Daimo by Babani - Parfum Japonais c1921

In 1921, the launch of Daimo by Babani coincided with a period of growing fascination in Western culture with Japan, particularly its art, aesthetics, and gardens. This era marked the height of Japonisme, where Japanese influences permeated European and American art, fashion, and design. Japanese gardens, renowned for their serene beauty and meticulous design, symbolized tranquility, harmony with nature, and an escape from the rapid industrialization of the early 20th century.

The name "Daimo," which translates to "Great Lord" or "Great Name" in Japanese (大名), carries significant cultural connotations. Historically, "Daimyo" referred to powerful feudal lords in Japan during the feudal period, known for their wealth, influence, and refined tastes. By choosing this name, Babani aimed to evoke a sense of grandeur, sophistication, and perhaps an exotic allure associated with the mystique of Japan.

For Babani, "Daimo" would be a fitting name for a perfume as it suggests luxury, elegance, and an air of exclusivity. Perfumes often draw on cultural motifs and aspirations of the time, and in the 1920s, Japanese culture represented an idealized aesthetic of refinement and artistic sensibility in the West. A perfume named "Daimo" would appeal to individuals who admired Japanese artistry, gardens, and the serene beauty associated with the country.

Moon Moss by Elizabeth Arden c1932

Launched during the holiday season of 1932 amidst the Great Depression, Moon Moss by Elizabeth Arden offered a beacon of enchantment and sophistication. The name itself, "Moon Moss," conjures an ethereal, dreamlike quality, evoking images of silver moonlight glinting off verdant landscapes draped in moss. Rooted in English, the term connects nature’s lush greenery with the celestial allure of the moon, a pairing that suggests a timeless, otherworldly elegance. For women navigating the challenges of the 1930s, Moon Moss would have been more than just a fragrance—it was an escape, a moment of fantasy and refinement in an otherwise austere reality.

The words "Moon Moss" invite associations of shimmering luminescence and soft, tactile verdancy. It evokes a woodland scene kissed by moonlight—mystical, serene, and deeply romantic. Women of the time, longing for moments of beauty and glamour, would have been drawn to the fragrance as an expression of their own enigmatic charm. The name also hints at mystery and seduction, perfectly aligned with the description of the scent as “phantom light,” a shimmering, tantalizing presence designed for the most provocative woman.

In olfactory terms, Moon Moss translates to a harmonious balance of freshness and sophistication. As a fresh chypre, its verdant top notes of bergamot and magnolia whisper of nature’s elegance, while its middle floral bouquet of orange blossom, jasmine, and gardenia captures femininity in bloom. The base of oakmoss, patchouli, sandalwood, amber, and labdanum offers a grounding warmth, echoing the soft yet steadfast embrace of moss underfoot. Together, these elements create a scent that feels simultaneously grounded and celestial—lush and mysterious, like moonlight illuminating a forest glade.

Pin Fleuri by Babani c1937

In 1937, the time period when "Pin Fleuri" by Babani was launched, was characterized by a blend of elegance and artistic flair in fashion and perfumery. This era, nestled between the Art Deco extravagance of the 1920s and the onset of World War II in the late 1930s, saw a continuation of refined tastes and a celebration of feminine beauty through both visual and olfactory expressions.

The name "Pin Fleuri" translates to "Flowered Pine" in English, deriving from French. The name derives from an elegant floral pattern of scattered blossoms over a white or light colored colored background. Babani likely chose this name to evoke a sense of natural beauty and elegance. In the context of perfumery, "Pin Fleuri" suggests a fragrance that captures the essence of scattered blossoms over a white or light-colored background, mirroring the delicate yet vibrant nature of floral patterns popular in fashion during that time.

"Pin Fleuri" would be a fitting name for a perfume because it immediately conveys imagery of a lush, floral landscape. It suggests a perfume that is fresh, floral, and possibly with green notes reminiscent of pine or other foliage. The name itself would appeal to women who appreciated sophisticated, floral fragrances that complemented their attire and lifestyle.

Afghani by Babani c1919

In 1919, the launch of "Afghani" by Babani occurred during a tumultuous period in Afghanistan's history. Afghanistan, at the time, was striving for independence and navigating its geopolitical position amidst the aftermath of World War I. The name "Afghani" in English refers to something or someone from Afghanistan. The term "Afghani" itself is of Persian origin, reflecting its linguistic roots in the region.

