Ambre de Delhi by Babani (1921)

Ambre de Delhi by Babani, introduced in 1920, was conceived as an overtly sumptuous oriental fragrance, deliberately steeped in romance, ritual, and fantasy. The name itself—Amber of Delhi—is French, translating to “Amber of Delhi,” and would be pronounced as “AHM-bruh duh DEL-ee.” Babani's choice of Delhi was symbolic rather than literal. Delhi, long associated in the Western imagination with imperial courts, jeweled palaces, spice routes, and ancient sensual traditions, represented India as timeless, opulent, and mysterious. By pairing Delhi with ambre—a reference not to fossilized amber, but to ambergris, the prized animalic substance revered across the Middle East and South and Southeast Asia—Babani immediately signaled a fragrance rooted in erotic warmth, ritual luxury, and ceremonial grandeur.

Ambergris had centuries-old associations with seduction, spirituality, and power. Valued as an aphrodisiac and fixative, it was burned, worn, and infused into oils in India and the Islamic world, where scent was integral to both daily life and sacred ceremony. Ambre of Delhi thus evokes an atmosphere rather than a geography: smoke curling through palaces, spice-laden air, velvet draperies, and the intimate warmth of skin and fabric. Emotionally, the name suggests enchantment, authority, and slow-burning sensuality. Babani's advertising reinforces this vision, describing the perfume as “enchanted and unguessable as India,” aligning it with mystery, spellcraft, and dignified splendor rather than lighthearted femininity.

The fragrance was launched during the early 1920s, a moment of cultural transformation following World War I. Europe was entering the Jazz Age, within the broader Art Deco period, marked by a fascination with exoticism, luxury, and visual drama. Fashion favored elongated silhouettes, rich textiles such as velvet and brocade, and bold ornamentation inspired by Asia, the Middle East, and India. Women were redefining elegance—not as fragility, but as presence and confidence. Perfumery followed suit, embracing heavier oriental compositions rich in resins, spices, and animalic notes. Ambre from Delhi reflects this shift perfectly, offering a scent that was not meant for daytime frivolity but for evenings of ceremony, opera, and formal gatherings.

 

Women of the period would have related to Ambre de Delhi as a perfume of power and theatricality. It was not designed to be discreet; rather, it enhanced gowns of velvet, statuesque brocade, and priceless jewels, as Babani explicitly stated. The suggestion that it was particularly successful on fur underscores its richness and tenacity—this was a fragrance meant to cling, to warm, and to linger. To wear Ambre de Delhi was to embody a regal, almost priestess-like femininity, commanding attention through aura rather than overt sweetness. Its use on cigarettes and in perfume lamps further situates it within a world of ritual and atmosphere, where scent permeates rooms, fabrics, and social occasions.

Interpreted olfactorily, the words Ambre de Delhi imply density, warmth, and shadow. The scent would have been spicy, smoky, and animalic, with ambergris lending a saline, musky glow that deepened over time. Resins and spices would evoke incense and burning woods, while the “hint of something smoky and mysterious” suggests ritual fires and temple smoke rather than domestic comfort. This was a fragrance meant to unfold slowly, saturating air and cloth, enhancing presence rather than freshness.

In the context of its contemporaries, Ambre de Delhi was very much aligned with prevailing trends, yet pushed them toward their most opulent extreme. Oriental fragrances were popular in the early 1920s, but Babani distinguished himself through intensity of theme and intended use. The emphasis on perfuming furs, cigarettes, and rooms—rather than merely the skin—set Ambre de Delhi apart as a multi-sensory luxury object. It was less a fashionable accessory than an olfactory emblem of magnificence, ritual, and cultivated mystery, perfectly attuned to an era intoxicated by exotic dreams and dramatic self-presentation.

 

Pale moon that sends a silver shaft of light 

Into the scented dusk where lovers meet 

Into the garden where 

A thousand sleeping flowers 

Sigh in sweet sympathy 

And send up their fragrance 

To feed love's flame yet higher 

So much it seems the breath of love itself 

Precious as lovers half told dreams 

Such is 

DELHI AMBER 

Fragrance Composition:

So what does it smell like? It is classified as an oriental fragrance for women with a very dominant ambergris note. A true Oriental odeur, a spicy fragrance with the hint of something smoky.

