Parfums Fontanis

Parfums Fontanis was established in 1919 by Daniel Jacquet, a French entrepreneur with a refined artistic vision for luxury perfumery. The company operated out of 38 boulevard de la Saussaye in Neuilly-sur-Seine, a prestigious suburb just west of Paris, known for its elegant residential character. Jacquet, who would later found the exotic-inspired perfume house Madhva in 1923, launched Fontanis as a more traditionally French perfumery, offering both perfumes and cosmetics to an upscale clientele during the post–World War I era of revived Parisian elegance.

Though Fontanis produced several fragrances and personal care products during its brief existence, its tenure in the competitive French perfume market was relatively short. By 1927, the company was absorbed by the renowned perfume house Volnay, a move that reflected broader industry consolidations during a decade marked by both innovation and instability in luxury goods. Fontanis’s final two known perfumes—Prélude and Blue Îles—were developed in association with Volnay, suggesting that Volnay may have taken over the creative direction or distribution of the remaining Fontanis stock as part of the acquisition.

Despite its brief operation, Parfums Fontanis represents a significant stepping stone in Daniel Jacquet’s career. The experience he gained in managing a perfume and cosmetics house—its marketing, aesthetics, and product development—directly influenced the formation of Madhva, a much more elaborate and artistically ambitious venture launched just four years later. Today, Fontanis is largely forgotten outside of specialist circles, but its association with both Jacquet and Volnay places it within the larger story of early 20th-century French perfumery—a period marked by bold creativity, expanding internationalism, and the elevation of perfume as both luxury and art.

Madhva:

The Madhva perfume line, launched between 1923 and 1924, was a short-lived yet artistically ambitious collection of five luxury fragrances. Conceived by Daniel Jacquet, founder of both Fontanis and Madhva, the brand was notable for blending French perfumery with Eastern spiritual and cultural imagery—a hallmark of 1920s Orientalist aesthetics. Each fragrance in the Madhva collection was designed not only as a scent but as a complete experience, enhanced by narrative titles, thematic subtitles, lavish Baccarat flacons, and visually rich presentation boxes created in collaboration with designer Julien Viard and illustrator Alexandre-Ceslas Rzewuski.

The first two perfumes, Rahna and Tamya, were introduced in 1923. Rahna, subtitled “Sacred Odor of Benares”, was inspired by the spiritual city of Benares (Varanasi) in India, and likely evoked incense, ritual resins, and sacred woods. Tamya, subtitled “Of the Bayadères of Burma”, referenced the elegant temple dancers of Burma (Myanmar), and its scent was imagined to be soft, feminine, and evocative of tropical florals and sacred ceremonies.

In 1924, three additional perfumes followed: Ta-Wao, Ananya, and Damaya. Ta-Wao, subtitled “High Priest of Llassa”, referenced Lhasa, the capital of Tibet, and was likely the most meditative and austere of the group, centered around smoky, resinous notes suggestive of temple incense. Ananya, subtitled “De la Divinité de l’Amour” or “Of the Divinity of Love”, portrayed the perfume as a tribute to a goddess of love, with a composition that was likely lush, floral, and luminous—symbolizing both romance and divine femininity. Damaya, the final in the series, was subtitled “Poetry of Love” and took on a more lyrical, tender tone, perhaps embodying the softer, more intimate side of romance with delicate floral and powdery notes.

Together, these five perfumes formed a cohesive, thematic collection, each rooted in symbolic storytelling and presented with remarkable attention to visual and tactile detail. Though the brand was short-lived—Madhva ceased operations around 1931—the perfumes it produced remain rare and highly collectible today, cherished not only for their fragrance but also for the exceptional artistry of their bottles and boxes.

Lillian Savre:

In addition to his involvement with Fontanis and Madhva, Daniel Jacquet appears to have had some form of association with Lillian Savre, a lesser-known perfumer whose work adds a further layer of intrigue to the story of early 20th-century fragrance. One notable link between them is the perfume Un Soir de Mai—French for "An Evening in May"—a romantic-sounding composition that was affiliated with Lillian Savre, yet curiously connected to Jacquet’s circle of perfume ventures.

