances with this botanical symbolism, Poiret imbued "Le Mouchoir de Rosine" with layers of meaning and cultural depth, appealing to the romantic sensibilities of his clientele.

In summary, "Le Mouchoir de Rosine" by Rosine represents a convergence of historical homage and artistic innovation. Through its name and presentation, Poiret honors Victorian traditions of discreet perfume use while embracing the language of flowers to create a sensory experience that resonated with the sophistication and individuality of early 20th-century Parisian society.

 Rosine describes the line poetically: 

 "Did Rosine wake up uncertain and pensive, still under the impression of confused dreams? She only admits a green handkerchief, the color of myrtle and symbol of mystery. Does she feel a secret uneasiness, some jealous torment? She adopts the orange in memory of the nasturtium. Does she feel in the mood to betray? So it will be the red, the peony. More often, I think, she chooses yellow, in other words daffodil, desire, or even better blue, the tender blue of morning glory, divine blue, the prognosis of caresses, sometimes even pink, the color of her favorite flower."

The Woman Fortnightly Magazine, 1922:

"I go out through the door of the faubourg St Honoré where the magician still presents a marvel of his multifaceted activity: "Les parfums de Rosine." I remember that when one of his first creations - Le mouchoir de Rosine - first appeared in Italy - I stood perplexed contemplating that curly handkerchief bundled up in the middle of a shop window and wondering what strange charm the Mouchoir de Rosine. Then I learned that she was hiding a vial of delicious perfume in her hands. This was followed by all the other more suggestive summers: La Coupe d'or Nuit de chine, Le Minaret, Borgia, of which you don't know whether to prefer the essence or the case which is a small work of art. An artist case that is a small work of art."

 

  

Fragrance Composition:

In Paul Poiret's 1914 fragrance collection "Le Mouchoir de Rosine," each color variant was not merely a visual distinction but a poetic exploration of moods and emotions, inspired by the Victorian Language of Flowers. 

Green:

In Paul Poiret's fragrance collection "Le Mouchoir de Rosine," green symbolized the myrtle flower, which traditionally conveyed love in the Victorian Language of Flowers. However, Poiret ingeniously reinterpreted this symbol to evoke an aura of mystery, encapsulating his penchant for unconventional elegance and intrigue. Myrtle, renowned for its clear, fresh, camphoraceous, and sweet herbaceous scent reminiscent of eucalyptus, served as the olfactory cornerstone of this fragrance.

During Poiret's era, perfumers meticulously blended various essences to recreate the essence of myrtle. The fragrance composition typically included extracts of jasmine and tuberose, which added floral depth and sensuality to the perfume. Orange blossom contributed a delicate citrus-floral note, while rose provided a rich and timeless floral bouquet. Tincture of vanilla imparted a smooth sweetness, harmonizing with the herbal nuances of myrtle oil.

To ensure longevity and complexity in the perfume, Poiret's perfumers employed fixatives such as storax and civet. Storax, with its warm, balsamic aroma, served to anchor the fragrance, enhancing its depth and richness over time. Civet, a musky secretion from the civet cat, added an animalic undertone, contributing to the perfume's allure and sophistication.

By blending these ingredients harmoniously, Poiret crafted a fragrance that transcended conventional notions of floral perfumery. His reinterpretation of myrtle not only reflected his avant-garde approach to fragrance but also underscored his ability to imbue each scent in "Le Mouchoir de Rosine" with a distinct personality and narrative. The result was a perfume that captured the essence of mystery—a testament to Poiret's artistic vision and his commitment to pushing the boundaries of olfactory artistry during the Belle Époque era.

 

Yellow:

Paul Poiret's "yellow" perfume, symbolizing the daffodil or narcissus, epitomized a rich and opulent floral composition with subtle green undertones. During Poiret's era, perfumes of this nature were meticulously crafted to evoke a sense of luxurious indulgence and sophistication.

To achieve the desired fragrance profile, Poiret's perfumers employed a blend of key ingredients. Jonquil extract, derived from the Narcissus jonquilla species, contributed its distinct floral character, while tuberose extract added depth with its creamy and intense floral notes. Vanilla tincture imparted a smooth sweetness, complemented by storax tincture which provided a warm and balsamic undertone.

A crucial element in recreating the narcissus scent was the use of synthetic narcissus aromachemicals, often refined and standardized by chemists like Verley during that period. These synthetic components were crucial in capturing the essence of narcissus, ensuring consistency and depth in the fragrance.

