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."

Sousouki by Babani c1920

In 1920, the year Sousouki by Babani was launched, it was a time of profound cultural and artistic exploration, particularly influenced by the enduring popularity of Giacomo Puccini's opera "Madame Butterfly." Set in early 20th-century Japan, the opera evoked themes of love, betrayal, and cultural clash, resonating deeply with audiences of the time. The character Sousouki, Madame Butterfly's maid, symbolized fidelity and support amidst the tragedy of unrequited love and cultural misunderstanding.

The name "Sousouki" itself is derived from Miscanthus sinensis, commonly known as Japanese silver grass or susuki in Japanese. This plant is native to East Asia and holds cultural significance in Japanese aesthetics, often featured in traditional paintings and poetry for its graceful appearance and seasonal symbolism.

Babani's choice of "Sousouki" as a perfume name likely aimed to evoke a sense of elegance, cultural richness, and perhaps a touch of melancholy associated with the opera's narrative. In the early 20th century, naming a perfume after a character from a beloved opera would have appealed to those who appreciated the arts and sought sophistication in their fragrance choices.

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.

Secret de Babani by Babani c1920

Secret de Babani by Babani: launched in 1920.