Lillian Savre was active as a perfumer during the 1920s and 1930s, and was based in Alexandria, Egypt—a cosmopolitan port city known at the time for its vibrant blend of Eastern and Western cultural influences. Though few details about her business survive, Savre appears to have operated either as an independent perfumer or under a boutique label, catering to refined tastes in a region where French perfumery held strong appeal. The French name Un Soir de Mai suggests that her perfumes were intended for both French and international markets, aligning with the global reach of perfumery during the interwar years.

The nature of the connection between Savre and Jacquet remains somewhat unclear, but it is possible that Jacquet—known for his entrepreneurial reach and aesthetic ambitions—may have collaborated with Savre in the distribution, branding, or development of the perfume. Another possibility is that Un Soir de Mai was initially developed by Savre but marketed or refined under Jacquet's broader umbrella of perfume activity, especially during the transitional period leading up to Fontanis’s sale to Volnay in 1927.

Regardless of the exact business arrangement, the existence of Un Soir de Mai suggests that Jacquet’s influence extended beyond the two perfume houses for which he is best known. His work intersected not only with other French creatives like Julien Viard and Rzewuski, but also with international figures like Savre—reflecting the cross-cultural spirit of perfumery in the early 20th century, when fragrance was increasingly viewed as both luxury and art, exchanged across continents, languages, and traditions.

Bottles:

Several of the perfume bottles used by Parfums Fontanis were sourced from some of the most prestigious French glassmakers of the early 20th century, reflecting the house's dedication to presenting its fragrances not just as scents, but as complete works of art. Most notably, Baccarat—renowned for its finely cut and molded crystal—produced a number of flacons for Fontanis, many of which were used for both eaux de toilette and parfum presentations. These Baccarat bottles, often embellished with gold or silver enameling, showcased the refined craftsmanship and decorative elegance that made Fontanis perfumes luxurious objets d’art.

In addition to Baccarat, Cristalleries de Nancy and Depinox also supplied bottles for the Fontanis range. Cristalleries de Nancy, known for its quality pressed and blown glass, was a prominent glassworks active during the height of the Art Deco period, and likely contributed bottles with geometric or relief decorations typical of the style. Depinox, less well known today, was active during the 1920s and specialized in decorative packaging, including enameled and molded glass containers. Their collaborations with Fontanis helped diversify the presentation styles across the perfume line, offering both classical and modernist interpretations of perfume flacons.

A particularly important example is the bottle created for Faune, a fragrance released by Fontanis in 1925. This bottle was designed and manufactured by René Lalique, one of the most celebrated figures in French decorative arts. The Faune flacon reflected Lalique’s signature style—sculptural, mythological, and harmoniously proportioned—likely incorporating elements of nature or classical symbolism in keeping with the perfume’s name, which refers to the faun, a half-human, half-goat creature from Roman mythology associated with forests and sensuality. The collaboration with Lalique elevated Faune to the status of a collectible masterpiece, tying the fragrance to the peak of Art Deco design.

An interesting and little-known historical detail is that the perfume Chypre by Volnay, released later, was in fact a rebranded version of the Fontanis perfume Violette. This crossover likely occurred around the time when Volnay acquired the Fontanis business in 1927, inheriting not just formulations, but perhaps also bottle molds and branding concepts. Volnay’s Chypre was presented in a bottle made by René Lalique et Cie, suggesting that Lalique’s connection to the Fontanis legacy extended beyond Faune. The new presentation under Volnay retained the high standards of artistic glasswork while giving the perfume a fresh identity.

Altogether, the bottle designs for Fontanis perfumes represent a vibrant intersection of fragrance, art, and craftsmanship. With contributions from Baccarat, Nancy, Depinox, and Lalique, the house ensured that each perfume was housed in a vessel as refined as the scent it contained. These collaborations place Fontanis within the tradition of French perfumery’s golden age, where visual beauty and olfactory sophistication were treated as inseparable expressions of luxury.

1925 Expo:

At the Exposition Internationale des Arts Décoratifs et Industriels Modernes held in Paris in 1925, Parfums Fontanis was among the perfume houses that exhibited their wares and garnered distinction—winning a gold medal for its luxurious presentations. This world’s fair was not merely an art event; it was a grand stage for innovation, craftsmanship, and the modern aesthetic movement that would come to be known as Art Deco. For a perfume house like Fontanis, the exposition offered a vital opportunity to align itself with cutting-edge design, luxury, and international taste.

