Les Parfums de Clamy

Founded in Paris in 1913 by Philippe Back de Surany, Les Parfums de Clamy occupied a distinctive niche within the luxury perfume industry of the early twentieth century. Although the Clamy trademark had been registered as early as 1900, the firm formally emerged under the elegant title Les Parfums de Clamy, Créations d'Art, reflecting its ambition to elevate perfumery beyond commerce into the realm of artistic expression. Its headquarters were established in the prestigious Arcade des Champs-Élysées, placing the company among the fashionable houses that catered to an affluent international clientele during the Belle Époque and the years that followed.

The founder, Philippe Back de Surany (1860–1956), was an intriguing and cosmopolitan figure whose life extended far beyond the world of fragrance. Born in Budapest, he was the son of Maurice Back and achieved distinction as an Egyptologist and businessman. Prior to establishing Clamy, he served as branch manager of the Cairo-based Orosdi-Back commercial institutions. His accomplishments earned him a knighthood from Emperor Franz Joseph of Austria in 1909, a testament to the prominence he enjoyed in both commercial and intellectual circles. Back's international outlook and refined artistic sensibilities would profoundly shape the identity of the perfume house.

From its Paris headquarters at 30 Avenue des Champs-Élysées and its manufacturing facilities in Asnières, Les Parfums de Clamy developed a reputation for exceptional luxury. The company distinguished itself through lavish presentations that rivaled those of the leading French perfume houses. Particularly notable were its collaborations with renowned glass designer Lucien Gaillard, whose elegant bottles transformed Clamy's fragrances into objets d'art. These creations embodied the firm's philosophy that perfume should be experienced as a complete artistic composition, with fragrance, bottle, and presentation united into a harmonious whole.

Among the most remarkable aspects of Clamy's history was its connection to the avant-garde art world. Between approximately 1915 and 1919, certain perfume bottles were decorated by celebrated artists Robert and Sonia Delaunay, pioneers of the Orphist movement and close friends of Philippe Back and his wife. These collaborations represent a fascinating intersection of modern art and perfumery, making surviving examples among the most desirable and historically significant perfume presentations of the period. Through such artistic partnerships, Clamy anticipated later collaborations between luxury brands and prominent artists by several decades.

By 1926, leadership of the company had passed to Philippe Back's youngest daughter, Germaine Carvaillo, demonstrating the family's continued commitment to the enterprise. However, despite its artistic prestige and luxurious reputation, Clamy could not escape the devastating economic effects of the Great Depression. As international demand for luxury goods contracted, the house struggled to survive. In 1930, Les Parfums de Clamy ceased operations, bringing an end to a relatively brief but influential chapter in French perfumery.

Following the closure, the company's remaining stocks of essential oils, fragrance materials, and perfumery ingredients were acquired by the venerable house of Guerlain, ensuring that some of Clamy's valuable raw materials continued their life within one of France's most celebrated fragrance firms. More than a decade later, in 1943, the dormant business was acquired by Grenoville. Although the Clamy name would never regain its former prominence, its legacy endures through its exquisite bottles, pioneering artistic collaborations, and its commitment to presenting perfume as a true decorative art. Today, surviving Clamy creations are highly prized by collectors and historians, serving as elegant reminders of a house where fine fragrance and modern artistic innovation met in extraordinary fashion.

The perfumes of Clamy:

• 1913 Qui M’aime?
• 1913 Femmes Ailees
• 1914 Fleurs de Myrilla (a line)
• 1914 Fleurs de Myrilla Jasmine
• 1914 Fleurs de Myrilla Narcissus
• 1914 Fleurs de Myrilla Hortensia
• 1914 Fleurs de Parc (a line)
• 1914 Fleurs de Parc Violet
• 1914 Fleurs de Parc Rose
• 1914 Fleurs de Parc Carnation
• 1914 Fleurs de Parc Lilac
• 1914 Fleurs de Parc Bouquet
• 1914 Anthemis
• 1915 Qui M'Aime
• 1915 Perverse
• 1919 Bleuet
• 1920 Choisy
• 1920 Sauvageonne
• 1928 À Tire D’Ailes
• 1929 Reve d'Almee
• 1929 Dans les Airs
• 1929 Ceuille Moi
• Audé Diapée
• Été
• Eau de Cologne Fumeur
• Taphne
• Mourasaki
• Charmant Aveu
• Duc de Bragace
• Pays des Fleurs
• Eau de Cologne Fleuri

The fragrance catalog of Les Parfums de Clamy reflects the house's artistic spirit and cosmopolitan outlook, drawing inspiration from romance, nature, fantasy, exotic lands, and modernity. Many of the perfume names were deliberately poetic, evoking emotions, imagery, and stories rather than simply describing a fragrance's ingredients. This approach was characteristic of the period, when perfume was marketed as an expression of elegance and imagination.

