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."

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.

White Orchid by Elizabeth Arden c1940

White Orchid by Elizabeth Arden: launched in 1940.

Bride's Perfume c1937

Bride's Perfume by Elizabeth Arden: launched in 1937. This is different from the presentation called Bride's Bouquet.

Photos from Passion for Perfume website

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.

Tuberose by Elizabeth Arden c1932

Tuberose by Elizabeth Arden: launched in 1932. It is often spelled as "Tube Rose" in some publications.

Le Reve d'Elizabeth by Elizabeth Arden c1927

Le Reve d'Elizabeth by Elizabeth Arden: launched in 1927. This perfume was one of four other signature scents launched that year (La Joie d'Elizabeth, Le Jardin d'Elizabeth, L'Amour d'Elizabeth, L'Etoile d'Elizabeth) and only sold in the Elizabeth Arden salons throughout the world.

Ma Rue by Elizabeth Arden c1932

Ma Rue by Elizabeth Arden: launched in 1932. It's name means "My Street" in French.

L'Elan d'Elizabeth by Elizabeth Arden c1928

L'Elan d'Elizabeth by Elizabeth Arden: launched in 1928.  

La Joie d'Elizabeth by Elizabeth Arden c1928

La Joie d'Elizabeth by Elizabeth Arden: launched in 1928.

L'Amour d'Elizabeth by Elizabeth Arden c1928

L'Amour d'Elizabeth by Elizabeth Arden: launched in 1927. This perfume was one of four other signature scents launched that year (La Joie d'Elizabeth, Le Jardin d'Elizabeth, Le Réve d'Elizabeth, L'Etoile d ' Elizabeth) and only sold in the Elizabeth Arden salons throughout the world.