To further enrich the perfume, Poiret's perfumers integrated orange blossom and jasmine absolutes. Orange blossom added a fresh, citrusy floral aspect, while jasmine imbued the composition with its sensual and exotic floral notes, enhancing the overall complexity and allure of the fragrance.

In some formulations, additional botanical extracts and essences might have been included to refine the scent profile. Small amounts of orris, known for its powdery and slightly woody aroma, along with civet, cassie (acacia farnesiana), and rose essences, could have been employed to add subtle nuances and depth to the perfume, creating a multi-layered olfactory experience.

Ultimately, Poiret's "yellow" perfume, inspired by the daffodil or narcissus, represented a harmonious blend of natural extracts and synthetic compounds, meticulously crafted to embody the richness, elegance, and complexity characteristic of early 20th-century French perfumery.

Red:

In Paul Poiret's visionary perfume line "Le Mouchoir de Rosine," each color and fragrance was a deliberate narrative crafted to resonate with emotions and symbolism, drawing inspiration from the Victorian Language of Flowers. The hue red, representing the peony, traditionally associated with anger in Victorian symbolism, was reimagined by Poiret to evoke the complex sentiment of betrayal. Peonies, known for their diverse fragrant profiles ranging from sweet rose-like scents to hints of water lilies and citrus zest, formed the aromatic foundation of this particular perfume.

During Poiret's era, perfumers meticulously blended an array of ingredients to capture the essence of the peony. The fragrance typically included essential oils such as geranium for its floral depth, musk and musk tincture for their animalic undertones, and styrax tincture for its warm, balsamic notes. Vanillin tincture provided a sweet, vanilla-like aroma, complementing the floral bouquet of orange blossom, jasmine, rose, and violet essences.

To enhance the complexity and longevity of the perfume, Poiret's formulations might have also included terpineol, a terpene alcohol known for its pine-like aroma, and methyl anthranilate, which adds a fruity, grape-like nuance. These ingredients were expertly balanced to create a fragrance that not only captured the essence of the peony but also embodied the emotional depth and storytelling prowess that characterized Poiret's avant-garde approach to perfumery.

In essence, Poiret's interpretation of the peony in "Le Mouchoir de Rosine" transcended its traditional associations, transforming it into a symbol of betrayal infused with layers of floral richness and intrigue. This fragrance exemplified Poiret's ability to blend artistry with olfactory science, creating perfumes that not only delighted the senses but also resonated with the nuanced sentiments of his time.

Blue:

In Paul Poiret's innovative perfume line "Le Mouchoir de Rosine," each fragrance was not just a scent, but a carefully curated narrative inspired by the Victorian Language of Flowers. The color blue, symbolizing the morning glory in traditional Victorian symbolism, traditionally conveyed coquetry—suggestive of flirtation and playful charm. However, Poiret boldly reinterpreted this symbol to evoke a mood of anticipation, capturing a sense of eager expectation and anticipation for what lies ahead.

The fragrance composition of Poiret's interpretation of morning glory was meticulously crafted to embody this sense of anticipation. Morning glories are known for their delicate, slightly sweet scent with a subtle hint of anise-like aroma. To recreate this fragrance in Poiret's time, perfumers turned to the burgeoning field of synthetic chemistry. They utilized a combination of chemical compounds such as benzo dihydropyrone, which offers a warm, sweet scent reminiscent of coumarin, known for its hay-like aroma. Dimethyl hydroquinone added a touch of freshness, while methyl anisate contributed a soft, aromatic note akin to anise.

These synthetic components were carefully blended to mirror the natural fragrance of morning glory, ensuring a harmonious balance of floral sweetness and herbal freshness. Poiret's choice to use these modern chemical compounds not only showcased his avant-garde approach to perfumery but also exemplified his ability to blend traditional floral symbolism with cutting-edge olfactory science.

Thus, Poiret's "Blue" perfume in "Le Mouchoir de Rosine" encapsulated more than just a scent—it embodied a narrative of anticipation and possibility, crafted with precision and artistry to resonate with the evolving tastes and sensibilities of early 20th-century Parisian society.

Pink:

In Paul Poiret's visionary perfume collection "Le Mouchoir de Rosine," each fragrance was a meticulous narrative woven around the evocative symbolism of the Victorian Language of Flowers. The color pink, symbolizing the rose, traditionally epitomized love in Victorian society. However, Poiret diverged from this tradition by assigning the rose a new symbolic role: that of consent—a sophisticated expression of willing acceptance.