Babani likely chose the name "Afghani" for its exotic connotations and associations with the Far East. During the early 20th century, Western perceptions of Afghanistan and the broader region were often steeped in romanticized Orientalist imagery, characterized by mystique, adventure, and the allure of distant lands. Naming a perfume "Afghani" would have immediately evoked images of rugged landscapes, spices, and the rich cultural heritage of the region.

The name "Afghani" would have been appealing for a perfume due to its potential to evoke a sense of exoticism and luxury. Perfumes during this era often drew inspiration from distant lands and their mystical allure, appealing to consumers' desire for adventure and escapism. The subtitle "Essence of the Far East" further reinforces this image, suggesting a blend of oriental spices and luxurious ingredients that were popular in Western perfumery of the time.

Those who related to a perfume called "Afghani" would likely be intrigued by its promise of transporting them to a far-off place, capturing their imagination with visions of spice markets, desert landscapes, and ancient traditions. They might respond to the perfume with a sense of curiosity and a desire to experience its evocative blend of scents.

Saigon by Babani - Parfum Chinois c1920

In the early 1920s, the launch of the perfume "Saigon" by Babani would have carried significant cultural and historical connotations, particularly in the context of Asia during that time period.

During the 1920s, China, Vietnam, Korea, and Japan were undergoing various social, political, and cultural changes. China was in the midst of the Republican Era after the fall of the Qing Dynasty, Vietnam was under French colonial rule, Korea was also under colonial occupation by Japan, and Japan itself was experiencing rapid modernization and industrialization.

The name "Saigon" originates from the Vietnamese language. It was the name of a major city in French Indochina (present-day Ho Chi Minh City in Vietnam). "Saigon" itself comes from the Vietnamese words "Sài Gòn," which possibly derive from the Khmer words "Prey Nokor," meaning "forest city."

Babani likely chose the name "Saigon" to evoke a sense of exoticism and intrigue associated with French Indochina, which was seen as mysterious and alluring to Western audiences at the time. The name would have suggested a fragrance that embodied the essence of the Far East, blending French colonial fascination with the oriental mystique.

"Saigon" as a name for a perfume would have resonated with the European audience of the time who were fascinated by the Far East. It conjures images of tropical flowers, bustling markets, and the mingling of French elegance with Asian exoticism. The name suggests a fragrance that promises adventure, sophistication, and perhaps a hint of the unknown, appealing to those seeking to experience distant lands through scent.

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."

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.

Ming by Babani c1919

In 1919, the launch of the perfume "Ming" by Babani occurred against the backdrop of fascination with exotic cultures and the allure of distant lands. The name "Ming" in Chinese translates to "bright" or "shining" in English, carrying connotations of radiance, elegance, and sophistication. Babani likely chose this name to evoke the splendor and richness associated with the Ming dynasty of ancient China, renowned for its cultural achievements and grandeur.

For perfume marketing in the early 20th century, the name "Ming" would have been captivating. It conjures images of serene Ming gardens with their meticulously designed landscapes, tranquil ponds, and delicate floral scents. Emotionally, "Ming" suggests a sense of refinement, harmony, and timeless beauty, appealing to those seeking escapism and luxury in their fragrances.

The subtitle "breath of Old China" further enhances its allure, promising wearers a sensory journey to a bygone era of elegance and grace. Described as youthful, zesty, gay, and sparkling, the perfume "Ming" would have appealed to individuals embracing the vibrancy and optimism of the post-war period, where a desire for joyous and refreshing scents prevailed.

Those who related to a perfume named "Ming" would likely have been drawn to its promise of exoticism and sophistication, envisioning themselves transported to a realm of ancient beauty and cultural richness. The name itself, "Ming," would evoke imagery of ornate temples, silk robes, blossoming gardens, and the tranquility of traditional Chinese aesthetics, resonating deeply with admirers of Eastern mystique and timeless elegance.

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.

Chypre Egyptienne by Babani c1919

In 1919, the launch of "Chypre Egyptienne" by Babani occurred against a backdrop rich with cultural and historical references that influenced its name and appeal. The term "Chypre" refers to a distinctive fragrance family characterized by a base of oakmoss, labdanum, and patchouli, often blended with citrus and floral notes. This style was pioneered by the perfume "Chypre" by François Coty in 1917, marking a new era in perfumery.