Among Clamy's earliest creations was Qui M'Aime? (1913 and 1915), whose title translates to "Who Loves Me?" The romantic and slightly mysterious name suggests a fragrance intended to evoke courtship and longing. Equally evocative was Femmes Ailées (1913), meaning "Winged Women," a title that conjures visions of ethereal female figures, angels, or mythological beings soaring through the heavens.

In 1914, Clamy introduced several coordinated fragrance collections. The Fleurs de Myrilla line, translating to "Flowers of Myrilla," featured floral soliflores including Jasmine, Narcissus, and Hortensia (Hydrangea). These perfumes celebrated individual blossoms while presenting them as part of a larger floral fantasy. That same year, the company launched Fleurs de Parc or "Flowers of the Park," a collection inspired by the blooms found in formal gardens. The line included Violet, Rose, Carnation, Lilac, and Bouquet, each capturing a different facet of the cultivated floral landscape. Another 1914 creation, Anthemis, took its name from the genus of flowering plants that includes chamomile and marguerite daisies, suggesting a fresh and botanical character.

Several later fragrances reveal Clamy's fascination with personality and emotion. Perverse (1915) was a daring title for its day, suggesting temptation, unconventionality, and intrigue. Sauvageonne (1920), meaning "Wild Girl" or "Untamed Young Woman," evoked a spirited and independent feminine character. Charmant Aveu, translated as "Charming Confession," hinted at romance and intimate revelations, while Ceuille-Moi (1929), meaning "Pick Me" or "Gather Me," employed the language of flowers and courtship to create a playful invitation.

Nature remained a recurring theme throughout the house's offerings. Bleuet (1919) means "Cornflower," the beloved blue wildflower of the French countryside. Pays des Fleurs translates to "Land of Flowers," suggesting an idyllic floral paradise. Été simply means "Summer," while Eau de Cologne Fleuri can be translated as "Floral Cologne." The unusual Eau de Cologne Fumeur means "Smoker's Cologne," likely intended to refresh and perfume clothing or surroundings after smoking, a common concern during the early twentieth century when tobacco use was widespread.

Several fragrances drew inspiration from travel, fantasy, and exotic cultures. Mourasaki appears to reference the Japanese word Murasaki, meaning "purple" or "violet," and may have been inspired by Japanese aesthetics. Taphne (Daphne) was likely named after the fragrant flowering shrub Daphne, celebrated for its intensely sweet and elegant blossoms; the scent of daphne flowers is often described as a rich blend of jasmine, lily-of-the-valley, carnation, citrus blossom, and hyacinth, with delicate spicy and green undertones that make it one of the most cherished floral fragrances in the garden world. Audé Diapée is an enigmatic title whose exact meaning has been lost, adding to its intrigue. Duc de Bragace appears to reference a noble title, perhaps inspired by the historic House of Braganza of Portugal, lending the perfume an aristocratic aura.

During the late 1920s, Clamy embraced themes of speed, flight, and modernity that reflected the excitement of the aviation age. À Tire d'Ailes (1928) translates loosely as "On the Wing" or "At Full Flight," suggesting swift movement through the air. Dans les Airs (1929), meaning "In the Air," similarly evokes aviation and the fascination with flight that captivated the public during the interwar years. Rêve d'Almée (1929), translated as "Dream of an Almée," references the famed Egyptian dancers and entertainers known as almées, reflecting Philippe Back de Surany's lifelong fascination with Egypt and the Orient.

Taken together, the perfumes of Clamy reveal a house that balanced traditional floral themes with artistic imagination and contemporary cultural influences. Whether inspired by flowers, romance, aristocracy, exotic destinations, or the thrilling modern world of aviation, the names chosen by Clamy transformed each fragrance into a miniature story, inviting the wearer to participate in a world of beauty, elegance, and fantasy.

A 1914 newspaper ad reads: "A novelty from Clamy, Paris, the wonderful Parfumeur, is a quaint bottle in the shape of a cat, filled with exquisite perfume, all encased in a Dresden box. $1.50."