Ardena Hair Off Electra Eradicator c1953

From 1934-1953

"ARDENA HAIR OFF ELECTRA HAIR ERADICATOR. (wax) removes the hair from below the surface of the skin and leaves your skin smooth and free from unsightly hair growth. Discouraging future growth by reapplication, the wax-method was proved the easiest, $1.25, plus tax."

photos from ebay seller samtenserpe

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.

Seaqua by Elizabeth Arden c1970

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

Ambré by Elizabeth Arden c1925

 Ambré by Elizabeth Arden: launched in 1925. Discontinued, date unknown. Still being sold in 1937.

Sketch, 1925:

"Bath salts: Allamanda, Jasmine, Rose Geranium, Russian Pine, Ambre. In handsome glass jars, 5/6, 10/6. In 16-lb. tin, 35/-,Compact cubes, 6 for 3/6."

Woman's Home Companion, 1932:

"Elizabeth Arden's Ensembles for the bath: Powdered Bath Salts,exquisitely scented with Ambre, Allamanda, Jasmine, Rose Geranium or Russian Pine,$5."

The New Yorker, 1937:

Blue Grass, Jasmin, Ambre, Rose Geranium, Gardenia…$2.00, $3.50, $8.00. Le Reve, Night and Day…$2.50, $4.00, $9.00.”

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.

Violet Essence by Elizabeth Arden c1920

Wood Violet Essence by Elizabeth Arden, launched in 1920, evokes a sense of nature and elegance. The name "Wood Violet Essence" combines two key elements: "wood" and "violet." The word violet refers to the small, fragrant flower known for its delicate purple petals, while wood invokes imagery of forests and the earthy, green surroundings where violets grow. In French, violette denotes the flower, and the word essence indicates an extract, particularly a fragrance distilled from a flower or plant. The name calls to mind the fresh, dewy scent of violets found in shaded woodlands.

For women of the 1920s, a fragrance like Wood Violet Essence would have been both a symbol of sophistication and a connection to the natural world. The roaring twenties was a period of rapid change and liberation, and the idea of a fragrance based on a delicate flower found in the woods could evoke feelings of both innocence and quiet strength. The scent of violets was associated with romanticism and was often seen as a symbol of modesty and purity, making it an appealing choice for a post-World War I era that was seeking renewal. The fragrance would likely have appealed to the sensibilities of women who were looking to assert their independence while still embracing femininity.

Parfums par Noel Perfume Presentation c1940

"Parfums par Noel," a presentation set of "Cyclamen," "Night & Day," and "Blue Grass" for Elizabeth Arden, circa 1940, features blown glass bottles hung in net stockings. Ht. of bottle 3 1/2 in (8.8 cm). Photo by Rago Arts & Auction Center

Blue Grass by Elizabeth Arden c1934

Blue Grass by Elizabeth Arden: launched in 1934, created by perfumer George Fuchs of Fragonard.

Elizabeth Arden Pin Cushion Perfume Presentations

 Elizabeth Arden's "Perfume Pins" presentations, offered from the late 1930s through the 1950s, embodied a unique blend of charm, nostalgia, and ingenuity. These delightful creations were inspired by the Victorian tradition of decorative hat pins and transformed a practical object into a whimsical perfume accessory. The concept was as captivating as the fragrances themselves, making these presentations coveted treasures among collectors and perfume lovers.

The central feature of these presentations was the pin cushion, which varied in shape, color, and design across different years. One year, the cushion might take the form of a delicate heart, evoking romance, while another year, it might resemble a charming hat, paying homage to vintage fashion. The fabric coverings also changed with the seasons, sometimes in soft pinks or powdery blues, adding to their appeal as decorative objects.

The ingenuity lay in the integration of perfume into the pins. Tiny stoppered bottles, cleverly affixed to the end of a pin, simulated the look of a classic hat pin while containing a small amount of perfume. These miniature bottles were designed with precision, often featuring delicate glasswork that complemented the overall aesthetic. In other versions of the presentation, real, functional pins accompanied the cushion, alongside a small attached bottle of perfume, enhancing the utility and allure of the set.

These "Perfume Pins" were both practical and nostalgic, evoking the elegance of a bygone era while providing a modern twist. They served as a nod to the craftsmanship and charm of antique vanity items, seamlessly blending functionality with beauty. Women of the time would have found them not only delightful to display on a dressing table but also practical for carrying a touch of fragrance in an unexpected, stylish way.

The rarity of these presentations today reflects their ephemeral nature. The tiny perfume bottles were often used, and the pins themselves were easily separated from their cushions, making complete sets challenging to find. This transience adds to their mystique, making surviving examples a testament to Elizabeth Arden's innovative approach to blending design and scent during the mid-20th century.

1940 Elizabeth Arden "Hatpin" perfume presentation, a miniature bust of felt and other hat trims, with glass perfume bottle hatpin. Ribbon label Elizabeth Arden. 6 1/2 in. 

Photos by Perfume Bottles Auction (close up showing tiny hat pin perfume bottle) 

Price realized: $700 in 2010.

Tide of Advertising and Marketing, 1939:

"Take Elizabeth Arden...She's got a new "Perfume Pincushion", a flower and lace trimmed pale blue rayon satin sacheted pincushion that cries for a Victorian hat. In it are thrust pink, yellow, blue and mauve stoppered glass hatpins. Fasten your veil with one, stick one in your lapel, or pin your corsage with it."

