Venetian Ardena

In 1912, Elizabeth Arden embarked on a transformative journey to France, where she immersed herself in the sophisticated beauty culture of Paris. This trip was pivotal, as it allowed her to learn the latest techniques in beauty and facial massage from renowned Parisian salons. Arden was captivated by the artistry of French beauty, and she understood that these techniques, combined with her vision, could revolutionize the approach to makeup in North America.

Upon her return, Arden brought with her a carefully curated collection of rouges and tinted powders, products that she had personally developed. This was a bold move during a time when makeup was largely reserved for performers and the stage, and society held strict views about appropriate beauty practices. By introducing modern eye makeup to the North American market, Arden challenged conventional norms and made cosmetics accessible to a broader audience, allowing women to enhance their natural beauty without the stigma associated with makeup.

Elizabeth Arden didn’t stop at product innovation; she also introduced the revolutionary concept of the “makeover.” Her salons became havens where women could not only receive beauty treatments but also experience a complete transformation. This holistic approach to beauty emphasized the importance of personalized service and tailored techniques, encouraging women to explore their individual styles. Arden’s makeovers became more than just physical transformations; they empowered women to embrace their beauty and feel confident in their own skin.

Through her pioneering efforts, Elizabeth Arden played a crucial role in redefining beauty standards in the early 20th century. Her influence extended beyond products; she reshaped societal perceptions of makeup, inviting women from all walks of life to indulge in the art of beauty and self-expression.

Rose Toilet Water by Elizabeth Arden c1922

Rose Toilet Water by Elizabeth Arden: launched around 1922.

Shogum by Babani c1921

In 1921, the time period when "Shogum" by Babani was launched, Japan held a particular fascination in Western culture. This was an era marked by growing interest in Eastern exoticism and aesthetics, influenced by the popularity of novels like James Clavell's "Shogun," which portrayed Japan's feudal past to Western audiences. The name "Shogum" itself derives from the Japanese term "Shogun" (将軍), which means "general" or "military commander." It represents a historical title of great significance in Japanese feudal history, referring to the supreme military leader during the feudal era.

Babani's choice of the name "Shogum" for a perfume was likely inspired by this cultural intrigue surrounding Japan at the time. The decision to spell it as "Shogum" rather than "Shogun" might have been for stylistic or trademark reasons, or possibly to differentiate it from the direct historical term.

For consumers of the time, a perfume named "Shogum" would evoke images of Japan's rich cultural heritage: samurai warriors, delicate cherry blossoms, serene gardens, and perhaps the allure of mysterious and elegant Japanese women. Emotionally, it could evoke a sense of exoticism, sophistication, and a touch of the unknown, appealing to those fascinated by distant cultures and seeking to capture their essence through fragrance.

Just a Dash by Babani c1928

In 1928, the period in which "Just a Dash" by Babani was launched was marked by a vibrant cultural shift in Europe, particularly in Paris, where art, fashion, and perfumery flourished amidst the aftermath of World War I. This era saw the rise of the Art Deco movement, characterized by its sleek lines, geometric shapes, and a celebration of modernity and luxury.

The name "Just a Dash" in English carries a playful and enticing connotation. Babani, known for his cosmopolitan approach and often using foreign languages in his creations, might have chosen an English name to appeal to the international clientele of Paris, a hub of global culture at the time. "Just a Dash" suggests a subtle addition, a touch of something delightful and luxurious, aligning perfectly with the allure of perfumery.

For Babani, "Just a Dash" could have been a fitting name for a perfume because it evokes a sense of sophistication and refinement while also hinting at a sense of mystery and allure. The name implies that this perfume is not overwhelming but rather a subtle enhancement to one's aura and presence, appealing to those who appreciate understated elegance.

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.