La Rose Gullistan by Babani - Parfum Persan c1923

In the early 1920s, the launch of "La Rose Gullistan" by Babani occurred against the backdrop of a Europe enamored with orientalism and the allure of distant cultures. This period saw a resurgence of interest in Persia (modern-day Iran), particularly its rich cultural heritage, which included a deep reverence for roses and the art of perfumery.

Roses hold significant cultural and symbolic value in Persia. They have been revered for centuries for their beauty, fragrance, and association with love and beauty in Persian poetry, art, and literature. Persian gardens, often depicted as paradises on earth, prominently feature roses among their floral treasures, symbolizing love, romance, and spiritual purity.

The name "La Rose Gullistan" translates to "The Rose Garden" in English, derived from Persian. "Gullistan" is the title of a renowned collection of poems and stories by the Persian poet Sa'di, who lived in the 13th century. Sa'di's "Gullistan" (or "Gulistan") is celebrated for its wisdom, moral teachings, and vivid descriptions of nature, including the beauty of roses in gardens.

Babani likely chose the name "La Rose Gullistan" to evoke the imagery and emotions associated with Persian gardens and their fragrant roses. The name not only situates the perfume within a cultural context admired for its aesthetic sophistication but also aligns it with the romantic allure of oriental gardens, offering consumers an olfactory journey to a world of beauty and tranquility.

"La Rose Gullistan" would have appealed to individuals fascinated by the exoticism of Persia, its poetic traditions, and its artistic sensibilities. Those attracted to the perfume would likely have been drawn to its promise of capturing the essence of Persian gardens in a bottle—fragrant roses blooming amidst verdant foliage, underpinned by a sense of timeless elegance and cultural richness.

Ligeia by Babani c1920

In 1920, when Babani launched the perfume "Ligeia" subtitled "Parfum de Manille," the Philippines were experiencing a unique cultural and political landscape. The country had recently emerged from Spanish and then American colonial rule, gaining independence in 1946. Manila, the capital, was a vibrant hub of trade and cultural exchange, influenced by both Western and Asian traditions. The early 20th century saw a burgeoning interest in perfumes and luxury goods among the elite, reflecting a desire for sophistication and refinement amidst political and social changes.

The name "Ligeia" originates from Greek mythology, where Ligeia was one of the Sirens, known for her hypnotic singing and beauty. In English, "Ligeia" means "clear-voiced" or "shrill." The choice of this name by Babani likely aimed to evoke allure, mystery, and a sense of timeless beauty associated with ancient mythology. In the context of perfumery, "Ligeia" suggests a fragrance that is enchanting, captivating, and perhaps even seductive.

For consumers in 1920, especially in Manila, a perfume named "Ligeia" would have appealed to those seeking sophistication and a connection to classical beauty and mythology. The name itself could evoke images of mythical sirens, exotic allure, and a sense of elegance that resonated with the cosmopolitan elite of Manila. The fragrance would likely be perceived as luxurious, invoking emotions of fascination, intrigue, and a longing for the exotic.

The word "Ligeia" carries connotations of enchantment, allure, and the power of beauty, which would have resonated strongly with consumers looking for a perfume that not only smelled exquisite but also conveyed a sense of mythological charm and timeless elegance.

"Ligéia, who comes from Manila in her lacquered bottle, powdered with gold, is as mysterious as the one whose memory it evokes."

Yasmak by Babani - Parfum Syrien c1920

In 1920, the launch of the perfume "Yasmak" by Babani coincided with a period marked by Western fascination with the Middle East, including Turkey, Syria, and their cultural practices like harems. This era was characterized by Orientalist fantasies and a growing interest in exoticism, influenced by literature, art, and travel depicting distant lands.

The French name "Yasmak," derived from the Turkish word "yaşmak," translates to "veil" or "face veil" in English. Choosing this name for a perfume evokes a sense of mystery, allure, and cultural fascination, particularly regarding the veiled women of harems, whose lives were often romanticized in Western imagination.

The subtitle "Parfum Syrien" further emphasizes its exotic appeal, associating it with the luxurious scents and traditions of Syria, which were marketed as alluring and mysterious in Western markets.

The phrase "suggested to be worn by 'the exotic blonde'" suggests that the perfume was designed to enhance a woman's allure with a fragrance inspired by the romanticized image of women in harems, regardless of her natural hair color. This marketing strategy aimed to appeal to Western women who sought to embody the allure of a veiled beauty from the East.