• Top notes: artificial ambergris, neroli, orange blossom, galbanum, angelica 
• Middle notes: rose, jasmine, orris, vanilla, musk ambrette, olibanum, opoponax, patchouli, vetiver, cypress, oakmoss, clove bud oil, cinnamon leaf, cassia, black pepper, nutmeg 
• Base notes: ambergris, civet, ambreine, castoreum, labdanum, storax, tonka bean, coumarin, styrax, vanilla, ethyl vanillin, Siam benzoin, Tonkin musk, musk ketone, musk xylene, tolu balsam, myrrh, elemi, Mysore sandalwood, guaiac wood, cedar, birch tar, hyraceum, Peru balsam

Scent Profile:

Delhi Ambre opens as if warmth itself were breathing—an immediate, enveloping glow of artificial ambergris, salty, mineral, and softly animalic, diffusing outward like skin warmed by silk. This synthetic ambergris does not replace the natural material but magnifies it: cleaner, more radiant, and more expansive, it gives the perfume lift and persistence while preserving the mysterious marine–animal hum that defines true ambergris. 

Neroli rises through this warmth, green and luminous, its faint bitterness sharpening the opening like light striking polished metal. Orange blossom follows—waxier, richer, and more indolic—suggesting petals steeped in heat. A sudden green breath of galbanum, sharp and resinous, cuts through the sweetness with a bitter snap, while angelica adds an earthy, rooty coolness, slightly musky and herbal, grounding the brightness and hinting at the deeper shadows to come.

The heart unfolds slowly, dense and ceremonial, where florals, spice, and incense merge into a continuous, breathing mass. Rose emerges first—dark, velvety, and spiced rather than dewy—followed by jasmine, indolic and warm, its floral sweetness already tinged with animal life. Orris softens the core with a buttery, powdery elegance, smoothing transitions like fine silk against skin. Vanilla appears not as dessert sweetness but as warmth—rounded, balsamic, and embracing—enriched by musk ambrette, a botanical musk whose soft, fruity-powdery warmth gives sensual diffusion and a faintly sunlit glow.

Sacred smoke rises from olibanum, lemony and resinous, recalling incense burned in temples, while patchouli and vetiver deepen the structure with damp earth and smoky roots. Cypress adds a dry, austere woodiness, sharpened by the inky greenness of oakmoss, which brings shadow, bitterness, and classical chypre gravity. Spices bite bloom in layers: clove bud oil with its hot, medicinal; cinnamon leaf and cassia, darker and woodier than culinary cinnamon; black pepper, dry and crackling; and nutmeg, dusty, warm, and faintly sweet—together creating a spice cloud that feels ritualistic rather than edible.

The base is where Ambre de Delhi fully claims its identity as a true oriental odeur—slow, animalic, resinous, and smoky. Natural ambergris finally asserts itself: saline, leathery, and softly sweet, it radiates from within the composition, deepened by ambreine, the aromatic molecule responsible for ambergris' golden warmth. Civet murmurs beneath, intimate and skin-like, never crude, lending breath and life.

Castoreum adds leathery darkness, while labdanum pours in thick, resinous warmth—ambered, smoky, and slightly tarred. Storax and styrax echo with balsamic sweetness and incense smoke, their lacquered-wood quality reinforcing the perfume's ceremonial mood. Tonka bean and coumarin soften the shadows with almond-hay warmth, blending seamlessly into layers of vanilla, intensified by ethyl vanillin, whose crystalline sweetness amplifies diffusion and longevity without obscuring the natural resinous depth.

Resins go deeper: Siam benzoin, prized for its creamy caramel-vanilla glow, smoother and warmer than other benzoins; tolu balsam, syrupy and spiced; myrrh, bitter, medicinal, and ancient; opoponax, thick, leathery, and sweetly resinous; and elemi, bright and lemon-resinous, lifting the darkness just enough to keep it breathing. 

Woods anchor the composition: Mysore sandalwood, revered for its creamy, milky richness and unrivaled fixative power, melts into guaiac wood, smoky and faintly tarred, and cedar, dry and architectural. A whisper of birch tar adds a shadow of smoke and leather, while hyraceum—dry, animalic, and tobacco-like—deepens the animal warmth. Peru balsam closes the structure with dark, smoky vanilla richness, binding sweetness, resin, and skin into one.

The final impression is vast, intimate, and ceremonial all at once—a fragrance that clings to fur, fabric, and air. The interplay of natural materials and early aroma chemicals gives Delhi Ambre its extraordinary presence: synthetics extend, polish, and illuminate the naturals, while the naturals provide depth, irregularity, and soul. What remains on the skin is not a single note, but an atmosphere—warm, smoky, animal, and glowing—an oriental perfume meant not to be worn lightly, but to envelop, command, and endure.