Perfume in the 1920s was not only about fragrance—it had become a total art form, one that encompassed scent, glassmaking, illustration, typography, and packaging. The 1925 exposition celebrated precisely this unity of the decorative arts and industry. Perfumers participated as designers and cultural tastemakers, presenting not only their olfactory compositions but also their bottles, boxes, and branding as expressions of modern luxury. A flacon by Baccarat or Lalique, paired with custom typography or an artist-designed label, was as significant as the scent it contained. Perfume houses were effectively competing in the same artistic realm as fashion designers, furniture makers, and architects.

For Fontanis, exhibiting at the exposition was a declaration of its artistic and commercial ambition. The brand’s perfumes were often paired with finely cut Baccarat crystal bottles and presented in opulent, Art Deco–inspired cases—many of which displayed exotic or poetic themes in keeping with the era's Orientalist and fantastical influences. By winning a gold medal, Fontanis affirmed its commitment not only to the quality of its fragrances but also to the visual and tactile beauty of its products.

Moreover, the 1925 Exposition was intended to celebrate French craftsmanship and creativity on a global stage. For perfumers, it was a way to reach elite international buyers, department stores, and press outlets, while also distinguishing their brand in an increasingly competitive market. In this context, a perfume house wasn’t simply selling scent—it was selling French identity, luxury, and modern artistry. Fontanis’s award-winning presentation placed it firmly within this cultural moment, reflecting a brief but brilliant contribution to the golden age of perfumery.

The visual identity of Parfums Fontanis was crafted with the same artistic care and elegance as its fragrances. Central to this branding was the Fontanis vignette, a decorative motif designed by the artist Heymann, which appeared on both product labels and ornamental metal plaques. This vignette served as a consistent and recognizable emblem for the brand, embodying its refined aesthetic and connection to the decorative arts. It was typical of the early 1920s for luxury perfumers to develop a cohesive visual language, and Fontanis executed this with distinction.

In addition to Heymann’s contribution, an especially notable plaque was created in 1919 by Roger Foy, a sculptor and medallist known for his detailed bas-relief work. This rectangular bronze plaque, finished in gold and fitted with a hinged easel stand, was designed to serve both as display and branding—likely used in boutique counters or promotional settings. The front of the plaque is adorned with three horizontal friezes, each depicting two women draped in classical robes, arranged in mirrored, decorative poses. These allegorical female figures were common motifs in the decorative arts of the time, symbolizing beauty, harmony, and perhaps the muse-like qualities associated with perfume. The base of the plaque is boldly inscribed in relief: "PARFVMS FONTANIS", using the Latinized “V” in PARFVMS to suggest timeless elegance and classical sophistication.

The plaque was accompanied by a custom cardboard box, consisting of a bottom and a top lid. The box top was inscribed with “parfums fontanis”, likely in stylized lettering, continuing the brand’s visual identity even in its packaging. These elements were not mere containers but part of the overall luxury experience—a reflection of the house’s attention to detail and artistic presentation.

Importantly, the plaque and associated packaging were manufactured by René Lalique, the legendary French glassmaker and designer whose name is synonymous with the Art Nouveau and Art Deco movements. Lalique’s collaboration added significant prestige, as he was a leading figure in merging industrial production with fine art. His involvement places Fontanis within the elite circle of perfume houses that embraced artistic partnerships, making their bottles, plaques, and packaging part of the collectible heritage of early 20th-century French perfumery.

Together, these design elements not only reinforced the brand’s luxurious image but also helped distinguish Fontanis as a perfume house committed to a complete aesthetic experience—one that encompassed scent, form, and visual artistry in equal measure. Gift of Elaine and Stanford Steppa. Photo from the Corning Museum of Glass.