The addition of "Egyptienne" to the name "Chypre Egyptienne" suggests a fusion of oriental and ancient Egyptian themes. Egypt held a deep allure during this period due to ongoing archaeological discoveries and popular culture fascination with its exotic history and art. The French name translates to "Egyptian Cyprus," combining elements evoking both the Mediterranean island and the mystical allure of ancient Egypt.

Babani likely chose this name to capitalize on the trend of exoticism and nostalgia prevalent in early 20th-century Europe. The blend of chypre elements with Egyptian imagery promised a perfume that was both sophisticated and evocative, appealing to a clientele fascinated by the exotic and the luxurious.

Jasmin de Coree by Babani c1920

In 1920, the period surrounding the launch of "Jasmin de Corée" by Babani was marked by cultural fascination with exoticism and the allure of distant lands. This era, post-World War I and amidst significant societal changes, saw a burgeoning interest in fragrances that evoked images of far-off places and rare botanicals.

The name "Jasmin de Corée" translates to "Jasmine of Korea" in English. Choosing this name likely appealed to Babani due to several reasons. Firstly, jasmine has long been associated with beauty, elegance, and sensuality in perfumery. By specifically referencing Korea, a country renowned for its rich cultural heritage and natural beauty, Babani aimed to evoke an aura of exotic allure and sophistication.

"Jasmin de Corée" would have been a fitting name for a perfume in the early 20th century for several reasons. Firstly, jasmine as a scent is universally beloved for its sweet, floral fragrance, often considered romantic and alluring. By associating it with Korea, Babani tapped into the fascination with Eastern cultures that was prevalent in Europe during that time. The name suggests a blend of the familiar (jasmine) with the exotic (Korea), appealing to consumers' desire for escapism and luxury.

Secret Princesse Nefertiti by Babani c1937

The perfume "Secret Princesse Nefertiti" by Babani was launched in 1937, a time when the world was fascinated by ancient Egypt and its mysteries. The discovery of Tutankhamun's tomb in 1922 had sparked a renewed interest in Egyptology, influencing art, fashion, and popular culture throughout the 1920s and 1930s. This period saw an influx of Egyptian motifs in design, from jewelry to architecture, as the Western world romanticized and idealized ancient Egyptian civilization. Perfume, an integral part of ancient Egyptian rituals and daily life, found a natural resonance in this context, and "Secret Princesse Nefertiti" emerged as a blend of this historical fascination and contemporary allure.

The name "Secret Princesse Nefertiti" translates to "Secret Princess Nefertiti" in English. The choice of this name by Babani, a renowned Parisian couturier and perfumer, was likely influenced by the aura of mystery and beauty surrounding Queen Nefertiti, one of ancient Egypt's most famous and enigmatic figures. Nefertiti, known for her stunning beauty and powerful position as the Great Royal Wife of Pharaoh Akhenaten, symbolizes timeless elegance and intrigue. By associating the perfume with Nefertiti, Babani tapped into the fascination with ancient Egypt and its perceived exoticism and sophistication.

"Secret Princesse Nefertiti" is an evocative name for a perfume, as it conjures images of hidden allure and regal beauty. The notion of a "secret" adds an element of mystery, suggesting a fragrance that is both personal and revealing only to those privileged enough to experience it. This name would appeal to individuals who saw themselves as sophisticated and discerning, seeking a scent that embodies both historical grandeur and an air of enigma.

One Hundred Five by Bababi c1944

One Hundred Five by Babani: launched around 1944. It was  available as Perfume and Toilet Water.

The New Yorker, 1944:

"Babani: One Hundred Five Toilet Water, six ounces for $2.50, and wonderful Perfume of the same name, $10 (At Jay-Thorpe)."

Cabriole by Elizabeth Arden c1977

Launched in 1977, Cabriole by Elizabeth Arden was a fragrance designed to capture the grace, femininity, and vitality of its era. The name “Cabriole,” pronounced cab-ree-ohl, is derived from the French term for a ballet movement—a leap accompanied by a turn of the legs mid-air. This choice of name was both evocative and sophisticated, suggesting elegance, lightness, and a sense of joyous motion. For women of the time, the name “Cabriole” likely conjured images of fluidity and refinement, evoking emotions of aspiration and freedom.

The ballet reference would have resonated particularly well with the 1970s audience, a time when women were embracing more liberated roles and identities, often balancing grace and strength in their personal and professional lives. A perfume named “Cabriole” would have appealed to the modern woman seeking a scent that symbolized this duality—delicate yet confident, traditional yet adventurous.