Personal Perfumes:

Babani encouraged women to view perfume as a highly personal art, offering thoughtful guidance on blending his fragrances to reflect temperament, appearance, and social presence. For women described as conventionally, dignified, and stately—those drawn to society, ceremony, and cultivated beauty—he recommended combining Ambre de Delhi with Ligeia in a precise proportion of one part Ambre de Delhi to three parts Ligeia. In this balance, the smoky, ambery depth and ceremonial richness of Ambre de Delhi would be softened and refined by Ligeia's elegance, creating a fragrance that was poised, harmonious, and quietly authoritative rather than overwhelming. 

For brunettes, Babani suggested blending Ambre de Delhi with Chypre Egyptianienne, allowing the resinous warmth and animalic glow of ambergris to merge with the mossy, darkness structured of chypre accords. This pairing emphasized depth, contrast, and sensual gravity, producing a perfume that felt tailored, confident, and richly individual—an early expression of personalized perfumery that aligned scent with identity, style, and presence.

Across the 1920s, Ambre de Delhi steadily emerged in the American press as both a cultural marker and a sensory ideal—an emblem of modern luxury shaped by exoticism, formality, and social display. In Harper's Bazaar in 1922, the fragrance is described as “loveliest, perhaps,” and notably “the smartest perfume of the season,” a phrase that places it squarely within the language of fashion rather than mere toilette. Babani is presented not as a maker of a single success, but as a house attuned to psychological nuance—“a fragrance for every mood”—with Ambre de Delhi occupying the apex of sophistication, alongside other evocatively named scents such as Afghani, Ligeia, and Ming. Even the mention of “pretty new bottles” and the wide range of prices underscores Babani's dual appeal: artistic prestige and commercial desirability.

That sense of rare, cultivated allure is echoed in Sketch magazine the same year, which emphasizes the individuality of Babani's perfumes—“each one a rich uncommon odour.” Here, Ambre de Delhi is singled out again for its “characteristic, indescribable charm,” language that reinforces the idea that this was not a perfume easily categorized or explained. Its power lay in atmosphere and suggestion, explicitly likened to “the enchanted atmosphere of the Arabian Nights.” Such phrasing reveals how deeply Orientalist imagery permeated perfume criticism of the era, framing scent as a bridge to fantasy, antiquity, and sensual mystery.

By 1924, coverage in the Arizona Republic situates Delhi Ambre firmly within lived social ritual. It is no longer merely admired in abstract terms but observed in action—noticed “in the crush outside the theater” as women nestle into “sumptuous wraps.” The perfume is described as “supremely elegant” and particularly successful on fur, reinforcing its density, warmth, and tenacity. This reportage captures scent as a social signal, something that announces presence and status in crowded public spaces, especially at cultural events like the opera, where visibility and performance extends beyond the stage.

The concept of perfume as a creative medium reaches full articulation in The New Yorker in 1925, where Babani's encouragement of blending fragrances is presented as a sophisticated pastime. Readers are invited to layer Ambre de Delhi with Ligeia, varying proportions to invent a personal formula. This positioning anticipates modern niche perfumery, yet remains rooted in the 1920s ideal of cultivated individuality. The note that Babani perfumes were imported by Elizabeth Arden “in just the bottles and boxes in which they are sealed in Paris” further emphasizes authenticity, prestige, and direct lineage from European luxury.

Critical comparison appears in Arts & Decoration the same year, where Ambre de Delhi is mentioned alongside Coty's L'Ambre Antique, both described poetically as “exotic scents, petrified tears, found in the bosom of mother earth.” This metaphor aligns amber perfumes with geological time, rarity, and natural mystery, reinforcing their gravitas and seriousness. Ambre de Delhi is thus positioned among the defining amber fragrances of its era, not merely fashionable, but culturally resonant.

By the late 1920s, as seen in Home Journal and Advertising to Women, Ambre de Delhi had become a fixture of the luxury perfume canon. It is consistently associated with “moments of magnificence,” brocade, formality, opera, and fur—language that never shifts toward casual or youthful wear. Even as prices climbed dramatically, reaching into the hundreds by some listings, the perfume retained its symbolic role as an enhancer of grandeur. Finally, in Harper's Magazine in 1930, Ambre de Delhi appears in fiction as a shorthand for extravagance and melodrama, its cost cited as part of a character's boast. This moment marks the fragrance's full assimilation into cultural consciousness: no longer just a scent, but a recognizable emblem of wealth, theatricality, and social ambition.