The perfumes of Fontanis:

• 1919 Sous la Charmille
• 1920 Chypre
• 1920 Cyclamen
• 1920 Jasmin
• 1920 L'Ambre
• 1920 Lilas
• 1920 Mimosa
• 1920 Muguet
• 1920 Oeillet
• 1920 Rose
• 1920 Violette
• 1920 Vivette
• 1921 Quel Délice
• 1921 Fleurs de Bagdad
• 1922 Daisette
• 1922 Les Fleurs Romantiques (a line)
• 1923 Amberia
• 1923 C'est Paris
• 1923 Coraya
• 1923 Gardenia
• 1923 Jadya
• 1923 Les Désenchantées
• 1923 Orchidee
• 1923 Parfum de Madame
• 1923 Un Soir de Mai
• 1923 Pois de Senteur
• 1924 Le Parisienne
• 1925 Ambrodor
• 1925 Chyprodor
• 1925 Gloriosa
• 1925 Faune
• 1925 Iris
• 1925 Livette
• 1925 Voici l'Hiver
• 1926 Sourire de France
• 1928 Prelude
• 1946 Blue Îles

This extensive list represents the fragrant output of Parfums Fontanis, a perfume house founded by Daniel Jacquet in 1919 in Neuilly-sur-Seine, just outside of Paris. Though short-lived—sold to Volnay in 1927—Fontanis was remarkably prolific during the 1920s, issuing a wide range of perfumes that reflected both classic French perfumery and the period’s appetite for exoticism, innovation, and poetic fantasy. Below is a descriptive overview of these perfumes, focusing on the meaning, pronunciation, launch year, and probable olfactory character based on their names.

Fontanis launched the line of Les Fleurs Romantiques in 1920. Odors included Jasmin, Lilas, Ambre, Chypre, Mimosa, Muguet, Oeillet, Cyclamen, Rose and Violette. Perfumes were put up in bottles by Baccarat and available in two sizes: 1 oz and 2 oz. Eau de Toilette was available in two sizes: 5 oz and 8.5 oz.

• Chypre (pronounced sheep-ruh) — From the French word for Cyprus, this genre-defining fragrance likely followed the classic chypre structure: bergamot, oakmoss, labdanum, and musk, creating a warm, mossy, and slightly powdery scent.

• Cyclamen (see-kla-men) — Named after the delicate flower, this perfume would likely have a soft, watery floral profile with light green notes, delicate and faintly powdery.

• Jasmin (zhaz-MEHN) — A traditional soliflore scent centered on rich, creamy jasmine, with perhaps an indolic character softened by musk or light woods.

• L’Ambre (lahm-bruh) — Meaning “Amber” or more precisely, ambergris, this scent would evoke warm, animalic, and resinous tones, likely blended with benzoin and labdanum.

• Lilas (lee-LAHSS) — The French word for lilac, this would have a sweet, slightly green floral scent, reminiscent of a lilac bush in bloom.

• Mimosa (mee-moh-zah) — Likely a light yellow floral, with soft honeyed notes and a powdery touch, mimosa evokes springtime and tenderness.

• Muguet (mew-GAY) — French for lily of the valley, known for its fresh, green-white floralcy, clean and delicate with crisp leafy undertones.

• Oeillet (uh-YAY) — Translates to carnation, often spicy and floral at once, with hints of clove, rose, and peppery freshness.

• Rose (rohz) — A classic rose soliflore, possibly Damask or May rose, evoking velvety, romantic floral notes with possible powdery or musky undertones.

• Violette (vee-oh-LETT) — Described in detail earlier, a powdery, green floral scent echoing the tender scent of violet petals.

• Vivette (vee-VETT) — Possibly a fanciful invented name, suggesting a light, lively, vivacious character. It may have been a fresh floral or aldehydic floral with sparkling top notes.

1921–1923: Romantic and Poetic Explorations

• Daisette (day-ZETT) — A diminutive form of daisy (marguerite), likely a light, youthful floral, fresh and sunny with touches of green.

• Amberia (am-ber-REE-ah) — A blend of amber and a fanciful suffix, suggesting a sweet, resinous amber-based scent, possibly with balsamic or oriental accents.

• C’est Paris (seh pah-REE) — “It’s Paris,” a declaration of French elegance; likely a powdery floral with aldehydes, echoing the Parisian spirit of the 1920s.

• Coraya (koh-rah-YAH) — A more exotic-sounding name, perhaps suggesting oriental or spicy notes, with opulent florals or amber.

• Gardenia (gar-deh-NEE-ah) — A creamy white floral, lush and heady, with green and slightly indolic qualities characteristic of true gardenia scents.

• Jadya (zhahd-YAH) — Likely inspired by jade or India, the name suggests a green-floral or amber floral with exotic nuances.

