At the time of its release, the world was in the midst of the Roaring Twenties, a decade defined by liberation, luxury, and artistic expression. After the austerity of World War I, women embraced newfound freedom — cutting their hair, shortening their hemlines, and exploring sensuality in fashion and fragrance alike. Perfumes grew richer, more daring, and more opulent, often blending floral and oriental notes to capture this spirit of modern femininity. In this context, Le Chevalier de la Nuit embodied sophistication and confidence — the scent of a woman who ruled her own world, mysterious yet refined.
Described in period advertisements as a “romantic spicy odor suggestive of dusky gardens,” the perfume was said to possess both exotic warmth and refined sweetness, making it adaptable from negligee to evening gown. It was marketed as an evening perfume, yet elegant enough for daytime wear — particularly noted for complementing furs, the ultimate symbol of luxury in the 1920s. This versatility hinted at a balance between sensual depth and floral delicacy: the mysterious allure of oriental spices softened by a lingering sweetness uncommon in heavy perfumes of the era.
Classified as a floral oriental fragrance, Le Chevalier de la Nuit likely featured a heart of opulent blooms — jasmine, rose, and perhaps carnation — intertwined with ambery, musky, and spicy notes that gave it its exotic character. Its sweetness may have derived from natural balsams or early synthetic musks, innovations that perfumers of the time were mastering to achieve both warmth and longevity.
When placed among its contemporaries, such as Shalimar (Guerlain, 1925) or Arpège (Lanvin, 1927), Le Chevalier de la Nuit stood as part of a new movement toward sensual, expressive perfumery — one that celebrated both fantasy and femininity. Yet, its poetic name and tender, romantic undertone distinguished it from the overt exoticism of some of its peers. It was a perfume for the modern woman of the 1920s — independent, glamorous, and a little enigmatic — whose fragrance whispered of moonlight, elegance, and whispered promises carried through the night air.
"Ciro's Chevalier de la Nuit. One of the most surprising new products of recent months has been Ciro's Chevalier de la Nuit. Offered first about the Christmas season in department and a few drug stores at $150 it showed such sales that the manufacturers are offering it generally to the trade. The bottle, a distinctive affair, stands nearly a foot in height and is fashioned in France of dark hand burnished glass. The stopper is a replica of a plumed helmet and the bottle duplicates the body armour of a knight of the crusades. The odor is described as a sensuous fragrance of the dark complex sophisticated. It is imported by Guy T Gibson and like all parfums Ciro made and sealed in France."
In 1928, Hearst’s Magazine captured the allure of Chevalier de la Nuit with language as romantic and enigmatic as the perfume itself. “But be she queen or maid, rich or poor, she wants with all her heart to be remembered,” the magazine declared — and Chevalier de la Nuit, meaning “Knight of the Night” in French, promised exactly that. Conceived and sealed by Ciro in Paris, the fragrance was described as “a scent of singular individuality,” one that managed to be haunting yet elusive, sensuous yet exquisite. This duality perfectly embodied the modern woman of the late 1920s — poised between tradition and liberation, sophistication and daring. The name itself evokes a sense of mystery and chivalric romance, conjuring images of moonlit intrigue, whispered promises, and the shimmer of silk gowns under candlelight.
The advertising tone of the era reflected the changing sensibilities of women emerging from the austerity of the First World War into the glamorous rhythm of the Jazz Age. Perfume was no longer just a luxury—it was a declaration of individuality. Chevalier de la Nuit was marketed as a fragrance for “the sophisticate,” one who appreciated the strange and delicate, who reveled in the idea of scent as a kind of invisible armor. The promotional copy emphasized not only its exclusivity but its Parisian origin, invoking the authority of French artistry and the allure of haute parfumerie. At $10 for the perfume and $8.50 for the toilet water—a small fortune in 1928—it was clearly positioned as a status symbol for women who desired refinement without ostentation.
To a woman of the 1920s, Chevalier de la Nuit would have felt like a secret shared between herself and the night. In a decade characterized by flapper dresses, jazz clubs, and Art Deco glamour, this perfume offered a softer, more romantic contrast to the brashness of modernity. It promised not the glitter of the ballroom, but the intimacy of the afterhours — a scent that lingered like a memory rather than shouted for attention. Advertised as “a strange, delicate scent,” it was meant to intrigue, to suggest something unnameable and timeless. Whether worn with a negligée in the boudoir or a velvet gown at an evening gala, Chevalier de la Nuit was the finishing touch that transformed a woman into a legend in her own right — remembered, just as the ad promised, with all her heart.
