Aino by Babani c1944

"Aino" by Babani, launched around 1944, enters the olfactory landscape against the backdrop of a world deeply affected by World War II. The name "Aïno" itself carries a poignant significance—it originates from Finnish mythology, where Aino is a tragic figure, often depicted as a maiden who meets a sorrowful fate. In Finnish, "Aïno" can be translated to mean "the only one" or "the only beloved," encapsulating themes of uniqueness and perhaps a touch of melancholy.

Babani's choice of "Aïno" as the name for their perfume likely aimed to evoke a sense of allure and mystique. During the 1940s, amidst the wartime atmosphere, perfumes often served as a means of escape and fantasy, offering wearers a momentary reprieve from the harsh realities of the day. The name "Aïno" would have resonated with those seeking elegance and sophistication, perhaps appealing particularly to women who identified with the romanticized, tragic heroine archetype.

For consumers of the time, encountering a perfume named "Aïno" would likely evoke images of a refined, enigmatic woman—someone elusive yet captivating, embodying both strength and vulnerability. The name itself suggests a perfume that promises a blend of sensuality and complexity, appealing to those who seek a fragrance that tells a story beyond mere scent.

Oeillet du Japon by Babani c1920

In 1920, the period surrounding the launch of Babani's perfume "Oeillet du Japon" was marked by a fascinating intersection of cultural influences. This era was characterized by a growing fascination with Japan in the Western world, known as Japonism. This movement was spurred by Japan's increasing openness to the West following the Meiji Restoration in the late 19th century, which sparked a surge of interest in Japanese art, culture, and aesthetics among European and American intellectuals and artists.

The name "Oeillet du Japon" translates to "Carnation of Japan" in English, with "Oeillet" being the French word for carnation. French is the language in which the name is derived, aligning with the Parisian roots of the Babani perfume house. The choice of "Oeillet du Japon" as the name for this perfume likely reflects the trend of Japonism and the allure of Japanese exoticism that captivated European imaginations at the time.

"Carnation of Japan" would have been a fitting and evocative name for a perfume in this context for several reasons. Firstly, carnations are known for their spicy and floral scent, making them a popular choice for perfumery. Secondly, Japan was seen as a land of mystery, beauty, and refinement in Western eyes during this period. By combining the familiar allure of carnations with the exoticism associated with Japan, Babani likely aimed to create an image of a sophisticated and intriguing fragrance that captured the essence of both the flower and the cultural fascination with Japan.

The audience for "Oeillet du Japon" would likely have been cosmopolitan individuals of the early 20th century who were drawn to art, culture, and the exotic. These individuals would have appreciated the perfume's name as it conjured images of delicate carnations imbued with the mystique and elegance of Japan. The scent itself would have been expected to evoke a blend of floral sweetness with hints of spice, reminiscent of carnations in bloom, while also hinting at an exotic allure that appealed to the adventurous and culturally curious.

Narcisse D'Or by Babani c1920

In 1920, the time period of Narcisse D'Or's launch was marked by a post-World War I era characterized by a sense of renewal and extravagance amidst recovery from the war's devastation. This period saw a cultural shift towards luxury and opulence, reflected in fashion, art, and fragrance. The name "Narcisse D'Or" translates from French to "Narcissus of Gold." "Narcisse" refers to the narcissus flower, known for its delicate and intoxicating fragrance, while "D'Or" means "of gold," suggesting something luxurious and precious.

Babani likely chose the name "Narcisse D'Or" to evoke imagery of beauty, elegance, and richness. The narcissus flower, with its sweet floral scent, symbolizes springtime and renewal, aligning with the rejuvenation and optimism of the post-war period. "D'Or" adds a touch of glamour and allure, implying a fragrance that is not only beautiful but also valuable and desirable.

"Narcisse D'Or" would have appealed to individuals who appreciated fine perfumes and sought to indulge in luxury. Those drawn to this perfume would likely respond with admiration and a sense of sophistication. The name itself conjures images of golden fields of narcissus flowers in bloom, shimmering in sunlight, evoking feelings of beauty, warmth, and elegance.

Venetian Ardena

In 1912, Elizabeth Arden embarked on a transformative journey to France, where she immersed herself in the sophisticated beauty culture of Paris. This trip was pivotal, as it allowed her to learn the latest techniques in beauty and facial massage from renowned Parisian salons. Arden was captivated by the artistry of French beauty, and she understood that these techniques, combined with her vision, could revolutionize the approach to makeup in North America.

Upon her return, Arden brought with her a carefully curated collection of rouges and tinted powders, products that she had personally developed. This was a bold move during a time when makeup was largely reserved for performers and the stage, and society held strict views about appropriate beauty practices. By introducing modern eye makeup to the North American market, Arden challenged conventional norms and made cosmetics accessible to a broader audience, allowing women to enhance their natural beauty without the stigma associated with makeup.

Elizabeth Arden didn’t stop at product innovation; she also introduced the revolutionary concept of the “makeover.” Her salons became havens where women could not only receive beauty treatments but also experience a complete transformation. This holistic approach to beauty emphasized the importance of personalized service and tailored techniques, encouraging women to explore their individual styles. Arden’s makeovers became more than just physical transformations; they empowered women to embrace their beauty and feel confident in their own skin.

Through her pioneering efforts, Elizabeth Arden played a crucial role in redefining beauty standards in the early 20th century. Her influence extended beyond products; she reshaped societal perceptions of makeup, inviting women from all walks of life to indulge in the art of beauty and self-expression.

Rose Toilet Water by Elizabeth Arden c1922

Rose Toilet Water by Elizabeth Arden: launched around 1922.