In terms of its composition, Cabriole was classified as a soft, aldehydic floral fragrance, a popular genre at the time but delivered with Arden’s signature twist. It opened with a bright and fresh green aldehydic burst that immediately captured attention, reminiscent of crisp morning air infused with leafy vitality. The heart of the fragrance bloomed into a bouquet of sweet florals such as rose, jasmine, and lily of the valley, interwoven with sweet spices that added depth and intrigue. This floral heart was balanced by a warm, woodsy, and powdery base, featuring notes like sandalwood, musk, and perhaps a touch of orris, grounding the fragrance in femininity and elegance. The result was an exhilarating blend described by Arden as “flowers and more flowers mixed and mingled with spices and leafy green notes.”

Arden for Men Sandalwood by Elizabeth Arden c1957

Arden for Men Sandalwood by Elizabeth Arden: launched in 1957. A line of men's toiletries and fragrances.

Seaqua by Elizabeth Arden c1970

Seaqua by Elizabeth Arden: launched in 1970. A line of toiletries and cosmetics. Discontinued.

Cupid’s Breath by Elizabeth Arden c1924

Cupid's Breath by Elizabeth Arden, launched around 1924, is a name that stirs both mythological imagery and an aura of romantic allure. The term "Cupid’s Breath" invokes the mythical god of love, Cupid, who in Roman mythology is often depicted as a playful, mischievous figure whose arrow could cause hearts to fall in love. The phrase suggests an ethereal, almost magical essence—like a light breeze carrying a whisper of passion or desire. The use of "Breath" in the name conjures images of something delicate, fleeting, and enchanting. It hints at an air of sensuality and mystery, a fragrance that would be experienced intimately and softly, lingering just enough to captivate the senses. The name would likely have appealed to women of the time as a representation of romanticism, making it the perfect choice for a fragrance aimed at evoking emotions of love, longing, and charm.

For women of the 1920s, Cupid's Breath would have been interpreted as a perfume imbued with the essence of romance and attraction. The 1920s were a period of great social change, particularly for women who were breaking free from traditional roles and embracing newfound freedom. A fragrance named Cupid's Breath would tap into the cultural zeitgeist of romantic love and the exciting allure of the modern woman. At a time when flapper fashion and independent lifestyles were taking hold, this perfume would serve as a playful, elegant companion to the woman's desire to embrace both beauty and seduction. The idea of "Cupid’s Breath" in scent would evoke the softness and warmth of a gentle floral, a fragrance that encapsulated not just beauty but also the mystery of love's effects on the heart and mind.

On Dit by Elizabeth Arden c1937

Elizabeth Arden's choice of the name "On Dit" for her 1937 fragrance evokes intrigue and sophistication. Meaning "They Say" in French (pronounced awn-dee), the phrase captures the essence of gossip, rumor, and the seductive allure of whispered secrets. The name, steeped in the elegance of the French language, reflects the global fascination with Parisian chic during the interwar years. It conjures images of soirées where women exchanged hushed confidences and elusive glances over champagne, their elegance enhanced by the subtle, intoxicating aura of their perfume.

In the 1930s, women were embracing a new modernity while holding on to traditional notions of glamour. A perfume named "On Dit" would have resonated with women who delighted in the thrill of mystery and the power of allure. It symbolized a statement of confidence, sophistication, and the art of leaving a lasting impression. For women of the era, "On Dit" was not just a fragrance—it was a character, a story, and an invitation to step into an air of elegant secrecy.

Created by the legendary Edmond Roudnitska, On Dit is classified as a floral oriental fragrance with a distinctive chypre backbone. The opening dazzles with the sharp brilliance of citron and lemongrass, accented by effervescent aldehydes and the juicy sweetness of fresh peaches. This initial brightness has been likened to the peachy opening of Mitsouko by Guerlain, a fragrance that redefined chypre compositions.

At its heart, On Dit blooms with a bouquet of timeless florals: the heady richness of jasmine, the powdery softness of heliotrope, the romantic allure of rose, and the creamy opulence of tuberose. These are heightened by the spicy clove-like nuances of carnation, adding depth and warmth to the composition.

The base grounds the fragrance in earthy and resinous notes, with galbanum's green sharpness, vetiver's smoky sophistication, and musk's sensual depth. Leafy, mossy undertones and the fresh, sappy accords evoke the verdant stillness of a shaded forest, giving On Dit a rooted, natural elegance.