Fragrance Composition:
- Top notes: Calabrian bergamot, bitter orange, orange blossom
- Middle notes: tuberose, gardenia, jasmine, rose, carnation, clove, orris, violet
- Base notes: patchouli, vetiver, musk, ambergris, sandalwood, vanilla, oakmoss, tonka bean, benzoin
Scent Profile:
Opening Le Chevalier de la Nuit is like stepping into a twilight garden lit by amber moonlight. The first impression is luminous and elegant — Calabrian bergamot lends its sparkling, sun-warmed zest, a distinctly refined citrus note with a floral undertone that differentiates it from sharper Sicilian varieties. Its effervescence is softened by bitter orange, adding a green, aromatic tang reminiscent of crushed leaves and rinds, while orange blossom diffuses through this opening like warm air drifting from an orchard in bloom — creamy, honeyed, and slightly indolic, hinting at the floral opulence to come. At the time, perfumers were beginning to use synthetic molecules such as linalool and hydroxycitronellal, which enhanced the transparency and radiance of these top notes, creating a naturalistic brightness that lingered longer than pure citrus oils could.
As the perfume unfolds, the heart blooms with the voluptuous harmony typical of 1920s florals, where richness and seduction meet. Tuberose, buttery and narcotic, dominates with its heady creaminess — the kind that feels almost tactile, like satin against skin. It’s joined by gardenia, lush and velvety, whose green, mushroom-like facets add a mysterious depth. Jasmine, most likely sourced from Grasse in southern France, radiates its radiant warmth, its indoles polished by synthetic enhancers such as benzyl acetate to heighten its luminosity.
Rose—perhaps Bulgarian damask or Turkish Isparta—offers a powdery sensuality, deepened by the clove-like spice of carnation, its eugenol component adding a vintage bite that recalls the glamour of 1920s lipstick and silk evening gowns. The inclusion of clove itself ties this floral heart to the orientalist trend of the time, balancing sweetness with a dark, resinous glow. Orris, distilled from the rhizomes of Florentine iris, lends a soft suede-like texture, while violet adds a nostalgic, powdery coolness — a whisper of makeup powder and pressed petals.
The base is where Le Chevalier de la Nuit earns its nocturnal name. Patchouli, earthy and slightly camphorous, mingles with vetiver—likely from Java, with its smoky, dry character—to create a foundation of elegant darkness. Oakmoss, harvested from the forests of the Balkans, brings its forest-floor dampness, both grounding and sensuous. In the 1920s, natural oakmoss was often bolstered by early synthetic moss notes like Evernyl, extending its longevity while preserving that velvety green texture.
Ambergris lends its fabled animalic warmth, blending seamlessly with musk to create an aura of skin-like sensuality. Early musks, often derived from natural sources before ethical and synthetic replacements were developed, contributed a velvety softness — later reinterpreted through nitro-musks that offered a similar radiance with cleaner undertones. Sandalwood, likely from Mysore, wraps the entire composition in a creamy, milky richness, its sweet woody glow intertwined with vanilla, benzoin, and tonka bean. These balsamic resins and coumarin-rich notes produce the enveloping warmth that defines a true oriental — sweet but never cloying, balanced by the cool moss and spice.
Together, these materials form a fragrance that moves like the night itself — beginning with brightness, deepening into shadows, and settling into the soft pulse of skin. Le Chevalier de la Nuit is both chivalrous and sensual: a perfume of whispered vows and secret rendezvous, where the citrus dawn of the opening gives way to the floral heart’s romantic glow, and finally to a base of smoldering woods and resins that lingers like a memory long after the night has passed.
