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.

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.

Red Door by Elizabeth Arden c1989

Red Door by Elizabeth Arden: launched in 1989. Created by Carlos Benaim. The name of the fragrance is a tribute to Arden's famous Red Door Salon and in honor of the Elizabeth Arden woman.

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.