Fleurs d'Annam by Babani c1920

In 1920, when Babani launched "Fleurs d'Annam," the world was captivated by the exotic allure of distant lands, and perfumes often sought to evoke the mysteries of far-off places. The French name "Fleurs d'Annam" translates to "Flowers of Annam" in English. "Annam" refers to the French protectorate of central Vietnam, known as "An Nam" in Vietnamese, a region characterized by its rich cultural heritage and lush natural beauty.

Babani likely chose the name "Fleurs d'Annam" to evoke images of the exotic flowers and landscapes of Vietnam. The name itself suggests a bouquet of flowers native to Annam, promising a fragrance that captures the essence of this distant land. During the early 20th century, French perfumers often drew inspiration from colonial territories, imbuing their creations with a sense of adventure and discovery.

"Fleurs d'Annam" would have resonated with individuals fascinated by travel, exoticism, and the natural world. Those who sought escape from the everyday into realms of romance and exploration would be drawn to such a perfume. Its name alone conjures images of vibrant tropical blooms, serene landscapes, and the heady scent of exotic flowers carried on warm breezes.

Giardini by Babani c1924

In 1924, the world was emerging from the devastation of World War I, moving towards a period known as the "Roaring Twenties." This decade was characterized by economic prosperity, cultural dynamism, and significant social change. The period saw a fascination with modernity, as well as a longing for elegance and luxury. It was a time when women were increasingly gaining independence, symbolized by the flapper movement, with shorter skirts, bobbed hair, and a spirit of defiance against traditional norms. In this vibrant context, gardenias became a symbol of sophistication and timeless beauty, often used in perfumes to evoke an air of opulence and romance.

The word "Giardini" is Italian. It translates to "gardens" in English. The choice of this name for a perfume likely aims to evoke the rich cultural heritage of Italy, known for its beautiful and historic gardens, and to convey a sense of elegance, natural beauty, and luxury associated with these settings. Babani likely chose this name to evoke the lush, verdant imagery of an exquisite garden. Gardens are often associated with tranquility and a sense of escape from the hustle and bustle of everyday life. By naming their perfume "Giardini," Babani aimed to capture the essence of a serene and luxurious garden, filled with the intoxicating scent of blooming flowers, particularly gardenias, which were popular and admired for their rich, creamy fragrance.

"Giardini" is an excellent name for a perfume because it conjures up images of a beautiful, well-tended garden in full bloom, suggesting a fragrance that is fresh, floral, and rich with natural beauty. The name implies a sensory journey, inviting the wearer to experience the lush and aromatic ambiance of a secret garden. This imagery is not only appealing but also timeless, as gardens have long been associated with romantic and idyllic settings, offering a perfect escape into nature's splendor.

Secret de Babani by Babani c1920

Secret de Babani by Babani: launched in 1920.

Ambre de Delhi by Babani - Parfum de Hindou c1921

In the early 20th century, the Western world was enthralled by the exotic allure of the Orient, India, and all things associated with these distant lands. This fascination was fueled by the mysteries, opulence, and perceived romance of these cultures, which were often depicted in literature, art, and emerging media like film. The year 1921, when "Ambre de Delhi" by Babani was launched, was a period marked by this cultural phenomenon, known as Orientalism. This was a time when Western society was captivated by the intricate artistry, rich tapestries, and the enchanting scents of spices and resins from the East. The luxury and mystique of these regions provided a stark contrast to the austerity and hardship experienced in the West, particularly in the aftermath of World War I.

The name "Ambre de Delhi" translates to "Amber of Delhi" in English. Ambergris, a rare and valuable substance produced by sperm whales, had been a coveted ingredient in perfumery for centuries due to its rich, sweet, and musky scent. By associating the perfume with Delhi, one of India's most historic and culturally rich cities, Babani tapped into the Western romanticization of India as a land of grandeur, spirituality, and sensory opulence. The choice of the name "Ambre de Delhi" was deliberate, aiming to evoke the exoticism and timeless beauty of Indian culture.