Bottles:
The bottle for Chevalier de la Nuit perfectly embodied the fragrance’s romantic and chivalric identity — a sculptural work of art that transformed scent into legend. Designed by Julien Viard, one of the foremost French creators of luxury perfume flacons of the early twentieth century, the bottle carried out the cavalier theme with striking imagination. Shaped like a suit of armor, it symbolized strength and nobility, yet at its heart—literally and figuratively—was a delicate symbol of emotion: a heart motif at the center, representing love, vulnerability, and devotion. Crowning the design was a stopper in the form of a visored, plumed helmet, completing the illusion of a gallant knight prepared for his nocturnal quest.
Available in black opaque glass, clear or frosted glass, and in versions highlighted with gilding, the bottle offered a tactile and visual richness that mirrored the opulent nature of the perfume itself. The black glass version exuded mystery and sophistication, while the clear and frosted editions suggested purity and ethereal grace, their gilded accents catching the light like glints of moonlight on armor. Each iteration was an object of desire—both modern and medieval in spirit—and its sculptural form made it particularly appealing as a luxurious Christmas gift, a symbol of refinement and romantic fantasy during the festive season.
The artistry of the bottle was supported by legal innovation as well as aesthetic vision. Guy T. Gibson, also known as J. S. Wiedhopf, the founder of Parfums Ciro, recognized its originality and filed for patent protection. The design was granted U.S. Patent No. 68,779 on November 17, 1925, securing its place as one of the most distinctive perfume presentations of its time. The bottle was likely manufactured by Depinoix, a renowned Parisian glassmaker celebrated for executing Viard’s designs with precision and elegance. Together, Viard’s sculptural imagination, Depinoix’s craftsmanship, and Ciro’s flair for marketing created a flacon that transcended mere packaging—it became a narrative object, telling the story of the Knight of the Night before a single drop of perfume was released.
In 1928, Garden & Home Builder praised Chevalier de la Nuit as one of Ciro’s most elegant presentations, remarking that the perfume was “offered in this attractive black bottle.” Indeed, its black glass armor-shaped flacon immediately set it apart from the more conventional perfume presentations of the decade. It conveyed both luxury and enigma—an object as mysterious as the scent it contained. The inky surface of the glass was not merely decorative; it heightened the theme of night, echoing the fragrance’s name and the romantic mystique of its medieval inspiration.
By 1929, American Druggist was calling Chevalier de la Nuit “one of the most surprising new products of recent months,” noting its growing popularity beyond exclusive department stores and into wider distribution. Initially launched during the Christmas season at a price of $4.50, it quickly became a success, not only for its captivating fragrance but also for its exceptional presentation. The publication described the bottle as “a romantic affair,” standing nearly a foot tall and “fashioned in France of hand-burnished glass.” Its stopper—a replica of a plumed helmet— completed the illusion of a gallant knight from the Crusades.
The craftsmanship of the flacon reflected the height of French glass artistry during the interwar years, a period when perfume houses competed fiercely to create bottles that were as imaginative and desirable as the fragrances themselves. The burnished finish, achieved through meticulous handwork, gave the surface a subtle sheen, enhancing the sense of refinement and drama. The bottle’s towering stature and sculptural design made it as much a decorative art object as a perfume container—an emblem of sophistication and romantic fantasy. Chevalier de la Nuit, with its imposing armor-shaped bottle and evocative name, offered women of the late 1920s the opportunity to possess a piece of elegance, mystery, and legend—a perfume that stood at the intersection of art, story, and scent.
The parfum bottles for Chevalier de la Nuit were produced in a variety of sizes, each maintaining the same stately armor-inspired silhouette yet offering a range to suit different occasions or budgets. These clear and frosted glass flacons ranged from a diminutive 2⅜ inches—perfect for vanity display or travel—to an impressive 7½ inches, a true statement piece designed for the dressing table of a sophisticated woman of the 1920s. Intermediate sizes, including 3¼, 4, 4¾, and 5⅜ inches, reflected the versatility and attention to proportion that defined Ciro’s presentation of luxury. The frosted glass softened the sculptural lines of the armor motif, lending it a misty, ethereal quality that contrasted beautifully with the crisp clarity of the transparent versions.
Even more striking were the black frosted glass bottles, available in 4½- and 4¾-inch heights, which captured the mysterious spirit of the perfume’s name—Le Chevalier de la Nuit, or “Knight of the Night.” Their darkened surfaces evoked the polished sheen of lacquer or the glint of steel under moonlight, while still allowing subtle highlights to dance across the raised details of the knight’s armor. These darker flacons were particularly admired for their dramatic presence and were often chosen as gift pieces, especially around Christmas, when such opulent designs symbolized romance and luxury.