1930s Elizabeth Arden “Perfume Pin-Ups” Blue Grass perfume bottle, clear glass, plastic screw-cap, label, box with sachet cushion and three hatpins. Bottle 2 in. Photos by Perfume Bottles Auction.

Price realized: $100 in 2012. Described in the original ad below.

The New Yorker, 1939:

"Elizabeth Arden, always highly imaginative where lovely femininity is concerned (pink is no discovery to her), offers Easter presents that are the height of delicate froufrou. A notable one is a blue satin-covered old-fashioned pincushion with four pins stuck in it."

Stage, 1939:

"Elizabeth Arden's little gadgets are always amusing and charming. Now it's four perfume pins on a blue satin, moss- fringed pin-cushion."

Dance, 1940:

"Elizabeth Arden has put four of her perfume pins around a rosette of posies in an old-fashioned pincushion made gay and young with a cerise satin top and an edge of starched frills. The perfume pins are glass bubbles of perfume."

Cue, 1950:

"There are, too, several beguiling perfume novelties: An artful red velvet, heart shaped pin cushion from Elizabeth Arden, with four pearl stickpins holding in place a bottle of "My Love." $6.50"

Untold by Elizabeth Arden c2013

Untold by Elizabeth Arden: launched in 2013.

Carnation by Elizabeth Arden c1939

In 1939, Carnation by Elizabeth Arden was introduced, and unlike many perfumes of the era, which often carried whimsical or abstract names, Arden chose a straightforward and descriptive title: Carnation. The name, taken directly from the flower it was meant to evoke, reflects both the simplicity and elegance of the perfume. The word "Carnation" comes from the Latin caryophyllus, meaning "clove," due to the flower’s clove-like scent. It instantly conjures images of fresh, velvety blooms in vibrant shades of pink, red, and white, filling the air with a spicy, floral aroma. Carnations, with their ruffled petals and fragrant, slightly peppery scent, have long been associated with love, admiration, and a sense of refined elegance.

For women in 1939, the name "Carnation" would have evoked the timeless beauty and grace of the flower itself, as well as a connection to the rich floral traditions in perfumery. Carnations were frequently used in both bouquets and corsages, often seen at weddings or as a symbol of admiration. The flower’s fragrance, a blend of spicy, sweet, and powdery notes, would have been familiar to those with a penchant for floral perfumes but also offered a subtle departure from the more delicate florals that were so popular. The perfume, therefore, would have felt both classic and modern—a tribute to a beloved flower, yet modernized with new fragrance innovations of the time.

Carnation by Elizabeth Arden was classified as a spicy floral fragrance for women, and its composition mirrored the trends of the 1930s while also nodding to the rich history of floral-based perfumes. The late 1930s saw a growing trend for floral fragrances enhanced with spicy or resinous notes, which helped to create a deeper, more complex scent. Perfumes like Carnation used spices such as clove, cinnamon, and nutmeg, drawing upon the natural richness and intensity of flowers like carnations. At the same time, the fragrance captured the sophisticated spirit of the times, as women were beginning to embrace bolder, more assertive fragrances, distinct from the light, ethereal florals of the past.

Poppye by Elizabeth Arden c1920

The name "Poppye" evokes both a sense of delicate beauty and hidden mystery. The word itself is a playful, altered version of the common poppy flower, with the "e" adding a soft, feminine flourish to the word, hinting at something more exotic and luxurious. Pronounced as "Poh-pee," it’s a name that rolls off the tongue with an almost whimsical, yet sensual allure. Poppies, often associated with both sleep and sensuality due to their connection with opium, bring an image of vivid, scarlet petals swaying gently in the breeze—a delicate flower that beckons with its bright, alluring beauty. To women in the 1920s, "Poppye" would have conjured both innocence and indulgence, a flower known for its beauty and its whispered mysteries. In this context, the name would speak of a sophisticated, enigmatic femininity—one that combines softness with a touch of untamed allure. It would evoke feelings of romance, sensuality, and a hint of the exotic.

By naming the fragrance Poppye, Elizabeth Arden was tapping into the cultural imagination of the time. In the aftermath of World War I, women were embracing a new era of freedom, sophistication, and boldness. The 1920s was a decade of change—flapper dresses, jazz music, and a more liberated approach to beauty and fashion. "Poppye" would have felt like the fragrance of a modern woman: confident, alluring, and not afraid to indulge in something a bit exotic and mysterious. The term itself would have struck a romantic chord, while at the same time, the "golden" hue of the fragrance would symbolize a sense of preciousness, wealth, and glamour—qualities that the women of the era, who were moving into a more progressive time, would have embraced.

Poppye was classified as an aromatic oriental floral fragrance, and this genre was quite popular in the 1920s, aligning with other perfumes of the time like Shalimar by Guerlain and Chanel No. 5—rich, sophisticated, and complex fragrances with both floral and spicy elements. While Poppye would have resonated with the luxurious and exotic themes of the era, it was still distinct. The "languorous" and "melting mystical scent" described in its marketing speaks to the soft, almost narcotic quality of poppies themselves, with their tender petals hiding a deep, intoxicating fragrance. The interplay of floral sweetness and spicy warmth would have reflected the rich, multi-layered personality of the modern woman, someone who was sophisticated yet mysterious.

Parfum No. 450 by Elizabeth Arden

Parfum No. 450 by Elizabeth Arden:launched in 1940. Named for the number on Arden's opera box. The perfume was also known as "Opera 450" and was available in Parfum, Flower Mist and dusting powder. Also available was "450 Eau de Toilette" for men.