• Les Désenchantées (lay day-zon-shon-TAY) — “The Disenchanted Women,” a literary and poetic title suggesting a melancholic floral, possibly soft and powdery, with touches of violet, iris, or musky base notes.

• Orchidée (or-kee-DAY) — French for orchid, though orchids are not naturally fragrant, the interpretation would likely be a soft, creamy floral, often blended with vanilla or exotic resins.

• Parfum de Madame (par-FUM duh mah-DAHM) — “Madame’s Perfume”, likely a refined floral aldehyde, elegant and mature, in the tradition of formal French perfumery.

• Un Soir de Mai (uhn swahr duh MAY) — “An Evening in May”, evoking spring florals, soft breezes, perhaps with lilac, muguet, or rose—florals touched with dew and tenderness.

• Pois de Senteur (pwah duh sahn-TUHR) — “Sweet Pea,” a fresh, lightly powdery floral, playful and pastel-toned, typical of early 20th-century feminine scents.

1924–1926: Art Deco and Exotic Influences

• La Parisienne (lah pah-ree-ZYENN) — “The Parisian Woman”, likely chic and complex: a floral aldehyde or soft chypre, polished and urbane.

• Ambrodor (am-broh-DOR) — A coined term suggesting a blend of amber and golden richness. Likely warm, ambery, and resinous, with oriental or gourmand undertones.

• Chyprodor (sheep-roh-DOR) — Another invented name, merging chypre and doré (“golden”), suggesting a chypre with a golden, radiant twist—perhaps amber, spices, or honeyed florals.

• Gloriosa (gloh-ree-OH-sah) — Named for the gloriosa lily, a bold, tropical floral; likely an intense white floral, exotic and radiant.

• Faune (fawn) — “Faun”, the mythological forest creature, likely evoked a woody, mossy fragrance, perhaps with animalic or leathery nuances.

• Iris (ee-REES) — A powdery floral, centered around iris root (orris), with soft, rooty elegance and vintage refinement.

• Livette (lee-VETT) — A playful, invented name, possibly a lighter or more youthful variation of Vivette; likely a fresh floral with aldehydes or fruity notes.

• Voici l’Hiver (vwah-SEE leev-AIR) — “Here is Winter”, suggesting a cool, musky, and possibly balsamic or incense-based scent, with the chilly stillness of the season.

Later Releases

• Sourire de France (soo-REER duh frahnss) — “Smile of France”, an uplifting name, likely a bright floral, possibly with citrus or aldehydes, intended as a patriotic or joyful scent.

• Prelude (1928) (pray-LEWD) — A poetic title suggesting a gentle, introductory scent, likely floral and musky, or aldehydic, offering understated elegance.

• Blue Îles (1946) (bleu eel) — “Blue Islands”, released after World War II, likely inspired by escapism and exotic destinations. This would suggest a marine, floral, or tropical composition, light and airy, perhaps with white florals, coconut, or citrus.

Taken as a whole, the Fontanis fragrance collection from 1919 through 1928 reveals an ambitious and poetic catalog. It evolved from traditional soliflores (violet, rose, muguet) into more elaborate, fantasy-driven, and exotic scents (Amberia, Gloriosa, Chyprodor), eventually ending with a nostalgic nod to beauty and rebirth in Blue Îles post-WWII. The perfume names, spanning poetic French, exotic fantasy, and invented terms, trace the cultural and artistic currents of the time, positioning Fontanis as both a traditionalist and an innovator in the golden age of perfumery.

 

In 1925, face powder was launched, called Poudre Fontanis.

Quel Delice:

Quel Délice (kel day-LEESS) — “What a Delight”, a joyful name hinting at a sweet gourmand or fruity floral composition, possibly with creamy or sugary notes.

Sketch, 1925:

"Women of taste appreciate the delicacy and charm of Quel Delice perfume. It creates a faint joyeuse aura that never cloys or grows stale. Quel Delice is by Fontanis of Paris, and can now be obtained of all leading English perfumers." 