The Eau de Toilette presentation offered a slightly different interpretation of the theme. Though it retained the same noble shape, the bottle was designed with clear and frosted glass to emphasize transparency and lightness, qualities that suited the fragrance’s more delicate concentration. Standing at approximately 7¼ inches tall, this version was distinguished by a shield-shaped label—a thoughtful nod to the chivalric inspiration behind the scent. The shield motif reinforced the connection between bottle and name, encapsulating the essence of a gallant protector and the enduring allure of Chevalier de la Nuit. Together, these bottles embodied both the craftsmanship and storytelling that made Ciro’s perfumes enduring symbols of 1920s elegance and fantasy.
Collector's Note:
Buyer Beware! Collectors should be aware that the distinctive Chevalier de la Nuit bottle—famed for its knightly armor design and plumed-helmet stopper—was reproduced in 1934 by Edward G. Westlake, who was working on behalf of Marshall Field & Company. Westlake filed a patent for what was, in effect, a direct imitation of Ciro’s original Julien Viard design. These bottles were produced in Czechoslovakia, a country well-known at the time for its skilled glass artisans and thriving export trade in decorative perfume bottles. Though finely made, these Czech versions were not official Ciro products and should not be confused with the original French flacons crafted by Depinoix.
The Marshall Field versions were sold through the company’s Aristo subsidiary, which also operated under the name McCoy, Jones & Westlake. While these bottles closely mimic the original’s elaborate armor form—with its heart motif at the center and helmet-shaped stopper—they can be distinguished by a key detail: they are not marked “France” on the base. Authentic Ciro bottles produced under Viard’s design bear this French marking, confirming their origin and authenticity.
Although the Czech-made bottles have their own charm and craftsmanship, they represent a commercial copy rather than an authorized continuation of the Ciro design. Collectors and enthusiasts should therefore exercise caution when purchasing Chevalier de la Nuit bottles, especially those claiming French provenance without proper markings. The Czech imitations, while part of an interesting chapter in perfume bottle history, hold decorative rather than historical or collectible value, particularly when compared to the genuine French originals.
Other Ciro Bottles:
Beginning in 1931, Ciro expanded its bottle designs to include a small cylindrical flacon crafted from clear glass. This understated yet elegant bottle featured a small boule-shaped stopper, also made of clear glass, which added a refined finishing touch without overshadowing the simplicity of the design. A tiny rectangular label was affixed to the front, discreetly identifying the fragrance while maintaining the minimalist aesthetic favored in this line.
Measuring 9 centimeters tall and designed to hold 1 ounce of parfum, this bottle was not limited to a single fragrance; it was employed for multiple Ciro perfumes, serving as a versatile solution for collectors and consumers alike. Its compact, practical form contrasted with some of Ciro’s more ornate creations, such as the knight-inspired Chevalier de la Nuit flacons, offering a simpler, everyday elegance that reflected early 1930s trends in fragrance presentation—where utility met understated sophistication. The small cylindrical bottle remains notable for its proportionate design, delicate stopper, and enduring role across the Ciro perfume range.
Eau de Cologne:
In the mid-1930s, Ciro introduced a distinct line of toilette waters under the name “Eau de Ciro,” showcasing the company’s dedication to accessible yet refined fragrances. In 1935, the Drug & Cosmetic Industry highlighted that these included some of Ciro’s most celebrated perfumes—Doux Jasmin, Chevalier de la Nuit, and Gardenia Sauvage—as well as a versatile eau de cologne. These fragrances were presented in cone-shaped bottles, each adorned with a silver-plated top and coordinating label, creating an elegant addition to the bath shelf or dressing table. The design combined practicality with visual appeal, reflecting the era’s preference for ornamental yet functional perfume packaging.