Poiret's pursuit of capturing the essence of the rose involved employing the finest ingredients available. He would have integrated precious rose absolutes extracted from pomades meticulously crafted from roses cultivated in Grasse, renowned for producing some of the world's most exquisite floral essences. These absolutes formed the heart of the fragrance, imparting rich, multifaceted floral notes characteristic of the queen of flowers.

To enrich and deepen the complexity of the rose composition, Poiret's perfumers incorporated tuberose and cassie (acacia farnesiana) extracts. Tuberose, with its creamy and intensely floral aroma, added a sensual depth and opulence to the bouquet. Cassie, known for its warm and honeyed floral scent, contributed a nuanced sweetness that complemented the rich floral notes of the rose and tuberose.

Fixatives were essential in ensuring the longevity and fullness of the fragrance. Civet, a musky secretion from the civet cat, enhanced the perfume with its animalic undertones, adding depth and intrigue. Patchouli infused the blend with an earthy richness, while ambergris provided a subtle marine muskiness, harmonizing the composition with a touch of sophistication.

In the top notes of the perfume, Poiret might have included synthetic essence linalool to enhance freshness and brightness, alongside a minuscule amount of aniline dye for the rosy color, enhancing the visual appeal of the olfactory experience.

Poiret's reinterpretation of the rose as a symbol of consent in "Le Mouchoir de Rosine" exemplified his mastery of perfumery as an art form. By infusing each fragrance with layers of symbolism and emotion, Poiret not only created scents that captivated the senses but also offered his clientele a profound exploration of human sentiments and cultural ideals, encapsulated within each exquisitely crafted perfume bottle.

Orange:

In Paul Poiret's revolutionary perfume line "Le Mouchoir de Rosine," each fragrance was a testament to his visionary approach to scent and storytelling, intricately weaving together symbolism and emotion from the Victorian Language of Flowers. The color orange, representing the nasturtium, traditionally symbolized patriotism in Victorian floral customs. However, Poiret challenged tradition by assigning the nasturtium a new role: embodying the complex emotion of jealousy—a bold reinterpretation that underscored his avant-garde sensibilities.

The fragrance profile of Poiret's nasturtium perfume was carefully crafted to capture its distinctive characteristics. Nasturtiums are known for their sweet, slightly peppery scent, and Poiret's perfumers recreated this essence using a blend of natural extracts and essences. Nasturtium infusions, derived from pomades of the flower, formed the foundation, imparting the peppery note that defined the fragrance. Anisic aldehydes added a subtle aromatic warmth, complemented by violet extract for its delicate floral nuances.

To enhance the complexity and allure of the perfume, Poiret included orange blossom extract, which contributed fresh, citrusy undertones, and acacia extract, known for its rich, honeyed facets. Jasmine extract infused the composition with a sensual and exotic floral character, while rose essence added a timeless elegance. Vanilla provided a smooth, sweet base note, while coumarin added a hint of hay-like sweetness. Tolu tincture contributed warm, balsamic undertones, and musk essence lent a subtle animalic quality, ensuring depth and longevity in the fragrance.

Poiret's reinterpretation of the nasturtium as a symbol of jealousy in "Le Mouchoir de Rosine" exemplified his ability to blend tradition with innovation, creating perfumes that transcended mere scent to become evocative narratives. By infusing each fragrance with layers of symbolism and emotion, Poiret invited his clientele to explore complex human sentiments through the sensory experience of perfume, marking a significant contribution to the artistry of early 20th-century French perfumery.

Bottles:

 "Le Mouchoir de Rosine" debuted as a collection of fragrances presented in six distinct color variations, each accompanied by a meticulously chosen silk handkerchief that harmonized with the essence of the scent. The handkerchief, adorned in vibrant hues, was elegantly wrapped around the bottle and secured with an ornamental "amber" ring, likely crafted from tinted celluloid rather than genuine amber. This ring was skillfully slid down the silky fabric to the bottle's stopper, ensuring its snug placement.

The clear glass bottle featured a gracefully rounded base and an elongated, slender neck, topped with a carefully crafted ground glass stopper. These elements were then delicately housed within a cylindrical cardboard box embellished with exquisite printed paper.

Each fragrance in the collection was not only associated with a specific flower but also intended to evoke a distinct emotional tone:

• Green symbolized mystery,
• Orange conveyed jealousy,
• Red embodied betrayal,
• Yellow evoked desire,
• Blue suggested anticipation,
• Rose represented consent.

This combination of olfactory artistry and visual elegance made "Le Mouchoir de Rosine" a captivating ensemble, appealing not only to the senses but also to the emotions and aesthetic sensibilities of its discerning clientele.