Taken together, these references chart Ambre de Delhi's evolution from fashionable novelty to enduring symbol. Across nearly a decade, it is consistently framed as opulent, commanding, and unmistakable—never discreet, never incidental. The press did not merely describe the perfume; it used it to describe women, settings, and values, confirming Ambre de Delhi as one of the defining oriental fragrances of its time.

Bottles:

Ambre de Delhi was presented in a variety of bottles.

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The deluxe crystal flacon for Ambre de Delhi was conceived as an object of ceremony and authority, perfectly mirroring the perfume's gravitas. Created by Depinoix, the bottle was boldly square in form, a shape that conveyed stability, restraint, and architectural elegance rather than softness or frivolity. Every surface was entirely covered in luminous gold enamel, transforming the crystal into something jewel-like and opaque, more reliquary than toilette object. Upon the front, a hand-painted black enamel design depicted a mythological creature—an image deliberately chosen to evoke antiquity, legend, and the supernatural, reinforcing the perfume's associations with enchantment and ancient rites. The reverse side did not merely repeat the design, but displayed a different motif rendered in fine black enamel tracery, rewarding close handling and emphasizing that the flacon was meant to be contemplated from every angle.

Crowning the bottle was a multifaceted, lapidary-cut crystal stopper, itself completely gilded in gold enamel. The stopper's sharp planes and jewel-like geometry echoed the bottle's square silhouette while catching and diffusing light, lending the flacon a sculptural presence. This was not a casual dressing-table bottle but an object intended to sit among precious things—ivory boxes, lacquered cases, and jewelry—its weight and finish signaling permanence and value. The choice of gold and black was especially deliberate: a palette long associated with authority, ritual, and luxury, perfectly aligned with Ambre de Delhi's smoky, resinous, and ceremonial character.

The flacon was produced in multiple sizes, each preserving the same proportions and decorative richness. The Petit Modèle, measuring approximately 4.25 inches tall, was compact yet substantial, ideal for intimate use while retaining its sense of importance. The Moyen Modèle, at 5.25 inches tall, offered greater presence without sacrificing refinement. The most imposing, the Grande Modèle, standing 7.5 inches tall and notably broad and thick, was unmistakably monumental—an object meant to dominate a vanity or be displayed as a symbol of taste and status. Across all sizes, the consistency of design reinforced the idea that scale alone distinguished the bottles, not hierarchy of quality.

Contemporary advertising described Ambre de Delhi as “a perfume of elegance and distinction in a flat gold bottle hand decorated in black design,” presented in a gold box lined with black satin. This presentation completed the ritual of luxury: the exterior gold echoed the flacon itself, while the black satin lining cradled it like a precious artifact. Priced at $12 in 1925 for the de luxe version—an unmistakable luxury sum—the bottle stood apart from the simpler presentations of Ambre de Delhi, which were available from $2.75 upward. The existence of both reinforced Babani's strategy: the scent could be accessed at different levels, but the de luxe flacon elevated it into the realm of collectible art, perfectly suited to a perfume intended for opera nights, velvet gowns, and moments of magnificence.

The second deluxe presentation of Ambre de Delhi was conceived with equal refinement but a more intimate purpose: a disk-shaped, flat flacon designed specifically for the handbag. Created by Décor Auziès, this bottle translated Babani's language of magnificence into a portable, discreet form without sacrificing luxury. Fashioned from black crystal, the flacon was entirely covered with a gilded overlay, its surface enriched with black enameled designs that echoed the graphic elegance of the larger bottles. The contrast of matte black and glowing gold gave the object a jewel-like austerity—restrained, formal, and unmistakably ceremonial.

Measuring approximately 3 inches tall, 2.5 inches wide, and just half an inch thick, the bottle was deliberately flat and tactile, meant to slip effortlessly into an evening bag or wrap pocket. Despite its modest scale, it retained the same visual authority as its larger counterparts, reinforcing the idea that Ambre of Delhi was not diminished by portability. This was luxury adapted to movement—designed for opera nights, dinners, and social occasions where fragrance might be refreshed discreetly yet deliberately.

The flacon was presented in a gold paper–covered box lined with black satin, a pairing that reinforced Babani's consistent palette of power and elegance. Opening the box would have felt ceremonial, the satin cradling the bottle like a precious object rather than a mere cosmetic accessory. 