By 1938, the presentation of Eau de Ciro evolved further. The fragrances were now housed in eight-sided glass bottles fitted with screw caps, a practical choice that maintained freshness while simplifying handling. A long, rectangular label ran down the front of each bottle, prominently displaying the fragrance name. The line included offerings such as Surrender, Danger, Reflexions, Gardenia Sauvage, and Doux Jasmin, providing consumers with a varied and sophisticated selection. For added convenience and elegance, Eau de Ciro was also available in a matching atomizer bottle, enabling the delicate application of fragrance and reinforcing the brand’s blend of refinement and usability. This evolution illustrates Ciro’s responsiveness to consumer needs while maintaining its commitment to style and aesthetic distinction.
Esscent:
Introduced in 1953, Esscent – Image de Parfum represented Ciro’s attempt to reinterpret its classic fragrances for a postwar generation that favored convenience, modernity, and intensity of expression. Esscent was formulated as a concentrated perfume—essentially the equivalent of a modern eau de parfum—strong enough to linger beautifully on the skin yet fluid enough to be worn more generously than a traditional extrait. Ciro emphasized that Esscent offered the “image” of their perfumes: faithful to the originals in character, but reborn in a form that suited contemporary lifestyles.
All Esscent fragrances were presented in bottles deliberately modeled after Ciro’s earlier luxury designs. These replicas retained the familiar silhouette of the parfum flacons, with their elegant vertical lines and distinctive shoulders, but were crafted in pressed glass rather than hand-cut crystal. Instead of a ground-glass stopper, each bottle carried a gleaming gold-plated screw cap, making the perfume easier to use and better suited for repeated, liberal application. The caps themselves were a small marvel of mid-century industrial design—made of Durez phenolic plastic manufactured by the Plastics Division of the Terkelsen Machine Company, then gold-plated to echo the warmth of the amber liquid inside. The overall effect was glamorous yet practical, with a touch of the Space Age optimism of the 1950s.
Fate of the Fragrance:
Chevalier de la Nuit, one of Ciro’s most distinctive and visually striking creations, was temporarily withdrawn from the U.S. market in 1936. Its absence persisted through World War II, a period when economic hardship and global conflict disrupted trade. The lingering effects of the Great Depression had already dampened demand for imported luxury goods, while wartime shipping restrictions and trade uncertainties further complicated the distribution of French perfumes to America.
The fragrance made a celebrated return to U.S. counters in 1948, heralded as “a recent arrival from Paris.” Its presentation was as bold as its name: the perfume came in an elegant black bottle molded in the shape of a medieval suit of armor. The stopper, designed as a visor, was topped with a plumed helmet, giving the bottle the dramatic presence of a miniature knight ready for ceremonial display. Advertisements emphasized both its visual appeal and its sophistication as a gift, particularly for the holiday season:
“The return of one of France’s favorite perfumes, Chevalier de la Nuit, is heralded for the Christmas season. This is, of course, the famous Ciro scent… available in one ounce bottles, only at $15.”
Chevalier de la Nuit remained available to American consumers at least until 1957. While the precise date of its final discontinuation is unknown, Ciro ceased all perfume production in 1961, marking the end of an era for this iconic fragrance. Today, Chevalier de la Nuit is remembered not only for its evocative scent but also for its theatrical, collectible bottle design, which captured the spirit of elegance and pageantry that defined Ciro’s perfume artistry.
2018 Reformulation & Reissue:
In 2018, Parfums Ciro was resurrected, reviving the storied name and its heritage of luxury fragrances. Their website, www.ciroparfums.com, now offers reinterpretations of their classic perfumes, including the once-celebrated Chevalier de la Nuit, recreated by perfumer Alexander Streeck.
The modern Chevalier de la Nuit evokes a vivid nocturnal drama, as described on the brand’s website: “The night breaks in, everything plunges into its deep darkness. Sounds velvety and inky blue… Knights of the big city and conquerors—they own the night with its endless possibilities.” The fragrance is crafted to capture the spirit of adventure and passion, conjuring the energy and mystery of an urban nightscape.
At its heart, Chevalier de la Nuit features a racy clove accord, imparting a spicy warmth accented by the brisk freshness of eucalyptus. Powdery iris and deep, dark patchouli lend a refined, textural depth, while smoky vetiver rounds out the composition with understated intensity. The fragrance opens with the vibrant brightness of Hesperia fruits, providing a citrusy spark, and settles into a rich, balsamic base of sandalwood layered with creamy, sweet bourbon vanilla. The resulting blend is at once bold and sophisticated, a modern homage to the elegance and drama that originally defined Ciro’s creation.