Chemist and Druggist: The Newsweekly for Pharmacy, 1919:

"There is the "Mouchoir de Rosine," for instance, consisting of a bottle enclosed in a dainty silk handkerchief secured round it by an amber ring."

photo by Musee International de la Parfumerie in Grasse.

photo by Drouot

Fate of the Fragrance:

The "Le Mouchoir de Rosine" collection met its end in 1930 when Rosine ceased production of most of its perfumes. Remaining stock was subsequently liquidated at steeply discounted prices. Today, these rare Mouchoir de Rosine bottles are a prized rarity, with their accompanying silk handkerchiefs often lost to the passage of time. When these coveted items do appear on the market, they command high prices among collectors and perfume enthusiasts alike.

Paul Poiret in the USA

Cosmetics and Toiletries, Volume 17, 1922:

"Paul Poiret, the world famous designer of apparel for women, who manufactures at Courbevoie, France, a line of perfumes under the name of Rosine, in honor of his daughter, Rosine arrived on the France, August 26 ,and sailed for home on the Paris, September 13, after spending a few weeks in the United States. 

M. Poiret spent considerable time with Maurice Levy, 12 W. 41st street, New York City, who handles the Rosine line of perfumes in the United States. M. Poiret maintains an art school and his students decorate and design containers and bottles in which his perfumes are sold. The working hours of the factory are from 8 am to 7 pm and luncheon and wine are served to all employes. 

M. Poiret states that he is trying to work along new lines and employs novel aromatic products that give a new note to his perfumes."

Rosine Amphora Perfume Bottles

Two examples of Rosine's perfume bottles, for unknown perfumes. Photos by Piasa.

Painted bottle, created by Atelier Martine. Bottle colorless blown glass, painted "by hand" in cold enamel. Stylized vegetal decoration on the foot and the body of the bottle: crown bindweed Nattier blue and blue and white wisteria climbing foliage interspersed black. Amphora-shaped on a pedestal, small collar flange surrounded by a navy blue silk thread. Height: 13 cm. Lacking stopper.

Perfume bottle, creating the Atelier Martine. Bottle colorless blown glass, painted "by hand" in cold enamel.

Exotic stylized vegetal decoration on the foot and the body of the bottle: long palmate leaves green and yellow banana stems and exotic flowers yellow ocher. Amphora-shaped on a pedestal, small collar flange; cork drip-drip tin topped with a screw-down crown. Height: 15 cm. Small crown stopper.

La Véritable Eau de Cologne by Rosine c1912

La Véritable Eau de Cologne by Rosine: launched in 1922

La Coupe d'Or by Rosine c1910

The perfume La Coupe d'Or, launched in 1910, epitomizes the elegance and cultural milieu of its time. During the early 20th century, particularly in the Belle Époque period leading up to World War I, Paris was a center of artistic and cultural innovation. This era was characterized by its lavishness, sophistication, and a burgeoning interest in luxury goods, including perfumes.

The name "La Coupe d'Or," meaning "The Golden Bowl," evokes imagery of opulence and refinement, fitting seamlessly into the zeitgeist of the early 20th century. In French culture, the use of "gold" symbolizes richness, exclusivity, and beauty. A golden bowl, in particular, suggests a vessel of preciousness and allure, metaphorically holding something of immense value—like the fragrance itself.

As for its inspiration, La Coupe d'Or would likely draw from the trends and themes of its time. Perfumes of this era often featured floral bouquets with rich, oriental undertones or powdery notes that were favored by the fashionable elite. They aimed to capture the essence of femininity and sophistication, catering to a clientele that appreciated artistry and luxury in every detail of their lives.

The appeal of La Coupe d'Or in 1910 would lie not only in its luxurious name and packaging but also in its ability to transport wearers to a world of elegance and refinement. Perfume during this period was not just a fragrance but a statement of personal style and taste. It was a means of expressing oneself and indulging in a bit of escapism into a more glamorous realm.

Therefore, La Coupe d'Or by Rosine, created by perfumer Maurice Schaller, would have been a fitting addition to the perfume market of 1910 Paris, offering a blend of luxury, artistry, and cultural resonance that appealed to the sophisticated tastes of its time.

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.

Pronounced "Sah Shahm-bruh," 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.

Pronounced as "Es-pahl-yay Dyu Rwah,"  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.

Pronounced as "Sah-kyah Moo-nee,"  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, pronounced as "Luh Froowee Day-fahn-dyoo," and 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.

Pronounced as "Coo duh FOO-druh," 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.