 

A larger variant of the flat Ambre de Delhi flacon, distinguished by the addition of a foot, translated the intimacy of the disk-shaped bottle into a more architectural, display-worthy object. Although compact in scale, the presence of the foot elevated the bottle from a purely portable accessory to a small sculptural form, intended to stand with quiet authority on a dressing table. The body was entirely enveloped in gold enamel, giving the flacon a solid, jewel-like opacity that concealed the crystal beneath and emphasized its ceremonial character. On the front surface, a hand-painted black enamel depiction of a mythological creature echoed the iconography used on the Grand and Moyen Modèles of the deluxe series, while the reverse was adorned with intricate arabesques in black enamel tracery—an ornamental dialogue between narrative imagery and abstract decoration.

The bottle's design reflects an emblematic collaboration of French decorative arts at their height: modèle dessiné par Julien Viard, with decoration by Décor Auziès, and execution by the crystal specialists at Verreries Dépinoix. Each contributor played a distinct role—Viard establishing the refined proportions and formal clarity, Auziès supplying the graphic black-and-gold ornamentation, and Dépinoix realizing the piece in crystal with precision and weight. The stopper, noticeably smaller in proportion than those of the larger square flacons, was deliberately restrained, ensuring that the emphasis remained on the decorated body rather than on vertical flourish.

Measuring approximately 3 inches tall, 2.5 inches wide, and 0.5 inches thick, the bottle balanced compactness with visual richness. Its proportions make it suitable for both display and discreet handling, reinforcing Babani's ability to scale luxury without diluting its presence. As with the other deluxe presentations, it was married in a gold box lined with black satin, completing a presentation that emphasized ritual, elegance, and contrast. Harper's Bazaar in 1922 summarized the effect succinctly, describing Ambre de Delhi as “a perfume of elegance and distinction, in a flat gold bottle, hand decorated in black design,” while noting the availability of simpler bottles at lower prices. This standing flat flacon thus occupied a middle ground within Babani's offerings—neither monumental nor purely utilitarian, but a refined expression of artistry perfectly aligned with the perfume's atmosphere of formality, myth, and magnificence.

 

A particularly rare and striking deluxe presentation of Ambre de Delhi was the ball-shaped perfume atomizer, an object that perfectly embodied Babani's fusion of scent, symbolism, and decorative art. Produced circa 1920, the atomizer was crafted in either black or clear crystal, entirely enveloped in rich gilding that transformed the spherical form into a glowing, jewel-like surface. The front was dramatically animated by a black enameled dragon, its sinuous body rendered with graphic authority, while the reverse featured a contrasting scrolling ornamental motif, creating a dialogue between mythic imagery and refined abstraction. The sphere's proportions were deliberately compact yet substantial, standing approximately 3 inches tall, giving it both tactile presence and portability.

This atomizer was not merely decorative but also clearly identified as a luxury object. The underside bore the Babani label, discreet yet authoritative, affirming its origin and prestige. The metal fittings—elegantly integrated into the design—were stamped “Vapo-Baby-Paris,” a mark associated with early high-quality atomizer mechanisms, prized for their precision and novelty at the time. The presence of this mark underscores the technical sophistication of the piece, aligning Babani with the most advanced perfume delivery systems of the early 20th century.

Visually and conceptually, the dragon motif reinforced Ambre de Delhi's identity as a fragrance of power, mystery, and ceremonial richness. Dragons, long associated with authority, protection, and ancient wisdom, echoed the perfume's ambery, animalic depth and its evocation of timeless, enchanted worlds. Fully gilded and dramatically enameled, the atomizer functioned as more than a container—it was an amulet-like object, meant to be handled, displayed, and admired. In scale, craftsmanship, and symbolism, this ball-shaped atomizer stands among the most distinctive and collectible expressions of Babani's deluxe perfume presentations, encapsulating the era's fascination with exoticism, luxury, and the union of scent and art.

 

Other bottles included the following:

• Series 31 - the "Boule," a frosted glass ball or melon shaped flacon with frosted rose stopper.
• Series 30 - the "Plat," a flat colorless glass flacon fitted with a flat, frosted glass stopper molded with flowers.
• Series 42 - In this Far Eastern bottle, a choice of the following two perfumes: Ambre de Delhi and Saigon

The Boule & the Plat bottles were stock bottles used by Babani to contain their other perfumes.