Shogum by Babani c1921

In 1921, the time period when "Shogum" by Babani was launched, Japan held a particular fascination in Western culture. This was an era marked by growing interest in Eastern exoticism and aesthetics, influenced by the popularity of novels like James Clavell's "Shogun," which portrayed Japan's feudal past to Western audiences. The name "Shogum" itself derives from the Japanese term "Shogun" (将軍), which means "general" or "military commander." It represents a historical title of great significance in Japanese feudal history, referring to the supreme military leader during the feudal era.

Babani's choice of the name "Shogum" for a perfume was likely inspired by this cultural intrigue surrounding Japan at the time. The decision to spell it as "Shogum" rather than "Shogun" might have been for stylistic or trademark reasons, or possibly to differentiate it from the direct historical term.

For consumers of the time, a perfume named "Shogum" would evoke images of Japan's rich cultural heritage: samurai warriors, delicate cherry blossoms, serene gardens, and perhaps the allure of mysterious and elegant Japanese women. Emotionally, it could evoke a sense of exoticism, sophistication, and a touch of the unknown, appealing to those fascinated by distant cultures and seeking to capture their essence through fragrance.

Just a Dash by Babani c1928

In 1928, the period in which "Just a Dash" by Babani was launched was marked by a vibrant cultural shift in Europe, particularly in Paris, where art, fashion, and perfumery flourished amidst the aftermath of World War I. This era saw the rise of the Art Deco movement, characterized by its sleek lines, geometric shapes, and a celebration of modernity and luxury.

The name "Just a Dash" in English carries a playful and enticing connotation. Babani, known for his cosmopolitan approach and often using foreign languages in his creations, might have chosen an English name to appeal to the international clientele of Paris, a hub of global culture at the time. "Just a Dash" suggests a subtle addition, a touch of something delightful and luxurious, aligning perfectly with the allure of perfumery.

For Babani, "Just a Dash" could have been a fitting name for a perfume because it evokes a sense of sophistication and refinement while also hinting at a sense of mystery and allure. The name implies that this perfume is not overwhelming but rather a subtle enhancement to one's aura and presence, appealing to those who appreciate understated elegance.

Automatic Atomizer c1930s

 

Applicants: ELIZABETH ARDEN LTD. 

Application: GB1373333A·1933-05-11

Publication: GB401204A·1933-11-09

Published as: GB401204A

401,204. Spray-producers. ARDEN, Ltd., E., 25, Old Bond Street, London.- (Assignees of Arden Ges., E.; 20, Budapester Strasse, Berlin.) May 11, 1933, No. 13733. Convention date, July 21, 1932. [Class 69 (iii).] A perfumery outfit comprises a case with hinged lid 8 and front 5 and with rectangular &c. compartments for perfume receptacles 12, an. atomizer device 17 capable of connection with any perfume receptacle resting normally on a platform 23 with its suction tube 19 extending through a hole in the platform. The receptacle stoppers may be covered by square caps 13 and these and the head 18 of the suction device may have a screw or sliding fit with the receptacles. The caps may contain cork, rubber, &c. to press resiliently on the stoppers. In an alternative form the front wall is not hinged and is of less height than the case, the upper edges of the side walls being inclined and the lid shaped correspondingly.

This is an example of a gift set holding four crystal bottles with chrome plated caps and a chrome plated atomizer that could be used on all bottles. I believe the atomizer was made by Marcel Franck. The original box included two cards that state, "Just Another Way of Saying Merry Christmas," and Elizabeth Arden's Signature. The bottles measure: 3 1/8" tall x 1 1/8" square. The box measures: 3 3/4" tall x 4 3/8" wide x 3 5/8" deep.

Twin Perfume Sets c1930s

 

Elizabeth Arden Blue Grass Gift Set c1939

 For the 1939 gift set of Blue Grass, a lipstick and an imported from France Marcel Franck L'Escale perfume atomizer was included. 

Gardenia by Babani c1928

Gardenia by Babani: launched in 1928.

Nandita by Babani c1925

In 1925, the period when Babani launched the perfume "Nandita," marked a time of cultural vibrancy and artistic renaissance, especially in the realm of perfumery. Perfumes during this era often carried significant cultural connotations, drawing inspiration from various global influences including the allure of the East.

The name "Nandita," derived from Hindi, means "cheerful" in English. Hindi, being one of the major languages of India, holds deep cultural significance. Babani likely chose the name "Nandita" for its evocative and positive meaning. In the context of perfumery, a name like "Nandita" would suggest a fragrance that embodies joy, brightness, and perhaps a sense of warmth and optimism.

For Babani, "Nandita" would be a fitting name for a perfume as it immediately conveys a sense of happiness and positivity, qualities that appeal universally but especially resonate in the context of the Roaring Twenties, a period known for its exuberance and celebration of life.

Those who related to a perfume called "Nandita" would likely be drawn to its promise of cheerfulness and the emotions associated with it. It could appeal to individuals seeking a fragrance that uplifts the spirit, evokes sunny days and joyful moments, or simply enhances one's mood with its aromatic composition.

The word "Nandita" evokes images of brightness, smiles, and perhaps even floral or fruity scents that are lively and refreshing. Emotionally, it suggests feelings of contentment, radiance, and a carefree spirit, aligning well with the cultural ethos of its time.

Overall, "Nandita" by Babani, launched in 1925, would have been a perfume that not only aimed to captivate with its fragrance but also to resonate deeply with its audience through its name's evocative power and the emotions it symbolizes.

Sunflowers by Elizabeth Arden c1992

Sunflowers by Elizabeth Arden: launched in 1992. Created by David Apel.

Mon Amie Elizabeth by Babani & Elizabeth Arden c1926

Mon Amie Elizabeth by Babani & Elizabeth Arden was launched in 1926.

True Love by Elizabeth Arden c1994

True Love by Elizabeth Arden: launched in 1994. Created by Alain Astori from IFF.