"Ambre de Delhi" would have been an evocative and appealing name for a perfume in 1921 for several reasons. Firstly, the use of "ambre" (amber) in the name would immediately suggest warmth, richness, and sensuality, key attributes that were highly desirable in perfumes of the era. Secondly, the reference to Delhi would invoke visions of an exotic and luxurious destination, rich in history and culture. This would have been particularly appealing to a Western audience eager to escape the realities of their own lives through the sensory experience of fragrance.

The audience for "Ambre de Delhi" would likely have been affluent women and men who were drawn to the sophisticated and exotic. These individuals, often part of the higher echelons of society, would have responded to this perfume with a sense of adventure and curiosity, appreciating its connection to a world far removed from their own. The name alone would conjure images of vibrant marketplaces, lush palaces, and the intoxicating scents of spices and flowers wafting through the air.

The term "Ambre de Delhi" evokes a plethora of images and emotions. It brings to mind the golden hues of amber stones, the rich and opulent interiors of Indian palaces, and the warmth of a sunset over the bustling streets of Delhi. Emotionally, it speaks to a yearning for exploration, a desire for luxury, and an appreciation for the deep, sensual fragrances that have long been associated with the East. Subtitled "the Breath of Love" and "Parfum de Hindou," the perfume not only promised an exotic olfactory journey but also suggested an intimate, almost spiritual connection to the essence of Indian culture and romance. The evocative name and its subtitles painted a picture of a world where love and luxury intertwined in the most exotic of settings, making "Ambre de Delhi" a captivating and desirable fragrance for its time.

Le Reve d'Elizabeth by Elizabeth Arden c1927

Launched in 1927 by Elizabeth Arden, Le Rêve d’Elizabeth was one of four signature scents introduced that year alongside La Joie d’Elizabeth, Le Jardin d’Elizabeth, L’Amour d’Elizabeth, and L’Étoile d’Elizabeth. These perfumes were exclusively available in the luxurious Elizabeth Arden salons worldwide. The collection was thoughtfully marketed as being "charmingly dedicated to human relationships and emotions instead of the usual flowers," with fragrances described as both "unusual and beautiful" in their conception. Encased in square-cut crystal bottles of elegant simplicity, these scents were as much a celebration of refined aesthetics as they were of individuality and depth.

The name Le Rêve d’Elizabeth translates from French to “Elizabeth’s Dream” (pronounced leh REHV duh ee-lee-zah-BEHT). The choice of French, the language of sophistication and perfumery, added a touch of international allure to the product, while the word “dream” evoked images of imagination, aspiration, and an almost ethereal elegance. For women of the time, a perfume with this name might have embodied an idealized sense of luxury, ambition, and escape—qualities that resonated deeply in an era when societal roles for women were expanding, and self-expression was increasingly celebrated.

As a heavy, spicy oriental fragrance, Le Rêve d’Elizabeth was intended to envelop the wearer in warmth and opulence. Its description as a “winter scent, good for furs” conjures images of glamorous evenings, roaring fires, and the tactile luxury of rich fabrics like velvet and fur. Women might have related to this perfume as a symbol of sophistication and status, complementing the elegance of evening gowns and the Art Deco aesthetic that defined the late 1920s.

L'Elan d'Elizabeth by Elizabeth Arden c1927

 L'Elan d'Elizabeth by Elizabeth Arden, launched in 1927, was one of five signature perfumes introduced that year, alongside other iconic fragrances such as La Joie d'Elizabeth, Le Jardin d'Elizabeth, Le Réve d'Elizabeth, and L'Etoile d'Elizabeth. These fragrances, sold exclusively in Elizabeth Arden salons, represented an innovative departure from the floral-centric perfumes of the time. Instead of focusing solely on blooms, the scents were inspired by human emotions and relationships, making them as unusual as they were beautiful. The perfumes were housed in square-cut crystal bottles of "exquisite simplicity," reflecting the refined elegance of Arden's vision.

The name L'Elan d'Elizabeth itself evokes an image of movement, vitality, and passionate energy. L'Elan is a French word, pronounced "el-ahn," which translates to "impulse" or "momentum" in English, often used to describe an enthusiastic or spirited action. The word also carries a sense of grace and charm, which aligns perfectly with the perfume’s purpose. To women of the 1920s, L'Elan d'Elizabeth would likely have been interpreted as a scent that embodied a sense of purpose and inner drive, a fragrance for women who were stepping into new roles in society with confidence and boldness. It was a name that suggested a certain elegance coupled with an irrepressible energy, capturing the spirit of the Roaring Twenties.