Rarely encountered today, the “Boule” shaped bottle represents one of Babani's most poetic and thoughtfully designed flacons, balancing sculptural restraint with refined ornament. Crafted from colorless pressed frosted glass, the bottle is deceptively complex in form: cylindrical at the neck before swelling into a bulbous body articulated with five softly convex sides, a geometry that catches and diffuses light with quiet elegance. The frosted surface gives the glass a velvety, almost mineral softness, enhancing the tactile experience and lending the bottle an understated, ceremonial presence rather than overt brilliance.

The stopper is particularly distinctive—a stylized frosted glass rose, sculptural and symbolic, its petals subtly defined and further enriched with gold and black enamel accents. This delicate floral crown introduces a note of refinement and romance, contrasting beautifully with the solidity of the bottle below. Completing the ensemble is a gilded foil label, discreet yet luminous, which reinforces the sense of preciousness without interrupting the purity of the glass form. In Babani's own catalog, this model was simply called the “Boule,” a name that emphasizes its essential spherical character and timeless simplicity.

The Boule bottle was not exclusive to a single fragrance but served as a versatile luxury container across several of Babani's most evocative perfumes, including Delhi Ambre, Afghani, Rose Gullistan, and Saigon. Standing approximately 7.5 cm tall, it was compact yet substantial, suitable for both display and intimate use. Its reuse across multiple compositions suggests that Babani regarded this form as emblematic—capable of harmonizing with ambery depth, floral richness, or exotic oriental themes alike.

Presentation was integral to the Boule's appeal. The standard version was housed in a cubic cardboard box lined with marbled paper and a red satin interior, a combination that balanced refinement with warmth. For those seeking the highest level of luxury, the bottle was also offered in the deluxe “Hindu” box, lined in silk and covered in gold embroidery—an opulent casing that transformed the perfume into a ceremonial object. Originally retailing at 75 francs, this presentation placed the Boule firmly within Babani's upper luxury tier, underscoring the house's philosophy that fragrance, bottle, and box together formed a unified work of art.

In 1922, contemporary fashion press framed Babani's Boule bottle for Ambre de Delhi as an object of quiet exoticism and refined novelty, emphasizing its sculptural form as much as the fragrance it contained. Vogue described it as a “melon-shaped bottle,” a comparison that captured its rounded, swelling silhouette and immediately evoked Eastern ceramics and water vessels rather than Western perfume flacons. Another advertisement elaborated on this imagery, calling it an “opalescent bottle, shaped like an Eastern water jar,” a phrase that highlights the softly luminous frosted glass and its ceremonial, utilitarian-turned-luxury form. Enclosed in a gold moiré box, the Boule was presented as both mysterious and modern—French in design yet deliberately suggestive of the East. The press repeatedly stressed that the perfume was “oddly and differently attractive,” inseparable from its container, reinforcing Babani's belief that bottle and scent together created a complete sensory experience, one that felt exotic, artistic, and unmistakably of its moment.

 

 

No. 1003. Our twelve extracts in an elegant gold box.

By the late 1920s and into the 1930s, Babani introduced a more accessible bottle design that reflected both changing tastes and practical economies while retaining a sense of decorative charm. This version was made of clear crystal with vertically fluted sides, a shape that caught the light cleanly and aligned with emerging Art Deco aesthetics. The front was adorned with a raised enamel silhouette of an elephant, rendered in a distinctive teal tone, a motif that subtly echoed Babani's longstanding fascination with the East while offering a simpler, more graphic expression. The perfume name appeared in gold enamel lettering, providing contrast and refinement against the clarity of the glass. 

The bottle was fitted with a frosted glass stopper molded with stylized Art Deco roses, whose crisp geometry replaced earlier, more ornate symbolism. A more luxurious variation elevated the design with additional gold enamel decoration, lending warmth and richness without altering the essential form. Measuring approximately 3 inches tall, 1.75 inches wide, and 1 inch thick, these compact flacons were versatile and practical, and were used for several Babani fragrances, including Pin Fleuri and Gardenia, demonstrating how the house adapted its visual language to a new decade while maintaining continuity in motif and quality.

BABANI "Ambre" Flacon of circular shape à pans, bouchon émerisé. Label is the base.

 

Maurice Babani - "Amber of Delhi" - (years 1920).Bottle carafon out of pressed colorless solid crystal of rectangular section, cubic belly, neck with broad carnette, capped with its faceted ball cap, with its label. H.: 13 cm. Bottle was used for other Babani perfumes.

Fate of the Fragrance:

Discontinued, date unknown.