 

Jasmin:

 

Violette:

Launched in 1920, Violette by Parfums Fontanis was an early offering from the French perfume house founded by Daniel Jacquet. The name Violette (pronounced vee-oh-LEHT) is the French word for “violet”, both the flower and the color. In this context, the name clearly refers to the violet flower, beloved in French perfumery for its soft, powdery, nostalgic scent. The name evokes a sense of freshness, delicacy, and vintage charm—an ideal floral emblem for a scent rooted in early 20th-century romanticism.

As the title suggests, Violette would have centered around the scent of blooming violets, which in perfumery often comes from a combination of ionones—molecules that mimic the sweet, slightly woody, and powdery aroma of the violet flower. The fragrance likely presented a light, airy floral profile, capturing the fresh, slightly green facets of violet petals, perhaps paired with tender notes of rose, muguet (lily of the valley), or soft woods to round out the composition. The result would have been subtle and elegant, evoking the image of a Parisian spring or the faint trace of scent on a handkerchief.

The bottle, produced by Cristalleries de Baccarat and cataloged as model number 480, was a finely crafted crystal flacon standing approximately 5.1 inches tall. The bottle featured rounded shoulders and floral relief decoration on each side, adding texture and visual interest. These reliefs, sculpted directly into the crystal, echoed the perfume’s floral identity and gave the bottle a tactile charm. The enameled stopper continued the decorative theme with raised floral motifs, enhancing the overall sense of craftsmanship and harmony between scent and design.

A gold-colored label reading "Eau de Toilette à la Violette Fontanis Paris” was affixed to the front—translating to “Violet Toilet Water, Fontanis, Paris.” This elegant label was printed in classic Art Nouveau typography. On the underside of the bottle, it was stamped “Baccarat France” and signed “Fontanis,” confirming the bottle’s origin and its standing as a luxury item.

In sum, Violette by Fontanis was a graceful and quintessentially French floral perfume, introduced in 1920 at a time when violets were still a favorite motif in perfumery and fashion. Its fragrance would have been soft, nostalgic, and refined, while its Baccarat flacon made it a treasured object of beauty. Today, both the perfume and the bottle stand as a reflection of post–World War I elegance, when the world returned to the pursuit of beauty, refinement, and delicate pleasures.

Sous la Charmille:

Launched in 1919, Sous la Charmille (pronounced sooz lah shar-MEE) was one of the first perfumes released by Parfums Fontanis, the company founded by Daniel Jacquet. The French name translates as “Under the Arbor” or more precisely, “Under the Hornbeam Bower,” referring to a shaded garden walkway formed by carefully trained hornbeam trees—a classic element in French formal gardens. The name evokes a peaceful, romantic setting in nature, suggestive of strolling hand-in-hand through greenery dappled with sunlight and blooming with delicate flowers.

Interestingly, Sous la Charmille was not a completely new creation but a rebranded version of Qui M’Aime, a fragrance originally introduced in 1913 

by Clamy, another early 20th-century perfumer. Qui M’Aime means “Who Loves Me”, suggesting a subtle shift in marketing from a personal emotional appeal to a more atmospheric and nature-driven concept under the Fontanis label. The new title positioned the fragrance in a poetic, serene outdoor environment, aligning with postwar desires for peace, beauty, and sensory escape.

Described as “refreshing as the breath of Spring” and “delightfully fragrant of fresh flowers,” Sous la Charmille was a light, floral-green fragrance, likely built around dewy florals and tender leafy notes. The composition probably opened with crisp, green top notes—such as crushed violet leaves, galbanum, or bergamot—leading into a heart of lily of the valley, hawthorn, freesia, or wild rose. These gentle florals would have been softened by a powdery, musky base, perhaps with hints of orris root or white woods, lending a clean and comforting finish. It would have evoked the sensation of a spring breeze drifting through a flowering garden, light and joyful, without heaviness or drama.

The fragrance was offered in multiple formats, including parfum, eau de toilette, body powder, and lotion, making it accessible as both a fine perfume and an everyday luxury. It was also presented in a flacon by Cristalleries de Baccarat, specifically design number 257, a detail that underscored Fontanis’s commitment to refined presentation and quality. Baccarat’s flacons were known for their elegance and clarity, and this collaboration placed Sous la Charmille firmly within the realm of haute parfumerie.

In all, Sous la Charmille captured the spirit of renewal that marked the end of World War I—a fragrance of hope, beauty, and gentleness. Its soft floral notes, pastoral name, and luxurious presentation reflect both the romanticism of the era and Fontanis’s early dedication to creating perfumes as complete sensory experiences.