Fragrance Composition:
So what does it smell like? It is classified as a spicy oriental fragrance.
- Top notes: Calabrian citrus fruits, bitter orange, Indonesian patchouli
- Middle notes: jasmine, iris, Hawaiian vetiver, Malagasy clove
- Base notes: white musk, Australian eucalyptus, Indian sandalwood, Bourbon vanilla
Scent Profile:
The first impression of Chevalier de la Nuit is a sparkling, radiant burst of Calabrian citrus fruits, bright and sun-drenched. Sourced from the fertile groves of Calabria in southern Italy, these citrus fruits carry an extraordinary natural sweetness and a lightly bitter edge, richer and more complex than generic oranges or lemons. The essential oils are laden with limonene, a naturally occurring hydrocarbon that gives a luminous, zesty vibrancy, balanced by subtle aldehydes that lift the fragrance into a shimmering, effervescent opening.
Layered alongside this brilliance is bitter orange, its peel more textured and herbaceous than the sweet variety, adding depth with natural coumarins that contribute a delicate, almost almond-like warmth. The interplay of these citrus notes with Indonesian patchouli, dark, earthy, and slightly smoky, grounds the brightness, creating a compelling contrast. Patchouli’s rich content of patchoulol and sesquiterpenes lends a resinous, almost leathery depth that enhances the initial citrus sparkle, while carefully calibrated synthetic enhancers extend the longevity of its green, woody nuances without overwhelming the nose.
As the fragrance evolves, the heart reveals a lush floral and spicy complexity. Jasmine introduces a radiant, opulent sweetness, the kind cultivated in tropical climates where sunlight and humidity produce a higher concentration of benzyl acetate and indoles, giving it a creamy, narcotic richness that evokes a moonlit garden. Iris, extracted from Tuscan or Italian roots, offers a powdery, velvety elegance; the irones within its rhizomes lend a soft, sophisticated dryness that balances jasmine’s fullness.
Hawaiian vetiver, rare and prized for its smoky, slightly resinous green quality, cuts through the floral softness with earthy elegance; its natural vetiverol and khusimol molecules add an undercurrent of forest-like depth that enhances the perfume’s masculine undertone. Interwoven with these is Malagasy clove, spicy and vibrant, carrying a high eugenol content that gives a warm, aromatic kick—both pungent and sweetly floral—complementing the vetiver’s woodiness and the iris’s powdery nuances. Here, subtle synthetic modifiers amplify the clove’s longevity and harmonize its sharpness with the smoother florals, creating a heart that feels alive, complex, and radiant.
The base unfolds like a lingering twilight, warm, sensual, and enveloping. White musk forms a soft, almost ethereal cocoon, enhancing the lasting impression of the fragrance with its synthetic muscone-like elements that mimic natural musk’s creamy animalic warmth without heaviness. Australian eucalyptus introduces a subtle, fresh, camphorous note, its cineole content adding a brisk lift that prevents the base from becoming too heavy, while also subtly evoking the night air of an open city street.
Indian sandalwood, prized for its fine grain and creamy richness, releases its santalol molecules slowly, providing a deep, balsamic warmth that is both grounding and elegant. Finally, Bourbon vanilla rounds the composition with sweet, gourmand richness, its vanillin and piperonal compounds amplifying the floral and spicy heart while softening the base with a comforting, lingering sweetness. The synthetics here enhance the vanilla’s natural smoothness, ensuring the fragrance retains a cohesive warmth and richness from first spray to dry-down.
Overall, the 2018 Chevalier de la Nuit is a spicy oriental tapestry. Each ingredient tells its own story—Calabrian citrus glimmering with sunlight, Indonesian patchouli grounding the brightness, Hawaiian vetiver and Malagasy clove weaving earthy and aromatic intrigue, and a base of white musk, eucalyptus, sandalwood, and Bourbon vanilla that envelops the wearer in a long-lasting, sensuous embrace. The fragrance is simultaneously radiant and mysterious, a modern interpretation that honors Ciro’s original vision while employing contemporary olfactory artistry to enhance and elevate each note.
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