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.

Cyclamen by Elizabeth Arden c1938

Launched in 1938, Cyclamen by Elizabeth Arden embraced a straightforward yet evocative name, reflecting the flower that inspired it. The cyclamen, a delicate and graceful bloom, thrives in Mediterranean regions and parts of Europe, often growing in rocky or woodland areas. Its nodding blossoms, which seem to dance above their rounded foliage, are associated with elegance and understated beauty. The natural fragrance of the cyclamen is subtle, often described as fresh, green, and lightly floral with a delicate sweetness. However, the fresh flowers lose their scent quickly after being picked, posing a challenge for perfumers seeking to capture their ethereal aroma.

The word "cyclamen" comes from the Greek kyklaminos, meaning "circle," referencing the rounded shape of the plant’s tuber. This connection to classical language and form evokes timelessness, purity, and nature’s organic beauty. For women of the late 1930s, a perfume named Cyclamen would have resonated with these themes, offering a sense of refined femininity and connection to the natural world. The name conjures images of delicate blooms nestled in a serene woodland glade, appealing to women seeking a fragrance that expressed both grace and quiet strength.

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.

Bridal Bouquet Perfume Presentation by Elizabeth Arden c1937

Bride's Bouquet was a presentation of five floral perfumes offered by Elizabeth Arden in 1937.  The perfumes included: Gardenia, Lily of the Valley, Jasmine, Orange Blossom and White Orchid.

This presentation is made up of five glass bottles, triangular in shape, with a round semi-spherical glass stoppers with a filigree metal dome insert. These bottles were sold as a set and also separately in white and silver boxes. A small millinery bouquet was tied to the stopper corresponding to what scent the bottle held: Orange Blossom, White Orchid, Lily of the Valley, Jasmine and Gardenia. The stopper design was patented in 1937.

Discontinued, date unknown. Still sold in 1940.


Harper's Bazaar - Volume 71, 1937:

"Not solely (or brides, but assembled with them very much in mind, is Elizabeth Arden's salon box of five perfumes, which she calls "Bride's Bouquet."

Art and Industry, Volumes 24-25, 1938:

"...perfumes of the luxurious Bride's Bouquet are in triangular bottles which nest neatly into an appropriately white-and-silver container. ... Elizabeth Arden is always thorough, and a spray of orange blossom crowns a set which would delight the heart of any bride."

Arts & Decoration, Volumes 52-53, 1940:

"If you happen to know a bride who rates something a little something  extra special ss a pre-wedding present you might look into Elizabeth Arden’s bouquet of bridal perfumes. These come as a set of attractive three sided bottles with filigree stoppers tied with miniature bouquets. There are five fragrances - orange blossom, white orchid, lily of the valley, jasmine and gardenia so that the bride may choose her perfume to match her wedding bouquet. Boxed individually these make nice bridesmaids gifts or even Easter presents as well."

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.

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.

Memoire Cherie by Elizabeth Arden c1956

Memoire Cherie by Elizabeth Arden: launched in 1956. The Grecian goddess of memory is depicted on the packages.