The Salon de la Parfumerie Française, held at the Palais de Glace on the Champs-Élysées from June 1–15, 1927, represented a landmark moment in the history of the French perfume industry. Conceived in the wake of the extraordinary success achieved by French perfumers at the 1925 Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes, the Salon was organized to celebrate, promote, and reinforce France's position as the undisputed world leader in perfumery. At a time when French perfumes were exported throughout the globe and served as ambassadors of Parisian elegance, industry leaders recognized the need for an exhibition devoted entirely to this flourishing art and commerce. More than merely a trade display, the Salon sought to demonstrate the creative, scientific, and industrial achievements that had elevated French perfumery to the rank of one of the nation's most prestigious luxury industries, standing alongside haute couture and fine jewelry as symbols of French refinement and international prestige.
Located on the Champs-Élysées near the Avenue Franklin D. Roosevelt, the Palais de Glace had originally been constructed in 1893 as an elegant indoor skating palace and entertainment venue. By the 1920s it was already associated with sophistication and modern Parisian culture, making it a fitting setting for an exhibition devoted to the luxury perfume industry.
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The exhibition was promoted and organized by S. Schwob, director and proprietor of the Revue des Marques de la Parfumerie, with the assistance of his collaborator Perez Henrique. Their objective was to provide the perfume industry with a dedicated showcase where manufacturers could present their latest creations directly to the public while simultaneously strengthening the collective reputation of French perfumery. Contemporary observers emphasized that French perfumes owed their supremacy not only to the abundant floral resources of regions such as Grasse and the Côte d'Azur, but also to the country's leadership in modern chemistry, which enabled perfumers to create increasingly sophisticated fragrances through the skillful combination of natural essences and synthetic materials. The Salon was therefore intended as both a celebration of French artistic excellence and a demonstration of the scientific innovation that lay behind every bottle of perfume.
Visitors entering the Palais de Glace encountered what was widely regarded as the first occasion in France when so many of the country's most celebrated perfume houses were gathered under one roof. Beautifully decorated stands displayed the products and newest creations of renowned firms such as Houbigant, Roger & Gallet, Bourjois, Dorin, Rigaud, Lubin, and d'Orsay. The exhibition's fifty ground-floor stands, devoted primarily to retail perfume houses, were praised for their artistic individuality while maintaining an overall harmony that made the Salon both elegant and accessible. Thousands of Parisians and international visitors attended during its two-week run, admiring displays of perfumes, essences, soaps, powders, lotions, compacts, and countless other products associated with beauty and luxury.
The Salon also recognized that perfumery was far more than the finished fragrance sold to consumers. On the mezzanine gallery, the industries that supplied and supported the perfume trade exhibited their own contributions to the creation of French scents. Leading Grasse raw-material houses, including Chiris, Lautier Fils, and Robertet & Co., presented the natural essences and floral extracts that formed the foundation of many celebrated perfumes. Manufacturers of synthetic aromatic materials, among them Givaudan & Co., de Laire & Co., Polak & Schwarz, and Th. Muhlethaler, demonstrated the scientific advances that had transformed modern perfumery. Their presence highlighted the collaborative nature of the industry, illustrating that every perfume represented the combined efforts of growers, distillers, chemists, suppliers, bottle manufacturers, packagers, and perfumers. By bringing together every stage of perfume production, the Salon de la Parfumerie Française offered visitors an unprecedented glimpse into the artistry, craftsmanship, and industrial expertise behind one of France's most admired exports.
The Exhibitors of the 1927 Salon de la Parfumerie
The exhibitors gathered beneath the glass dome of the Palais de Glace represented an unusually broad cross-section of the French perfume industry in 1927. Rather than concentrating exclusively on the largest and most famous houses, the Salon brought together established perfumers, emerging brands, cosmetics manufacturers, beauty institutes, and related luxury enterprises. Among the exhibitors were Roger & Gallet, L.T. Piver, Isabey, Houbigant, d'Orsay, Lubin, Dorin, Corday, Mury, Antoine, Neige des Cévennes, Robj, Vigny, Coudray, Bourjois, Rigaud, Parfumerie Ninon, Produits de Beauté Ganna Walska, Marcel Guerlain, Marquis, Les Parfums Bichara, Les Parfums de Rosine, Cheramy, Monpelas, Parfums Godet, Babani, Institut de Beauté, Lydes, Molinard Jeune, Parfumerie Nilde, and Les Parfums Ybry. Additional exhibitors included Virgona Ameublements, Siegel, and Vitrines Parfumerie Millot, whose displays contributed to the decorative and commercial atmosphere of the exhibition.
The variety of exhibitors reflected the increasingly diverse nature of the perfume market during the late Art Deco era. Historic firms such as Houbigant, L.T. Piver, Lubin, Dorin, Roger & Gallet, and Rigaud stood alongside younger houses such as Corday, Isabey, Ybry, and Ganna Walska, whose branding and presentation embodied modern tastes. Others, including Rosine, Mury, Molinard, Godet, and d'Orsay, emphasized artistic perfumery and elegant presentation, while companies such as Bourjois and various beauty institutes demonstrated the growing relationship between fragrance, cosmetics, and personal care. The result was an exhibition that allowed visitors to discover lesser-known houses alongside some of the most respected names in French perfumery.
Equally important were the firms occupying the mezzanine galleries, where visitors could explore the industries that supplied the perfume trade. These exhibitors revealed the extensive network of growers, chemists, bottle makers, atomizer manufacturers, display specialists, and packaging firms that made modern perfumery possible. Among them were Pilar Frères, J. Mero & Boyveau, Antoine Chiris, Bertrand Frères, Robertet, Lautier Fils, Schmoller & Bompard, Fabriques de Laire, L. Givaudan & Cie, Th. Mülhlethaler, Polak & Schwarz, Progil, Jean Born, Marcel Franck, Société du Vaporisateur Frisson, De Vilbiss, La Houppe, R. Gouvernet, Krieg & Zivy, Berlan Lederlin & Cie, Parosa, Sennet & Cie, G. Cassard, A. Cotigny, S. Paul, L. Marboeuf & Cie, H. Saumont, G. Milliot, and J.P. Grussen. Their participation demonstrated that the Salon was intended not merely as a retail perfume exhibition but as a showcase for the entire perfume industry, from the cultivation of flowers and manufacture of aromatic materials to the production of bottles, atomizers, packaging, and luxury displays.
Yet perhaps the most remarkable aspect of the exhibitor list is who was absent. Missing were several of the most influential perfume houses of the era, including Guerlain, Caron, Coty, Lanvin, Chanel, Ed. Pinaud, Worth, Lentheric, Lucien Lelong, Prince Matchabelli, and the American firms Elizabeth Arden and Richard Hudnut. Contemporary commentators noted these absences with disappointment, arguing that the non-participating firms had missed an important opportunity to support French perfumery and promote their own creations. Their absence was likely the result of practical and commercial considerations. Participation required considerable expense, while established firms such as Guerlain, Coty, Caron, and Chanel already enjoyed international recognition and maintained prestigious Paris boutiques that effectively served as permanent exhibitions of their products. Others may have preferred to reserve their resources for larger international expositions.
Despite these omissions, the Salon succeeded in presenting a remarkably representative portrait of French perfumery during the late 1920s. It showcased not only celebrated perfume houses but also the craftsmen, chemists, raw-material suppliers, packaging manufacturers, and display specialists whose combined efforts sustained France's leadership in the global perfume trade. Looking back today, the exhibitor roster serves as a valuable snapshot of an industry in transition, preserving the names of both enduring houses and once-famous firms that have long since disappeared from the perfume landscape.
The Salon de la Parfumerie was far more than a trade exhibition; it was an immersive sensory experience that enveloped visitors from the moment they entered the Palais de Glace. Soft carpets covered the floors, music drifted from the upper galleries, and the air itself was saturated with the mingled fragrances of dozens of perfumes. Many exhibitors distributed sample vials or offered sprays of their latest creations, allowing visitors to experience the perfumes firsthand. The result was an atmosphere that contemporary writers described as almost dreamlike, a world of crystal bottles, luxurious displays, and artistic beauty housed beneath the glass structure of the Palais de Glace. The exhibition attracted thousands of visitors, the majority of whom were women, although many men could also be seen studying the exhibits, perhaps taking note of the increasingly sophisticated methods of presentation and marketing employed by the perfume trade.
Among the most admired participants were prestigious houses such as Rigaud, Isabey, D'Orsay, Houbigant, La Neige des Cévennes, and Antoine, whose displays elevated perfume beyond a commercial product and presented it as an expression of art, elegance, and refinement. Contemporary commentators also praised beauty pioneer Madame Merle and the celebrated hairdresser-perfumer Antoine, whose luxurious salons on the Rue Cambon and innovative travel-friendly beauty products had helped modernize French beauty culture. Throughout the exhibition, visitors encountered not merely fragrances but complete worlds of fashion, beauty, and decorative art carefully created by each exhibitor.
The upper gallery offered a different but equally fascinating perspective on the industry. Here were gathered the raw material suppliers, manufacturers, and accessory firms whose products formed the foundation of modern perfumery. Although their exhibits lacked the glamour of the retail perfume houses, many companies employed imaginative displays to attract attention. Antoine Chiris and Bertrand Frères, both of Grasse, decorated their stands with beautiful color photographs of the flower fields from which many perfume materials originated. Pilar enhanced its exhibit with trelliswork, a fountain, and Florentine vases, creating a decorative setting for its products. Mero & Boyveau displayed a sample bale of cistus labdanum along with numerous raw perfumery materials, while Lautier Fils exhibited photographs and an attractive oil painting of Grasse featuring its factory. Robertet & Co. presented a detailed model illustrating the modern solvent-extraction process used to obtain floral essences, offering visitors a glimpse into one of the most advanced techniques in contemporary perfume manufacture.
This section also showcased many of the industries that supported perfumery. Visitors examined powder puffs, decorative cartons, luxury boxes, atomizers, bottles, and containers of every description. These displays demonstrated that the creation of a successful perfume required the collaboration of glassmakers, box manufacturers, designers, printers, and numerous specialized suppliers. Judging by contemporary accounts, these exhibits proved surprisingly popular and attracted considerable attention from visitors interested in the craftsmanship behind luxury presentation.
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One of the Salon's most remarkable attractions was its retrospective exhibition devoted to the history of perfumery. Though modest in size, it was exceptionally well arranged. Glass cases displayed rare and curious books, including Poncelet's Chimie du Goût et de l'Odorat (1755), Les Parfumeurs François printed during the reign of Louis XIV, Le Parfumeur Impérial (1809), and more than twenty additional works documenting centuries of perfume history. Nearby were displays of antique porcelain perfume pots, cosmetic accessories, historic flasks, and eighteenth-century Chelsea porcelain figures designed to contain perfume. Particularly noteworthy was a bottle of Lubin's Taglioni Perfume, still bearing an engraved image of the famous dancer on its label, while Dorin exhibited original company billheads dating from 1816.
An even larger historical display featured ancient and more recent perfume and cosmetic containers made from decorated porcelain, glass, and other luxury materials. Valued at more than one million francs, this remarkable collection was assembled through loans from Léon Givaudan of L. Givaudan & Cie and other members of the perfume and raw-material industries. The exhibit allowed visitors to trace the evolution of perfume packaging from earlier centuries to the modern Art Deco era, illustrating how perfume containers had developed into important works of decorative art in their own right.
The management of the Salon further enhanced the visitor experience by organizing a fashion show under the patronage of several leading Parisian couturiers. This addition reinforced the close relationship between perfumery and fashion, two industries that together projected the image of Paris as the world capital of luxury and elegance. Combined with the perfume displays, historical exhibits, artistic presentations, and demonstrations of modern manufacturing techniques, the fashion presentations helped transform the Salon de la Parfumerie into one of the most memorable cultural and commercial events of the Paris season.
Antoine:
Among the exhibitors at the 1927 Salon de la Parfumerie was Antoine, the beauty empire created by the celebrated Polish-born hairdresser Antoine Cierplikowski. By the 1920s, Antoine had become one of the most influential figures in Parisian fashion and beauty, largely due to his revolutionary approach to women's hairstyles. His salons attracted aristocrats, actresses, and fashionable society women from around the world, and his name had become synonymous with modern elegance. While best known for popularizing the short "La Garçonne" hairstyle associated with the Flapper era, Antoine successfully expanded his business beyond hairdressing into cosmetics, toiletries, and perfumery, creating a complete beauty brand that reflected the spirit of contemporary Paris.
The Antoine line was distinguished by its remarkably modern visual identity. Rather than relying on the ornate floral motifs and gilded Rococo styling that had characterized many earlier beauty products, Antoine embraced the sleek geometric aesthetic of the Art Deco movement. The branding for the company's cosmetics and fragrances was designed by the artist Sara Lipska, whose work helped establish a sophisticated and instantly recognizable image for the brand. Packaging typically featured striking combinations of black, white, and gold, creating a sense of luxury through simplicity and contrast. Occasional accents of vibrant color were introduced to enliven the designs, but the overall effect remained restrained, elegant, and unmistakably modern.
This visual language echoed the interiors of Antoine's famous salons, which themselves were showcases of contemporary Art Deco design. Clients entering an Antoine establishment encountered a carefully orchestrated environment where architecture, furnishings, product displays, and packaging all worked together to communicate a unified vision of modern beauty. The fragrances, cosmetics, and toiletries were therefore not merely products but extensions of the Antoine lifestyle, offering customers a tangible piece of the glamour and sophistication associated with the salon experience.
At a time when many perfume houses still emphasized tradition, romance, or historical revival styles, Antoine represented a distinctly modern approach to luxury. His participation in the Salon de la Parfumerie demonstrated how closely linked the worlds of fashion, hairdressing, cosmetics, and fragrance had become during the 1920s. The Antoine stand would have embodied the clean lines, bold contrasts, and fashionable spirit of Art Deco Paris, presenting perfumery as part of a complete vision of contemporary elegance rather than as an isolated luxury product. Through its innovative branding and design, Antoine stood as one of the most visually progressive exhibitors at the exhibition, reflecting the optimism and modernity that defined the era.
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Les Parfums de Corday:
Adjacent to Antoine's striking black, white, and gold Art Deco pavilion stood the equally fashionable stand of Corday, one of the most innovative perfume houses of the 1920s. Although no detailed description of the booth survives, it undoubtedly served as a showcase for the firm's celebrated fragrances and distinctive bottle designs. Known for combining modern perfume compositions with imaginative presentations, Corday was a natural participant in an exhibition devoted to the artistry of French perfumery.
Among the fragrances likely exhibited were Femme du Jour and Kai Sang, both presented in Corday's elegant black glass bottles whose streamlined forms reflected contemporary Art Deco taste. The luxurious Jet was housed in a sculptural fountain-inspired flacon that transformed the perfume bottle into an object of decorative art. These striking presentations would have complemented the modern atmosphere of the Salon.
Evidence of Corday's participation can be seen in a surviving photograph of Antoine's neighboring booth. At the far left edge of the image, several examples of the elegant Orchidée Bleue Baccarat crystal flacons are visible on shelves, providing a rare glimpse of the Corday display and illustrating how closely the exhibitors were arranged within the Palais de Glace.
Corday was also celebrated for its imaginative packaging and likely exhibited novelty presentations such as Blanchette, Serre Fleurie, and the whimsical Toodleoo, whose fragrance was housed in an egg-shaped bottle accompanied by a wooden bird emerging from its shell. Such creations reflected the playful and theatrical side of 1920s perfumery.
The centerpiece of the stand appears to have been the celebrated Toujours Moi bottles designed by jeweler and decorative artist Lucien Gaillard. Contemporary accounts noted that the fragrance was built around an incense accord inspired by the aromatic traditions of Notre-Dame de Paris, lending it an air of romance and mysticism. Prominently displayed, the Gaillard-designed flacons perfectly embodied the Salon's celebration of fragrance, artistry, and luxury.
Lubin:
Adjacent to Corday's exhibit stood the elegant booth of Lubin, one of France's oldest and most prestigious perfume houses. Founded in 1798 by Pierre-François Lubin, the firm earned an international reputation during the nineteenth century and became a favored supplier to the royal courts of Europe. Among its distinguished patrons were Pauline Bonaparte, Princess Borghèse, and King George IV of England, while its fragrances were also highly prized by the Russian imperial court.
Lubin's reputation rested not only on its perfumes but also on its exceptional presentation. The house collaborated with leading manufacturers such as Baccarat and Depinoix, while renowned designers including René Lalique and Julien Viard created some of its most memorable bottles and atomizers. This commitment to artistry continued into the Art Deco era. At the 1925 Exposition Internationale des Arts Décoratifs, Lubin exhibited Douce France and introduced L'Océan Bleu in a striking bottle designed by Georges Chevalier, demonstrating the firm's ability to blend modern design with long-established luxury.
At the Salon de la Parfumerie, Lubin's corner stand was draped with an immense gilt Oriental embroidery, while its perfumes and toilet preparations were displayed in unusually original wall cases. Given the house's emphasis on artistic presentation and its success at the 1925 exposition, visitors likely encountered many of Lubin's most celebrated fragrances arranged in their distinctive designer flacons. The display served as a fitting reminder that, although Lubin embraced the modern aesthetics of the 1920s, its heritage stretched back more than a century to the royal courts and aristocratic salons of Europe..
Robj:
Occupying a position opposite Antoine's striking Art Deco booth was the exhibit of Robj, one of the most imaginative and unconventional decorative arts firms participating in the 1927 Salon de la Parfumerie. In the surviving photograph of Antoine's stand, part of the neighboring Robj display can be seen at the right, where several of the firm's distinctive illuminated perfume lamps glow softly from within. These unusual objects immediately distinguished Robj from the more traditional perfume exhibitors, for the company approached fragrance through the lens of decorative art, combining scent, lighting, and sculpture into a single luxurious object.
The Parisian firm Éditions Robj, sometimes known as Atelier Robj, was established in 1908 by Lucien Willemetz. The company specialized in ceramics, glassware, and decorative objects designed by various artists and produced in its own workshops. By the 1920s Robj had become one of the most recognizable names in French decorative arts, renowned for its whimsical interpretations of Art Deco design. Its creations ranged from practical household objects to sophisticated decorative sculptures, all characterized by a playful sense of humor and inventive craftsmanship.
Robj's ceramic production generally fell into two distinct categories. The first consisted of brightly enameled porcelain figures designed to appeal to a broad audience through their lively colors and amusing subjects. The second, more refined category comprised elegant decorative statuettes executed in cream-colored crackled porcelain. These pieces often possessed a sculptural quality that elevated them beyond simple decorative objects, making them highly desirable among collectors and fashionable interiors of the period. Both styles reflected the company's ability to blend artistic sophistication with commercial appeal.
Perhaps more than any other decorative arts manufacturer of the era, Robj embraced humor as a design principle. The firm became famous for its delightful novelty creations, particularly stylized animals and caricatured figures rendered in the geometric forms associated with Art Deco. These whimsical subjects appeared as bookends, table lamps, pen holders, and numerous other decorative accessories. The company's catalogue also included powder boxes, inkwells, ashtrays, candy dishes, cocktail shakers, coffee services, incense burners, and countless other luxury objects designed to bring a touch of amusement to modern interiors.
By the mid-1920s Robj had expanded naturally into the world of fragrance. In 1924 the company introduced Le Secret de Robj, a perfume specifically formulated for use in its illuminated perfume lamps. These devices combined fragrance diffusion with decorative lighting, creating a multisensory experience that perfectly embodied the Art Deco fascination with modern technology and atmospheric interior decoration. Rather than simply displaying perfume bottles on a shelf, Robj encouraged consumers to incorporate fragrance into the overall design of their homes, transforming scent into part of a complete decorative environment.
The illuminated perfume lamps visible in the Salon de la Parfumerie photographs were likely among the principal attractions of the Robj stand. Their warm glow would have drawn visitors from across the exhibition hall, creating a dramatic contrast with the more conventional displays of perfume flacons and cosmetic products nearby. The exhibit demonstrated that fragrance could extend beyond personal adornment and become an integral element of interior decoration. In this respect, Robj represented one of the most innovative participants at the Salon, occupying a unique position between perfumery, decorative arts, and modern design. Its presence highlighted the increasingly close relationship between fragrance and the broader Art Deco movement, where beauty, functionality, and imagination were seamlessly combined into a single artistic vision.
Bourjois:
Bourjois housed its Mon Parfum and other specialties within a charming Louis XVI-style boudoir. Among the most commercially successful exhibitors at the Salon, Bourjois had built an international reputation through both fragrances and cosmetics, offering visitors a display that combined French elegance with broad popular appeal.
The stand likely also featured the company's successful Ashes of Roses line, along with related fragrances such as Ashes of Violettes and Ashes of Carnations. Other popular perfumes, including Miss Kate, were probably exhibited alongside matching toiletries, reflecting the growing trend toward complete fragrance and beauty lines.
Bourjois was equally renowned for its cosmetics, and the exhibit undoubtedly showcased face powders, rouges, compacts, and beauty preparations. Most notable among these was Poudre de Riz de Java, one of the most famous face powders of its era and a staple on fashionable dressing tables around the world. Together, these displays emphasized Bourjois' position as a complete beauty house rather than simply a perfume manufacturer.
Interestingly, visitors in 1927 would not yet have encountered Soir de Paris (Evening in Paris), the fragrance most closely associated with Bourjois today. Introduced the following year, its iconic cobalt-blue bottles were still absent from the company's display. The Salon therefore captured Bourjois at the end of one chapter, just before the launch of the perfume that would become its greatest international success.
Cheramy:
Cheramy's stand was decorated in sombre tones designed to emphasize an illuminated revolving glass case at the rear, which successively displayed Fausta, Cappi, and the firm's Eau de Cologne. Although an American perfume and cosmetics company, Cheramy cultivated a distinctly Parisian image and was one of the more fashionable exhibitors at the Salon.
The display likely featured some of the company's most successful fragrances, including April Showers, one of the best-selling perfumes of the 1920s, alongside Frolic, Offrande, Ciel Bleu, and Joli Soir. These fragrances were supported by stylish packaging and coordinated beauty products that reflected the increasingly sophisticated marketing strategies of the era.
Since its acquisition by Houbigant in 1922, Cheramy had benefited from the prestige and technical expertise of one of France's oldest perfume houses while maintaining a strong presence in the American market. The company also earned recognition at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes, where its modern presentations embodied the emerging Art Deco style.
Particularly noteworthy were Cheramy's striking graphics and packaging. Through the use of bold geometric designs, streamlined typography, and dramatic color contrasts, the company transformed perfume and cosmetic packaging into fashionable decorative objects. The stand at the Salon reflected this modern approach, illustrating how successful branding, artistic design, and fragrance could be combined into a complete luxury experience.
Ganna Walska:
One of the most intriguing exhibitors at the 1927 Salon de la Parfumerie was the newly established house of Ganna Walska. Unlike many of the historic firms represented at the exhibition, Walska's company was a newcomer to the perfume industry, yet it attracted considerable attention thanks to the celebrity of its founder and the originality of its products. The Palais de Glace provided the ideal setting for introducing the house's first fragrances and cosmetics to the French public.
The centerpiece of the exhibit was Divorçons ("Let's Divorce"), the company's debut fragrance and its most talked-about creation. Introduced in 1927, the perfume carried a provocative title that reflected the changing social attitudes of the Jazz Age. Contemporary descriptions characterized Divorçons as a rich oriental fragrance whose sophisticated and bittersweet character matched its memorable name. Alongside it were Cordon Bleu, a luxurious floral bouquet, and Pour le Sport, a fresh citrus fragrance inspired by the era's enthusiasm for athletics, travel, and outdoor recreation. Together, these perfumes demonstrated the youthful company's willingness to embrace both modern themes and diverse fragrance styles.
Visitors may also have encountered Chypre and Près de Toi, fragrances later associated with the house. Their inclusion would have expanded the collection beyond the oriental richness of Divorçons and the sporty freshness of Pour le Sport, presenting a more complete picture of the company's ambitions.
The surviving photograph of the Ganna Walska stand reveals a refined and elegant display, with carefully arranged shelves and illuminated showcases emphasizing both the perfumes and their presentation. The exhibit reflected the glamour and sophistication associated with its founder, whose name alone attracted considerable public curiosity.
Contemporary observers regarded the debut as one of the highlights of the Salon. A 1927 advertisement boldly proclaimed that the perfumes and certified cosmetics of The Ganna Walska Company, with Mrs. Harold F. McCormick serving as president, were "easily the leading feature" of the exhibition. According to buyers and industry experts quoted in the advertisement, the products represented "perfection at last in sophisticated toilette accessories." While the company itself would prove relatively short-lived, its appearance at the Salon remains a fascinating chapter in perfume history, illustrating how celebrity, luxury, and modern marketing could combine to create one of the most memorable launches of the late 1920s.
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Coudray:
Among the distinguished exhibitors at the 1927 Salon de la Parfumerie was Coudray, one of the oldest and most respected names in French perfumery. The firm's origins stretched back to 1810 when it was established through the partnership of M. Maugenet and Dr. Edmond Coudray, a physician and chemist whose scientific expertise and adventurous travels helped shape the company's reputation. Unlike many perfumers of his era, Coudray sought inspiration far beyond France, journeying extensively in search of exotic botanical materials and aromatic substances. These discoveries enriched the firm's formulas and contributed to a reputation for quality that would endure throughout the nineteenth century.
As international trade expanded, Coudray became one of France's leading exporters of perfumes, cosmetics, and toiletries. Its products found favor among aristocratic and affluent clientele throughout Europe, and in 1837 the house achieved one of its greatest distinctions when it became an official supplier to the British Court. This prestigious appointment enhanced the company's standing and helped establish its reputation as a producer of luxury goods worthy of royal patronage. Throughout the nineteenth century, Coudray continued to expand its influence while maintaining a commitment to quality ingredients and refined presentation.
In 1882 the company further strengthened its presence in Paris by opening the boutique Maugenet & Coudray at 348 rue Saint-Honoré. The shop offered perfumes, cosmetics, soaps, and toilet preparations to an increasingly sophisticated clientele. During this period, Coudray became known for its elegant presentations and attractive packaging, helping to elevate its products above those of ordinary perfumers. The firm's commitment to excellence was recognized at international exhibitions, where it received numerous awards. Particularly noteworthy were the two silver medals awarded at the 1882 Exhibition, one of which specifically honored the exceptional quality of its eau de cologne.
Visitors approaching the Coudray stand at the Palais de Glace in 1927 would likely have encountered a display emphasizing both the company's heritage and its celebrated range of toilet products. Prominently featured would almost certainly have been the firm's famous Lettuce Soap, a product that had become closely associated with the house and remained popular for decades. Alongside the soaps would have been elegant arrangements of sachet powders, toilet waters, creams, and other beauty preparations, demonstrating the breadth of the company's offerings. Such displays would have reinforced Coudray's identity as a complete beauty house rather than merely a perfume manufacturer.
The exhibit would also have showcased numerous examples of the firm's renowned eaux de cologne, displayed in decorative bottles that reflected the house's longstanding reputation for refinement. Shelves and display cases were likely stocked with some of Coudray's best-known perfumes, including Rêve de Paris, Exor, Secret de Madame, Charme de France, and Nohiba. These fragrances represented the elegance and sophistication that had characterized the house for more than a century. Presented in carefully arranged groupings, their bottles would have added both color and visual interest to the stand while inviting visitors to explore the olfactory creations within.
Unlike some of the newer exhibitors that emphasized modernity and novelty, Coudray offered something equally valuable: continuity. Its presence at the Salon de la Parfumerie connected the fashionable Art Deco world of 1927 with the traditions of nineteenth-century French perfumery. The firm's exhibit stood as a testament to more than a hundred years of craftsmanship, innovation, and international success, reminding visitors that while perfume fashions might change, true quality and reputation could endure across generations.
Dorin:
Dorin occupied one of the most elaborate exhibits at the Salon with a double stand. One section, known as La Loge de Dorine, was decorated with toile de Jouy and staffed by a Louis XV-style shepherdess in powdered hair, while the adjoining Boudoir de Dorine was furnished in rich crimson Oriental style and attended by a saleswoman dressed in an embroidered Chinese costume. The contrasting settings reflected the house's skill at blending historical elegance with exotic fantasy.
Founded during the reign of Louis XV, Maison Dorin was among the oldest perfume houses in France and had long been associated with luxury cosmetics and fine fragrances. While perfume formed an important part of its business, Dorin was equally celebrated for its beauty preparations, particularly its face powders, rouges, and elegant compacts. These fashionable accessories were likely displayed prominently throughout the stand, emphasizing the firm's reputation as a complete beauty house.
The exhibit almost certainly showcased a selection of Dorin perfumes alongside its cosmetics and toilet preparations. Among them may have been Un Air de Paris, a fragrance whose name captured the romantic allure of the French capital. Coordinated packaging and refined presentation reinforced the company's image of timeless sophistication.
While many exhibitors embraced modern Art Deco styling, Dorin distinguished itself through its historic heritage and theatrical décor. Its stand offered visitors a glimpse of a house whose origins stretched back to the eighteenth century while remaining fully engaged with the fashions and beauty culture of the 1920s.
D'Orsay:
Mirrors, novel glasswork, and artistically designed furniture drew attention to the D'Orsay stand, where the firm's Le Dandy perfumes were prominently displayed—a fitting tribute to Count Alfred d'Orsay, the celebrated nineteenth-century dandy whose name the house adopted. Although many consumers assumed the company possessed centuries of aristocratic heritage, D'Orsay was actually founded in 1908 by investors who skillfully built a luxury brand around the count's reputation for elegance, style, and sophistication.
By the mid-1920s, D'Orsay had become one of the leading exponents of Art Deco luxury, earning a Grand Prix at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes. Its exhibit at the Salon likely showcased some of the company's finest presentations, including perfumes such as Le Dandy, L'Ocean Bleu and Toujours Fidèle, housed in elegant Baccarat and Daum crystal flacons. The firm also collaborated with prominent designers including Louis Süe, André Mare, and Paul C. Delaize, whose work helped establish D'Orsay's distinctive modern identity.
Among the most admired objects on display were probably the creations of René Lalique. His striking bottles for Mystère and Ambre in opaque black glass, along with the figural-stoppered flacons for Le Succès and Roses, represented some of the finest examples of Art Deco perfume design. The exhibit may also have featured Lalique's remarkable La Renommée crystal tester, fitted with individual fragrance compartments and delicate flower-shaped daubers.
More than many of its competitors, D'Orsay presented perfume as part of a larger decorative arts experience. Combining fragrance, fine glassmaking, architecture, and design, the stand embodied the artistic spirit of the Art Deco era and demonstrated why the house had become one of the most fashionable names in French perfumery.
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Godet:
Moving onward through the exhibition, visitors would have encountered the elegant stand of Les Parfums Godet, a house renowned for both its refined fragrances and its exceptionally attractive presentations. Display cases and shelves were likely filled with a wide assortment of the company's creations, allowing visitors to explore the breadth of its perfume collection. Among the fragrances that may have been arranged for display were Fleur Noire, Nuit de Mystère, Chypre, Sous Bois, Cuir de Russie, Secret d'Amour, Petite Fleur Bleue, Forget Me Not, Divin Mensonge, and Folie Bleue, each representing a different facet of the house's perfumery. Such a display would have demonstrated Godet's ability to create fragrances ranging from delicate florals to rich leather and woodland compositions.
Particularly noteworthy may have been Chant du Soir, a fragrance whose composition combined jasmine, spicy carnation, rose, lily of the valley, and sparkling citrus notes resting upon a sophisticated chypre foundation. The perfume embodied the elegant French style of the period, balancing floral richness with the depth and refinement that chypre compositions had made fashionable. Displayed alongside the company's other creations, Chant du Soir would have offered visitors an example of Godet's skill in creating harmonious and distinctive blends.
Godet's exhibit would also have been a feast for the eyes. The company became famous for producing some of the most beautiful perfume labels of the era, often combining attractive typography, rich colors, and sophisticated graphic design. Their bottles were equally luxurious. Many fragrances were housed in crystal flacons manufactured by Baccarat, while others were supplied by Depinoix. Particularly striking were the opaque red glass bottles produced by H. Saumont. These dramatic crimson flacons added vivid color to the display and were notable for also being used by the Lionceau perfume company. Arranged together under the exhibition lighting, the crystal and colored-glass bottles would have created a dazzling visual presentation that reflected the luxurious character of the house.
The origins of the company dated back to 1901, when Julien-Joseph Godet established the business at 37 rue Saint-Lazare in Paris. In addition to perfumes, the firm marketed a wide range of toiletries and cosmetics. One of its most successful products was Ma Poudre ("My Powder"), introduced in 1911. Its presentation was considered remarkably modern for the period and demonstrated the company's willingness to embrace innovative marketing concepts. Through a combination of quality products and effective promotion, Godet expanded rapidly and by 1913 had become an important international enterprise.
Tragically, Julien-Joseph Godet died in 1913, the very year in which his company had achieved significant international success. Following his death, the business continued under the leadership of his widow, Louise Godet, together with the company's director, Abel Ravaud. Their stewardship ensured that the firm not only survived but continued to prosper throughout the following decades, maintaining the standards of elegance and quality that had made the house successful.
One of the greatest triumphs in the company's history came at the landmark Exposition Internationale des Arts Décoratifs et Industriels Modernes, where Godet received a Gold Medal for its fragrance Folie Bleue. This award-winning perfume featured a sophisticated composition built around bergamot, violet, and woody notes, creating a fragrance that was both modern and refined. Given the prestige attached to this achievement, it seems highly likely that Folie Bleue occupied a place of honor within the Godet exhibit at the 1927 Salon de la Parfumerie. Visitors would undoubtedly have been invited to sample the prize-winning scent, while the medal itself may have been proudly referenced within the display. As one of the house's most celebrated creations, Folie Bleue perfectly embodied the artistry and elegance that made Godet one of the most admired exhibitors at the Palais de Glace.
Houbigant:
Houbigant's booth recreated the firm's quaint shop as it had appeared in 1827, a fitting tribute to one of the oldest and most respected names in French perfumery. Founded in 1775, Houbigant had supplied fragrances to generations of royalty and aristocracy, including Marie Antoinette, Joséphine de Beauharnais, Queen Victoria, Empress Eugénie, Napoleon III, the Russian imperial court, Queen Victoria Eugenie of Spain, and Queen Marie of Romania. Having celebrated its 150th anniversary in 1925, the house stood at the Salon as both a guardian of tradition and a leader in modern perfumery.
Among the fragrances likely displayed was Quelques Fleurs, the revolutionary multi-floral bouquet that transformed twentieth-century perfumery. Visitors would also have encountered Parfum Idéal, presented in a Baccarat crystal bottle and an Oriental carpet-inspired presentation box designed from a pattern remembered by Alfred Javal. Other notable creations probably included Parfum d'Argeville, housed in a gilded Regency-style bottle, Subtilité in its distinctive Buddha flacon, Parfum Inconnu, Un Peu d'Ambre, and La Rose France, a tribute to the celebrated roses of Grasse.
The exhibit highlighted Houbigant's longstanding commitment to both fragrance and presentation. Crystal bottles, elaborate packaging, and perfumes with royal associations combined to create one of the most historically significant displays at the Salon. More than many exhibitors, Houbigant embodied the continuity of French perfumery, linking the courts of the eighteenth century with the modern Art Deco world of 1927.
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| (image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir) |
Isabey:
Among the most fashionable exhibitors at the 1927 Salon de la Parfumerie was Isabey, a relatively young house that quickly established a reputation for luxury, exclusivity, and artistic presentation. Backed by substantial financial resources, the company pursued a strategy of uncompromising quality, investing heavily in its fragrances, packaging, advertising, and retail environment. Within only a few years, Isabey had become one of the most desirable names in French perfumery, with a growing export market, particularly in the United States.
A major factor in the firm's success was its exceptional presentation. Isabey commissioned bottles from leading designers, notably Julien Viard, and worked with prestigious manufacturers including Baccarat, Bobin Frères, Moser, Depinoix, and René Lalique. The resulting flacons ranged from elegant Art Deco creations to richly decorative luxury presentations.
The stand at the Palais de Glace likely displayed many of the house's celebrated perfumes, including Mimosa, Chypre Celtique, Sourire Fleuri, Trésor Caché, Bleu de Chine, Le Lys Noir, Ambre de Carthage, Mon Seul Ami, and La Route d'Émeraude. Their evocative names reflected the era's fascination with romance, exoticism, mystery, and travel, while the beautifully designed bottles reinforced Isabey's image as a creator of luxury objects as well as fine fragrances.
Particularly noteworthy were the celebrated Perle Flacons, designed by André Jolivet and produced by the Verrerie de Nesle-Normandeuse around 1925. These iridescent pearl-shaped bottles were presented in elegant purple leatherette cases. The most famous example, Le Collier d'Isabey, consisted of six pearl flacons arranged as a necklace within a demi-lune case. This remarkable presentation earned Isabey a Gold Medal at the 1925 Paris Exposition and became one of the most iconic perfume presentations of the Art Deco era.
Beyond perfume, Isabey also offered a complete range of beauty products, including lipsticks, face powders, compacts, dusting powders, and Lait du Concombre facial cleanser. Together, these products and presentations made the Isabey exhibit one of the most elegant showcases of modern French luxury at the Salon.
Les Parfums Lydes:
Continuing through the exhibition, visitors would eventually arrive at the stand of Les Parfums Lydes, a company that had risen to prominence with remarkable speed. Established in 1918 by Eugène Philippe Rodie, the house quickly gained a reputation for producing luxurious fragrances presented in elegant and often highly artistic packaging. Although the company name soon became well known in perfume circles, its greatest early success was somewhat unusual in that it did not bear the Lydes name at all. The fragrance L'Ambre des Pagodes became an immediate sensation, establishing the firm's reputation and helping to secure an international market for its products. Its popularity enabled the company to export its perfumes and lavish presentations throughout Europe and beyond.
The Lydes stand at the Palais de Glace would likely have been arranged to emphasize the exotic and romantic character of many of its fragrances. Visitors may have encountered displays devoted to Nolka, an oriental perfume that reflected the era's fascination with distant lands and mysterious cultures, alongside Le Dernier Dieu, another evocatively named creation that suggested mythology and intrigue. Floral perfumes would also have occupied an important place within the exhibit. Bottles of Dear Mado, J'aime des Fleurs, and Rose Bengale would have added softer, more romantic themes to the display, with the latter celebrated as a sumptuous rose soliflore that captured the richness and beauty of the flower in all its glory.
Elsewhere within the stand, shelves may have featured the sparkling citrus freshness of Au Cachet du Roy, a refined eau de cologne whose name evoked royal patronage and old-world elegance. Nearby, visitors could discover To Cya Mi, subtitled Le Parfum Hindou, a fragrance blending woody, floral, and amber notes into an exotic composition inspired by the East. Such perfumes reflected the continuing popularity of Orientalist themes during the 1920s, when consumers eagerly embraced fragrances that suggested travel, adventure, and faraway cultures.
Particular attention was likely given to Bibelot, one of the company's newest introductions. As a recently launched fragrance, it would have been a natural candidate for prominent placement within the exhibit. The perfume's distinctive black glass cube-shaped bottle embodied the modern Art Deco aesthetic and would have stood out dramatically among the more traditional flacon shapes surrounding it. Under the exhibition lighting, its dark geometric form would have projected an air of sophistication and modernity, demonstrating that Lydes was fully attuned to contemporary design trends.
The visual appeal of the Lydes collection was enhanced by collaborations with some of the most talented designers of the period. Several of the firm's bottles were designed by Julien Viard and André Jolivet, both renowned for their contributions to luxury perfume packaging. Their work ensured that Lydes fragrances were presented in containers as distinctive and memorable as the perfumes themselves. At the Salon de la Parfumerie, the company's exhibit would have combined exotic fragrances, artistic bottle design, and luxurious presentation into a display that perfectly reflected the glamour and imagination of French perfumery during the Art Deco era.
Marcel Guerlain:
One of the more intriguing exhibitors at the 1927 Salon de la Parfumerie was the house of Marcel Guerlain, a company whose very name generated considerable controversy within the perfume industry. Despite sharing the famous surname—and indeed the same first and last name as one of the heirs of the celebrated Guerlain dynasty—Marcel Guerlain's company had no connection whatsoever with the house founded by Pierre-François-Pascal Guerlain. The similarity naturally caused confusion among consumers, leading the famous Guerlain family to adopt the memorable slogan "Nous n'avons pas de prénom" ("We have no first name"), emphasizing that their house was known simply as Guerlain. The dispute ultimately resulted in legal action, which the Guerlain family won. Following the lawsuit, Marcel Guerlain was compelled to rename his business Société des Parfumeurs Français. Acknowledging the confusion, he later advertised in the United States using the reassuring phrase, "no connection with any firm of similar name."
Despite the controversy surrounding its name, Marcel Guerlain's company was a serious and ambitious enterprise that produced perfumes and cosmetics of excellent quality. Founded in 1922, the firm quickly established itself as a luxury house. Its elegant boutique at 86 rue du Faubourg-Saint-Honoré placed it among the most fashionable shopping districts in Paris. The company also maintained an office in London and enjoyed a prestigious presence in New York through a shop located within the luxurious Waldorf Astoria New York, reflecting the firm's international ambitions and success.
Visitors approaching Marcel Guerlain's stand at the Palais de Glace would have encountered a display filled with beautifully presented perfumes housed in some of the finest bottles of the era. The company frequently employed the services of Baccarat and Depinoix, two of the most respected names in French glassmaking. One likely attraction would have been 8 et 9, whose bottle was manufactured by Depinoix and exemplified the elegant craftsmanship associated with the house. Nearby may have stood the striking Caravelle, perhaps one of the company's most visually memorable creations. Housed in a black crystal bottle shaped as a sailing ship and also produced by Depinoix, it perfectly captured the adventurous and luxurious spirit that characterized much of Art Deco perfumery.
The company's most recognizable fragrance, Masque Rouge, almost certainly occupied a prominent place within the exhibit. This iconic perfume became closely associated with the house and would have been among the fragrances visitors were most eager to sample. Other creations, including Le Roy le Veult and Pavillon Royal, may have filled the surrounding shelves, contributing to an impressive display of luxury perfumes presented in elegant flacons and decorative boxes.
Particular attention may have been devoted to Rolls Royce, introduced in 1926 and still a relatively new fragrance at the time of the exhibition. The presentation was one of the most imaginative novelty bottles of the decade. The perfume bottle was mounted within a wooden base fitted with Bakelite wheels, the entire design cleverly evoking the famous radiator grille of a Rolls-Royce automobile. This marriage of perfumery and modern motoring reflected the fascination with luxury automobiles that characterized the 1920s. Positioned prominently within the stand, it would have served as a conversation piece and a testament to the company's flair for innovative presentation.
Today, the Rolls Royce bottle is considered one of the rarest and most sought-after perfume presentations of the Art Deco era, highly prized by collectors for its originality and scarcity. Standing before Marcel Guerlain's exhibit in 1927, visitors would have encountered a company that, despite its legal battles and controversial name, had successfully established itself as a creator of luxurious fragrances and remarkable presentations. Its booth would have combined elegant crystal bottles, imaginative novelty designs, and fashionable perfumes into a display that perfectly reflected the glamour and creativity of the period.
An interesting aspect of Marcel Guerlain's business activities was the number of affiliated perfume companies he established or controlled during the late 1920s, 1930s, and early 1940s. In addition to marketing fragrances under his own name, he created several related enterprises, including the Hughes Guerlain Company, Hélène Gys (which often utilized the initials "HG"), Gys, Marcel & Hughes La Société de Parfumeurs Parisiens, Les Parfums d'Agnès, and Parfums Marlaine et Cie. These various firms allowed him to market perfumes to different segments of the luxury market while expanding his commercial reach beyond a single brand identity.
What makes these companies particularly fascinating to perfume historians is the frequent recycling of fragrance names between them. Perfumes introduced under one company would often reappear later under another, suggesting that Marcel Guerlain viewed these businesses as interconnected extensions of a larger perfume enterprise rather than entirely separate entities. This practice can sometimes make attribution difficult for collectors today, but it also provides a fascinating glimpse into the marketing strategies employed by independent perfume entrepreneurs during the interwar period.
Marquis:
Among the smaller exhibitors at the 1927 Salon de la Parfumerie was Marquis, a company that was active throughout the 1920s and specialized in perfumes, cosmetics, and toiletries. Although not as widely known today as some of its contemporaries, Marquis played an interesting role within the perfume industry by manufacturing products not only under its own name but also for other perfumers, particularly for export markets. This practice allowed the company to participate in the growing international demand for French beauty products while maintaining a diverse range of offerings. Its presence at the Salon demonstrated the breadth of the French perfume trade, which encompassed not only famous luxury houses but also firms supplying perfumes to markets around the world.
The Marquis stand was likely modest in size but rich in visual appeal, showcasing a variety of perfumes housed in distinctive opaque glass bottles manufactured by Depinoix. These colorful flacons would have created an attractive display under the exhibition lighting. Among the most eye-catching presentations may have been Brise de Monte Carlo, housed in a vibrant orange opaque glass bottle whose warm hue evoked the glamour and sunshine of the Riviera. Nearby, visitors could have admired Fleurs de Grand-Mère, presented in an elegant aqua-colored bottle whose cool tone contrasted beautifully with the brighter colors surrounding it.
One of the most striking perfumes in the collection was undoubtedly Niradjah, an oriental fragrance whose presentation embodied the fascination with exoticism that characterized the era. The perfume was housed in a dramatic black opaque glass bottle fitted with a vivid red glass ball stopper, creating a bold and memorable color combination. Containing two ounces of perfume, the fragrance retailed for the substantial sum of $14.89 in 1922, placing it firmly within the luxury category. The dark bottle and jewel-like stopper would have made Niradjah one of the visual highlights of the Marquis exhibit, drawing attention from visitors as they passed through the exhibition.
The company also offered a traditional line of single-flower fragrances that would likely have occupied an important place within the display. Perfumes such as Lilas, Rose, Muguet, Violette, Cyclamen, and Jasmin reflected the enduring popularity of soliflore fragrances during the early twentieth century. These perfumes allowed wearers to enjoy the character of a favorite flower rendered in concentrated form and remained staples of many French perfume houses. Alongside them would almost certainly have been Chypre, whose popularity was virtually universal by the 1920s and whose presence had become almost obligatory in any serious perfume collection.
Although Marquis lacked the centuries-old heritage of houses such as Houbigant or Lubin, its exhibit would have offered visitors a charming assortment of fragrances presented in colorful and distinctive bottles. The combination of vivid opaque glass, exotic orientals, traditional florals, and export-oriented luxury products made Marquis a representative example of the many smaller but highly creative perfume firms that contributed to the richness and diversity of French perfumery during the Art Deco era.
Les Parfums de Mury:
Mury's booth, devoted exclusively to Narcisse Bleu, was among the most picturesque displays at the 1927 Salon de la Parfumerie. The exhibit featured a moonlit garden setting centered around an electrified fountain surrounded by flower beds, all arranged upon a floor inlaid with blue-and-green mosaic tiles. The effect was both theatrical and elegant, creating the illusion of a tranquil garden retreat within the Palais de Glace. The design was likely inspired by, or adapted from, the company's acclaimed presentation at the 1925 Paris Art Deco Exposition.
Visitors approaching the stand would have encountered sparkling illuminated water, floral decorations, and carefully arranged displays of Narcisse Bleu, transforming the simple presentation of a perfume into an immersive decorative experience. The exhibit reflected the Art Deco fascination with artistic staging and demonstrated Mury's talent for combining fragrance with visual spectacle.
Unlike many exhibitors who displayed a wide range of products, Mury chose to focus entirely on Narcisse Bleu. This singular approach allowed the house to build an exhibit around the perfume's romantic and dreamlike character, making it one of the most memorable displays at the Salon.
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| image enhanced & colorized by Grace Hummel. |
LT Piver:
Behind a charming trellis covered with rambler roses, L.T. Piver displayed just two perfumes at the 1927 Salon de la Parfumerie: Volt and Fétiche. The restrained floral setting contrasted effectively with the modern character of the fragrances and reflected the house's ability to balance tradition with innovation.
L.T. Piver was one of the oldest perfume houses represented at the exhibition. Its origins stretched back to the eighteenth century when it began as a manufacturer of perfumed gloves, earning the title of Parfumeur-Gantier in 1769. After passing through several owners, the business came under the direction of Louis-Toussaint Piver in 1813 and adopted the famous L.T. Piver name in 1823. Over the following century, the company became one of France's most respected perfume houses and a regular participant in major international expositions.
The perfumes chosen for display highlighted Piver's reputation for creative presentation. Volt was housed in one of the firm's most memorable bottles, a Baccarat crystal flacon shaped like an electric light bulb, celebrating the modern marvel of electricity. Fétiche, introduced in 1924, represented the era's fascination with exotic themes and modern luxury. Together, the two fragrances embodied the contemporary spirit of the Art Deco period.
Although Piver was also famous for classics such as Rêve d'Or, Pompeia, Floramye, and Azuréa, as well as its collaborations with Baccarat and René Lalique, the company chose to focus its Salon exhibit entirely on Volt and Fétiche. The result was a compact but memorable display that demonstrated how one of France's oldest perfume houses continued to embrace modernity while drawing upon nearly two centuries of perfumery tradition.
Rigaud:
Among the exhibitors at the 1927 Salon de la Parfumerie was the venerable house of Rigaud, a firm whose history stretched back to 1854 and whose reputation had been firmly established through participation in many of the great international exhibitions of the nineteenth century. The company accumulated an impressive collection of awards, receiving gold medals at the Paris Expositions of 1878, 1889, and 1900. These honors reflected Rigaud's longstanding commitment to quality and innovation, qualities that helped the house remain competitive well into the Art Deco era. By 1927, Rigaud was regarded as one of the established names in French perfumery and was known for producing fragrances presented in particularly luxurious and artistic packaging.
The centerpiece of the Rigaud exhibit was almost certainly Un Air Embaumé, the house's most famous and enduring fragrance. Classified as a floral woody oriental perfume, it combined floral notes with a rich woody-amber chypre foundation that gave the composition both warmth and sophistication. The fragrance was created by Marius Reboul of Givaudan, who built the perfume around a proprietary Givaudan base known as Sophora. This accord incorporated vetiver acetate, coumarin, and bergamot, providing the fragrance with its distinctive character and helping to establish it as one of the most successful perfumes of its era.
The bottle created for Un Air Embaumé was every bit as remarkable as the fragrance it contained. Fashioned from a combination of clear and frosted glass, the flacon featured molded figures of nude women rising through swirling clouds of smoke emanating from perfume burners. The design was further enhanced with an applied sienna-colored patina that emphasized the sculptural details and added depth to the composition. The resulting bottle was both dramatic and elegant, making it one of the most recognizable perfume presentations of the period. Although contemporary advertising attributed the design to René Lalique, no evidence of its production appears in the surviving Lalique archives or literature. Research instead indicates that the bottle was manufactured in France's famed Bresle Valley by the Darras Glassworks, one of the region's important producers of perfume bottles.
Rigaud also distinguished itself through its imaginative naming of fragrances. The company was among the first perfumers to embrace exotic Oriental-inspired names, reflecting the fascination with distant lands that characterized late nineteenth- and early twentieth-century perfumery. Fragrances such as Melati de Chine, Kanaga-Osaka, and Pagoda Flowers evoked visions of Asia and contributed to the growing popularity of Oriental-themed perfumes. These names helped create a sense of mystery and adventure that appealed strongly to consumers seeking fragrances that transported them beyond the ordinary.
The world of the theatre provided another important source of inspiration for Rigaud. Many famous Parisian actresses and opera stars were among the company's clientele, and the house honored them through perfumes bearing theatrical names. Fragrances such as Actrices, Prince Igor, Mary Garden, Marthe Chenal, and Geraldine Farrar celebrated the glamour of the stage and the celebrity culture that surrounded performers during the Belle Époque and the early twentieth century. Such perfumes allowed customers to associate themselves with some of the most admired figures of the era.
Among the newest fragrances likely displayed at the Palais de Glace was Vers la Joie, introduced in 1927. This elegant floral chypre combined bergamot, rose, lily of the valley, jasmine, sandalwood, oakmoss, musk, and amber into a sophisticated and modern composition. As a newly launched perfume, it would have been a natural candidate for prominent placement within the Rigaud exhibit, demonstrating that the company continued to innovate while remaining faithful to the refined style that had made it famous.
Visitors strolling through the Rigaud stand would have encountered a house that successfully balanced tradition and modernity. Award-winning fragrances, sculptural bottles, exotic inspirations, and theatrical associations combined to create an exhibit rich in both history and imagination. Although the company's perfume division eventually disappeared, the Rigaud name survives today through its celebrated line of luxury scented candles. Yet in 1927, beneath the glass dome of the Palais de Glace, Rigaud remained one of France's most respected perfume houses, proudly displaying the fragrances and artistic presentations that had earned it acclaim for more than seventy years.
Roger et Gallet:
Roger et Gallet's corner stand was decorated with designs of orange trees, a fitting tribute to the house's famous Eau de Cologne Jean Marie Farina. A special section devoted to this historic fragrance displayed a series of antique advertisements dating back a century, emphasizing the firm's long heritage and its role in preserving one of perfumery's most enduring traditions.
Beyond its celebrated cologne, Roger et Gallet may have showcased some of its luxury fragrances, including Pavots d'Argent, Tentation, Rose Rouge, Fleurs d'Amour, Triomphe, Flausa, Narkiss, Cigalia, and Le Jade. These perfumes were presented in the elegant flacons and artistic packaging for which the company was renowned.
Possibly, one of the highlights was Le Jade, an oriental-chypre fragrance housed in one of the firm's most celebrated bottles. Designed by René Lalique, the opaque jade-green flacon was modeled after a Chinese snuff bottle and decorated with tropical birds in relief, reflecting the era's fascination with exotic Eastern motifs. Roger et Gallet had previously exhibited oversized crackled-glass display bottles of Le Jade at major expositions, and similar presentation pieces may have appeared at the Salon as dramatic focal points.
Another likely centerpiece was Pavots d'Argent ("Silver Poppies"), a newer fragrance also presented in a Lalique-designed bottle. Marketed as "the fragrance of your sweetest dreams," it combined modern Art Deco styling with the artistic presentation that had become a hallmark of the house.
The Roger et Gallet exhibit successfully balanced history and innovation. While the Jean Marie Farina display celebrated more than a century of perfumery tradition, fragrances such as Le Jade and Pavots d'Argent demonstrated the company's continued commitment to modern design, luxury presentation, and artistic excellence.
Rosine:
One of the most fashionable exhibits at the 1927 Salon de la Parfumerie belonged to Rosine, the perfume house created by the celebrated couturier Paul Poiret. Long before other couturiers embraced perfumery as an extension of fashion, Poiret recognized that fragrance could complete the artistic vision of his creations. The Rosine perfumes were conceived as an integral part of the Poiret aesthetic, embodying the same sense of color, fantasy, exoticism, and theatrical elegance that characterized his couture designs. Two years earlier, Rosine had participated in the landmark 1925 Art Deco Exposition, where the house attracted considerable attention with its distinctive fragrances and artistic presentations.
Among the perfumes exhibited in 1925 was Coeur en Folie, a fragrance introduced specifically for the exposition. Visitors to the Rosine stand in 1927 would likely have encountered this perfume once again alongside other established favorites such as Nuit de Chine, Tout la Forêt, D'où viens-tu?, Hahna, Arlequinade, and the aptly named 1925. Together these fragrances reflected Poiret's fascination with fantasy, distant lands, and artistic expression. Their names alone evoked mysterious journeys, woodland landscapes, theatrical characters, and modern sophistication, all themes that resonated strongly with the fashionable clientele of the late 1920s.
Additional fragrances likely displayed included Maharadjah, Borgia, Le Fruit Défendu, and Coup de Foudre, all of which had become associated with the Rosine line. These perfumes embodied the luxurious and often exotic character that distinguished Poiret's creations from those of more traditional perfumers. Rich orientals, romantic florals, and imaginative compositions would have filled the display cases, inviting visitors to explore the fragrant world that Poiret had carefully constructed around his fashion empire.
It is also tempting to imagine that Spirit of St. Louis made its public debut at the Palais de Glace exhibition. Introduced in 1927, the fragrance was inspired by one of the year's most celebrated events: Charles Lindbergh's historic solo nonstop flight from New York to Paris aboard the Spirit of St. Louis. Lindbergh's achievement captivated the world and transformed him into an international hero overnight. Rosine's tribute perfume was described as "a blend of many flowers, exquisitely sweet," capturing both the romance and optimism associated with the dawn of modern aviation. Its presence at the exhibition would have reflected the perfume industry's ability to respond quickly to contemporary events and translate them into luxurious products.
One fragrance that would have served as a particularly fitting representative of France was Connais-tu le Pays? Inspired by the famous aria from Mignon, the perfume commemorated the sixtieth anniversary of the opera. Its title derives from the opening line of the song: "Do you know the country where the orange flowers bloom?" Poiret transformed this poetic image into a fragrance centered around sweet orange blossom. The presentation was among the most charming of the Rosine line. The perfume was housed in a round frosted glass bottle shaped like an orange, complete with a gilded leaf serving as the stopper. The accompanying box was decorated in shades of pink, yellow-orange, pale green, and forest green, with red lettering providing a vivid accent. Few perfume presentations better captured the cheerful, artistic spirit of Rosine.
The beauty of Rosine's bottles was no accident. Production was entrusted to notable manufacturers such as Depinoix and Lefebure, while others were created through Poiret's own artistic enterprises, Atelier Colin and Atelier Martine. Many of the house's cologne bottles were individually hand-painted at Atelier Martine, adding a unique decorative quality to each piece. The workshop itself reflected Poiret's progressive approach to business. Employees worked from eight in the morning until seven in the evening and were provided with a daily luncheon accompanied by wine, an unusually generous arrangement for the period.
The Rosine stand would have been a feast of color, artistry, and imagination. More than simply a display of perfumes, it represented an extension of Paul Poiret's creative universe, where fashion, fragrance, decorative arts, and storytelling merged into a single luxurious experience. Visitors wandering through the Palais de Glace would have found themselves transported into a world of exotic dreams, theatrical romance, and modern elegance—precisely the qualities that made Rosine one of the most distinctive perfume houses of the Art Deco era.
Les Parfums de Vigny:
Walking further into the exhibition, visitors would have encountered one of the most entertaining and imaginative displays in the entire Salon de la Parfumerie: the booth of Les Parfums de Vigny. Unlike many houses that emphasized classical elegance or aristocratic luxury, Vigny embraced whimsy, novelty, and theatrical presentation. Its perfumes were housed in some of the most unusual bottles of the Art Deco era, transforming fragrance into a form of decorative art. Among the creations likely displayed at the Palais de Glace were Golliwogg, Le Chick Chick, Be Lucky, and Guili Guili, all of which were as memorable for their containers as for the perfumes they held. To achieve these extraordinary presentations, Vigny collaborated with both Baccarat and René Lalique, two of the most prestigious names in French decorative arts.
Vigny had already enjoyed considerable success at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, where its exhibit earned a Gold Medal. A surviving photograph of that display provides a fascinating glimpse into how the company arranged its perfumes. A tall five-tiered shelving unit formed the centerpiece of the booth, each shelf devoted to a different group of fragrances. Given the success of the presentation, it seems entirely possible that a similar arrangement was recreated for the 1927 Salon de la Parfumerie.
The uppermost shelf was reserved for Vigny's most luxurious perfumes. Here visitors could admire D'Où Vient-Il?, housed in a remarkable Lalique bottle molded with butterfly motifs and topped with a sculptural double-butterfly stopper. Nearby stood another Lalique masterpiece, the bottle for L'Ambre de Vigny, which was also employed for Le Lilas de Vigny. Completing the shelf was Le Bosquet de Vigny, presented in a distinctive clear-glass bottle with an arched profile and jade-green enamel decoration arranged in a crisscross pattern. A squat conical stopper crowned the bottle, while both the flacon and its presentation box were decorated to resemble woven wicker. Alongside these stood Musky, a floral-woody fragrance housed in a beautifully ribbed Lalique bottle whose elegant simplicity contrasted with the more elaborate designs surrounding it.
The center shelf featured the complete line of Le Chick Chick, one of Vigny's most charming novelty perfumes. Originally conceived as an Easter-themed fragrance, it was presented in a whimsical Baccarat crystal bottle. The body of the chick was formed by gilded crystal wings, while an oversized gilt cap represented the bird's head. The playful design perfectly embodied the lighthearted spirit that distinguished Vigny from many of its competitors and would undoubtedly have attracted the attention of visitors passing through the exhibition.
The third shelf was devoted to perhaps Vigny's most famous perfume, Golliwogg. The fragrance was contained within a distinctive bottle whose stopper represented Golli's face, rendered in black glass and topped with genuine silky seal fur to represent hair. Few perfume bottles of the period were as instantly recognizable, and the display of multiple examples would have created a memorable visual focal point within the booth.
The fourth shelf showcased fragrances aimed at a more sophisticated audience. Among them was Jamerose, an oriental composition enriched with jasmine and rose essences, housed in a handsome Lalique flacon. Sharing the shelf was L'Infidèle, contained within a tall Baccarat crystal column decorated with fluted vertical lines highlighted in gold enamel. The elegant stopper, molded with floral motifs, added a final decorative flourish to one of the most refined bottles in the Vigny collection.
Occupying the fifth shelf was La Fleur Céleste, appropriately subtitled "The Flower of Heaven." For this perfume, Vigny commissioned Baccarat to create a large crystal bottle topped with a gilded floral stopper shaped like a blossom in full bloom. The presentation was further enhanced by a box designed to imitate Chinese lacquer, combining French craftsmanship with the Oriental influences so popular during the period. The result was a perfume presentation of remarkable elegance and luxury.
Near the bottom of the display one could likely find Guili Guili, one of the most unusual perfumes ever marketed. Its bottle featured a carved mahogany head and foot, with the head carved to resemble an exotic African mask concealing the inner stopper, while the foot provided a stable base for the paneled crystal body. The perfume drew inspiration from a real-life magician and illusionist from Alexandria, Egypt, known as Guili-Guili. Often confused with the more famous performer Luxor Gali-Gali, Guili-Guili cultivated a theatrical persona, claiming to be 25,000 years old and appearing in elaborate Egyptian costume. His performances featured disappearing eggs and chicks, culminating in the dramatic production of a string of flags from his mouth. Vigny transformed this colorful entertainer into a perfume presentation that perfectly captured the public's fascination with exotic spectacle and mystery.
Taken as a whole, the Vigny exhibit would have been one of the most captivating displays at the Palais de Glace. Combining Lalique artistry, Baccarat craftsmanship, novelty themes, theatrical personalities, and imaginative storytelling, it represented the playful side of Art Deco perfumery. Visitors wandering through the exhibition may have paused at many elegant displays, but few would have forgotten the whimsical parade of chicks, butterflies, masks, flowers, and fantastical characters that made up the enchanting world of Vigny.
Ybry:
Among the most luxurious and exclusive exhibitors at the 1927 Salon de la Parfumerie was Ybry, a house that boldly advertised its creations as "the most expensive perfumes in the world." Founded in 1925 by Simon A. Jaroslawski-Fioret, the company quickly established a reputation for extraordinary presentation, exceptional craftsmanship, and unapologetic luxury. Jaroslawski was no stranger to the perfume trade, having also founded the related perfume houses Fioret and Mÿon, both of which shared a similar emphasis on artistic bottle design and exclusivity. Although Ybry's existence was relatively brief, ending in liquidation in 1932, its magnificent perfume presentations secured its place among the most memorable perfume houses of the Art Deco era.
Visitors approaching the Ybry stand at the Palais de Glace would likely have been greeted by an astonishing display of jewel-like perfume bottles glowing beneath the exhibition lights. The centerpiece of the exhibit would almost certainly have been the famous "Deluxe Jewels" bottles manufactured by Baccarat. These remarkable flacons took the form of flattened square bottles crafted from layers of colored crystal over white crystal, creating an opaque yet luminous effect unlike anything else on the market. The resulting glass possessed a rich, glowing quality that resembled carved gemstones more than ordinary perfume bottles. This distinctive crystal technique was also employed for the short-lived Mÿon perfumes, making the two houses visually related.
The bottles were produced in a dazzling range of colors, each corresponding to a particular fragrance and precious gemstone. Green bottles represented Femme de Paris, while Désir du Coeur appeared in both red and pink. Devinez was associated with orange crystal, Mon Âme with shades of purple, and Amour Sauvage with dramatic jet black glass. Arranged together within the Ybry exhibit, the collection would have resembled a cabinet of precious jewels, with each bottle glowing in its own distinctive hue.
Further enhancing their luxury were the matching enameled and gilded metal overcaps that covered the inner stoppers. Rather than sitting directly atop the bottle, these decorative covers were mounted diagonally across one corner, creating a highly distinctive silhouette. The bottles were also adorned with crystal medallions designed by René Lalique, typically executed as delicate hearts or triangular pendants suspended from the necks of the flacons. These Lalique ornaments added another layer of artistry and transformed the bottles into objects that blurred the boundary between perfume presentation and fine jewelry.
The elaborate presentation cases were equally impressive. Known by the company as "Deluxe Jewel Cases," they were covered in fine leather and frequently featured contrasting triangular inlays corresponding to the color of the bottle contained within. Luxurious silk tassels completed the effect, creating packaging that rivaled the finest jewelry boxes of the period. Customers purchasing the deluxe versions received not merely a perfume, but an entire luxury ensemble intended to be treasured long after the fragrance itself had been used.
The extraordinary prices charged by Ybry reinforced its image of exclusivity. A 1928 advertisement for Femme de Paris listed the Debutante Flacon at $8.50, with larger sizes available for $16.50, $30.00, $50.00, and even an astonishing $400.00. Adjusted to modern values, these prices would correspond to approximately $165, $320, $581, $969, and an extraordinary $7,749 respectively. Such figures placed Ybry firmly in the realm of ultra-luxury goods and suggest that the company's claim of producing "the most expensive perfumes in the world" may not have been mere advertising hyperbole after all.
Given their dramatic appearance and extraordinary prestige, it seems almost certain that these spectacular Baccarat creations occupied a place of honor at the Palais de Glace exhibition. Under the electric lights of the Salon, the jewel-toned bottles, glittering Lalique pendants, leather cases, and silk tassels would have created one of the most dazzling displays in the entire exhibition. While many exhibitors sought to impress visitors with floral arrangements, artistic booths, or historical prestige, Ybry relied on sheer luxury. The effect must have been unforgettable—a showcase not merely of perfume, but of opulence elevated to an art form.
Institut de Beauté
The Institut de Beauté adopted a more understated but highly artistic approach to its exhibit. Rather than relying on elaborate scenery or dramatic lighting effects, the Place Vendôme beauty institute used several antique pharmacy jars (pots à pharmacie) as decorative elements within its display. Contemporary observers noted how effectively these historic vessels highlighted the artistic beauty of objects once created for purely practical purposes.
The use of antique drug jars was particularly appropriate for a beauty establishment, subtly linking modern cosmetic treatments with the long traditions of pharmacy, perfumery, and personal care. Their presence lent the stand an air of refinement and authenticity while demonstrating how historic decorative arts could be incorporated into a modern commercial setting. Though modest in scale compared with some of the larger exhibits, the Institut de Beauté display reflected the sophisticated taste and artistic sensibility that characterized many of the Salon's participants.
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| (image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir) |
Neige des Cévennes
The exhibit of Neige des Cévennes was appropriately staged against a picturesque mountain backdrop, a visual reference to the Cévennes region from which the brand derived its name and identity. The scenic setting distinguished the stand from many of the more elaborate Art Deco displays and emphasized themes of purity, freshness, and natural beauty.
Displayed within this mountain-themed environment were the company's creams, powders, and perfumes, presented as part of a complete beauty range. By exhibiting cosmetics alongside fragrance, Neige des Cévennes reflected the growing trend of the 1920s toward coordinated beauty products designed to appeal to the modern woman. The stand's naturalistic décor provided an attractive contrast to the more theatrical exhibits elsewhere in the Salon, creating an atmosphere that suggested wholesome elegance and refined simplicity.
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| (image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir) |
Molinard:
Molinard Jeune, known as Le Parfumeur Provençal, brought a distinctly regional character to the Salon de la Parfumerie. The stand was furnished with the Provençal furniture that had become a specialty of the firm's Grasse showrooms, creating an atmosphere that reflected the house's deep connection to the perfume capital of France. Amid this rustic yet elegant setting, visitors encountered displays that combined traditional Provençal charm with innovative perfume presentations.
Particular attention was drawn to Xmas Bells, displayed in distinctive black glass bottles shaped like bells. Their unusual form made them stand out among the many conventional flacons exhibited throughout the Salon and demonstrated Molinard's flair for imaginative packaging. Equally intriguing were the firm's Concréta perfumes, presented in tiny metal receptacles scarcely larger than pillboxes. These concentrated solid perfumes offered a practical and elegant alternative to liquid fragrances and reflected the company's willingness to experiment with new forms of perfume presentation.
Founded in 1849, Molinard was one of Grasse's most respected perfume houses and had built a reputation for combining traditional craftsmanship with modern marketing. Its exhibit at the Palais de Glace highlighted both aspects of the firm's identity, showcasing innovative products while emphasizing its Provençal heritage and longstanding ties to the flower-growing region that supplied many of France's finest perfume materials.
Collector's Note: If you fell in love with some of these exquisite perfume bottles, you may be delighted to know that some of them have shown up at the annual Perfume Bottles Auction, portion of sales benefitting the International Perfume Bottle Association, click here for information on buying or consigning your own bottles.
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