L'Elan d'Elizabeth was classified as a floral chypre fragrance for women, a genre known for its sophisticated, complex blend of floral notes with earthy, woody base notes. This fragrance was described as "rich, warm, and irresistible," capturing both delicacy and distinction. The composition was designed to evoke a sense of refinement, yet its underlying warmth and depth made it feel bold and captivating. The perfume was said to possess "the spiritual qualities of thoughtfulness" and was considered especially delicate, yet with an undeniable strength of character. It was a fragrance of distinction, offering ardor and enthusiasm—qualities that would have appealed to women of the era who were embracing new freedoms and expressing their individuality in bold, new ways.

La Joie d'Elizabeth by Elizabeth Arden c1927

La Joie d'Elizabeth by Elizabeth Arden was launched in 1927, joining a distinguished collection of perfumes that defined the era's fragrance scene. Alongside Le Jardin d'Elizabeth, Le Réve d'Elizabeth, and L'Etoile d'Elizabeth, these perfumes were designed to evoke human emotions and relationships, rather than the typical emphasis on florals. As described by the company, the fragrances were "unusual and beautiful," with each housed in square-cut crystal bottles of exquisite simplicity.

The name "La Joie d'Elizabeth" translates from French as "The Joy of Elizabeth", pronounced lah zhwa duh-eh-lee-zeh-bet. The word "Joie", meaning "joy," immediately conjures images of lightness, happiness, and celebration. It is a word brimming with vitality, evoking feelings of exuberance, freedom, and the carefree innocence of youth. For women in the 1920s, an era characterized by the post-World War I liberation and the advent of the Roaring Twenties, this perfume would have been seen as a symbol of optimism, rebirth, and the joy of newfound possibilities. It was the essence of spring captured in a bottle—delicate, bright, and full of life. The name "La Joie d'Elizabeth" promised a fragrance that was light, effervescent, and filled with youthful energy, and indeed, this is precisely what it delivered.

The perfume itself was described as an embodiment of youth, fleeting and feminine, classified as a light floral fragrance. "La Joie d'Elizabeth" was "the incarnation of Joy," a scent that captured the essence of spring. Imagine the soft, floral notes of freshly blooming flowers, the delicate touch of green grass, and the sense of a warm breeze carrying the promise of new beginnings. It would have resonated with women of the time as a celebration of life’s beauty, mirroring the fresh air of post-war freedom. For those in the 1920s, La Joie d'Elizabeth was not just a perfume; it was a mood, a memory encapsulated in scent, evoking the emotional landscape of springtime, full of promise and joy.

L'Amour d'Elizabeth by Elizabeth Arden c1928

In 1927, Elizabeth Arden introduced L’Amour d’Elizabeth, one of four signature fragrances launched that year under her name. These perfumes, exclusively sold at her salons around the world, stood out for their emotional inspiration rather than relying solely on floral themes. The square-cut crystal bottles housing these fragrances were described as being of "exquisite simplicity," a reflection of Arden's refined aesthetic and dedication to elegance. Each scent embodied a human relationship or emotion, and L’Amour d’Elizabeth was devoted to the greatest of all—love.

The name L’Amour d’Elizabeth, meaning "The Love of Elizabeth" in French, is pronounced as lah-MOOR deh-lee-za-beth. The choice of French, the language of romance and luxury, added to the perfume’s allure and exclusivity. It evoked imagery of passion, devotion, and sophistication, transporting wearers to a world of intimate glamour and opulence. For women of the 1920s, this name would have been deeply resonant; the Jazz Age was a time of liberation, self-expression, and embracing the idea of romance as an essential part of life. To own and wear a perfume named L’Amour d’Elizabeth was to envelop oneself in an aura of passion and elegance, a promise of romantic allure that suited the desires of the era.

The fragrance itself was described as "heady," "warm and rich," and "satisfying," perfectly capturing the emotional depth of its inspiration. Classified as a sweet floral oriental fragrance, it was designed to complement luxurious furs, an accessory synonymous with sophistication in the 1920s. The scent was said to bestow an aura of romance, blending the warmth of its oriental notes with the sweetness of its florals, creating a captivating olfactory experience that lingered beautifully on the wearer.