Fleurs de Bagdad:

Launched in 1921, Fleurs de Bagdad (pronounced fluhr duh bag-DAHD) was one of the more opulently romantic perfumes released by Parfums Fontanis, created during a moment in perfumery when exoticism and fantasy were in high demand. The name translates from French to “Flowers of Baghdad,” immediately situating the fragrance in a world of imagined Eastern luxury. At the time, Baghdad was seen through a romanticized lens in the West—associated with Arabian Nights, minarets, spice bazaars, and moonlit gardens. The perfume drew heavily on this Orientalist aesthetic, offering not just a fragrance but an escapist fantasy of the Middle East as envisioned by early 20th-century European culture.

Fontanis described Fleurs de Bagdad as “an exotic fantasy of Arabia caught and prison’d in rare perfume.” This poetic marketing spoke of “star-pierced skies of midnight blue,” “jeweled spires and minarets,” and “the wafted breath of countless dew-kissed flowers.” The language was richly evocative, promising the wearer an experience akin to stepping into a dream—a moonlit courtyard garden, rich with fragrance and mystery. The subtitle “Romance—laden with the fragrance of exotic flowers” added another layer, portraying the perfume as the “very breath of rare Arabian nights.”

Based on this descriptive imagery, Fleurs de Bagdad was likely a floral-oriental composition. The heart of the fragrance may have been composed of opulent white and night-blooming florals such as jasmine, orange blossom, ylang-ylang, and tuberose, blended with deeper, more resinous or spicy base notes such as benzoin, myrrh, sandalwood, and amber. These warmer undertones would have added sensuality and richness, evoking desert air perfumed by incense and sweet florals. A hint of rose, long associated with both Eastern and Western perfumery, may also have been present, binding the floral fantasy with classical elegance.

Fleurs de Bagdad was offered in a full line of products beyond just fragrance. It was available in Parfum and Eau de Toilette, as well as talc, face powder, sachet, cream, lotion, rouge, lipstick, and soap, suggesting it was not merely a perfume, but an entire beauty ritual. This level of product development indicates the fragrance’s popularity and the brand’s investment in its identity. The parfum itself was offered in 0.5 oz and 1 oz flacons, produced in fine Baccarat crystal, underscoring its status as a luxury item.

Fleurs de Bagdad was a perfume that epitomized the interwar period's fascination with the exotic and the poetic. Introduced in 1921, it was more than a scent—it was a fantasy narrative bottled in crystal, promising enchantment with every application. Its richly imagined name and lush composition placed it squarely in the tradition of early 20th-century French perfumery at its most romantic and transportive.

In a striking example of early 20th-century multisensory marketing, the 1922 motion picture The Thief of Bagdad was accompanied not only by lavish visuals and music but also by scent, specifically the perfume Fleurs de Bagdad by Parfums Fontanis. According to The Spatula, a trade journal published in 1922, the theater presentation of the film included the diffusion of this fragrance throughout the venue, allowing it to "permeate the theatre" and immerse audiences more fully in the fantasy unfolding on screen.

This innovative pairing was much more than a novelty—it was an intentional effort to enhance the atmosphere and deepen the storytelling experience. Fontanis’s Fleurs de Bagdad, launched in 1921, was already steeped in the same exotic imagery evoked by the film: star-lit Arabian nights, jeweled palaces, and fragrant Eastern gardens. The perfume’s romanticized portrayal of Baghdad and the Orient made it an ideal match for The Thief of Bagdad, which relied heavily on similar Orientalist fantasies and visual spectacle.

By choosing Fleurs de Bagdad to scent the air, the producers acknowledged the emotive and transportive power of perfume, using it to reinforce the cinematic illusion. This type of olfactory branding—well ahead of its time—helped cement the fragrance’s identity as a scent of fantasy, romance, and far-off splendor. It also positioned Fontanis as a perfume house willing to engage with the emerging medium of film, blending perfume and popular culture in a way that was imaginative and sensorially ambitious.

Today, this moment serves as a rare and fascinating historical example of early scent marketing in cinema, showing how perfume was used not only on the skin but also as a theatrical experience, contributing to the total enchantment of the audience.

Other Bottles: