Amou Daria by Revillon (1935)

Amou Daria by Revillon was launched in 1935, during a period when storytelling in perfumery was as important as the scent itself. The name Amou Daria was evocative and mysterious, drawing inspiration from a faraway land tied to Revillon's heritage. Revillon, best known as one of the most prestigious furriers in Paris, had long traded in luxurious pelts from Central Asia. Naming a perfume after the Amu Darya—a great river that flows through modern-day Central Asia, including parts of Uzbekistan, Turkmenistan, and Tajikistan—was both poetic and strategic. This region was historically associated with the Silk Road and exotic goods such as silk, spices, and, of course, furs. Though some contemporary sources mistakenly place the river in Tibet, the Amu Darya (sometimes spelled Amou-Daria in French transliteration) originates near the Pamir Mountains and flows westward toward the Aral Sea.

The name Amou Daria (pronounced roughly “Ah-moo Dah-ree-ah”) comes from a combination of Persian and Turkic origins: Amu is an old name for the Oxus River (its ancient Greek name), and Darya means “sea” or “large river” in Persian. Together, they describe a vast, flowing waterway, conjuring images of remote landscapes, nomadic life, and cool mountain air perfumed with wildflowers. For French consumers in the 1930s, the name would have evoked an intoxicating blend of the exotic and the romantic.

The original marketing legend of the perfume adds a lush layer of storytelling. In this fable, a centuries-old emir—returning from a day of hunting—rests by a stream in the shadow of the Hindu Kush mountains. As twilight falls, he is enveloped by the scent of blossoms said to have descended from paradise. Within a shaded grove, he discovers a yurt sheltering a sleeping maiden resting on sweet grasses. A vial of lapis lazuli perfume lies beside her. Upon waking, she offers the fragrance to him with a blessing. The story ends with the note that the recipe for this mystical scent, long passed down by fur traders, was finally recreated by a French chemist. This enchanting narrative bridges the mystical East and the refinement of French perfumery—ideal branding for a company like Revillon.

The emotional and visual landscape evoked by the name Amou Daria is one of serenity, distance, and rare beauty: snow-fed rivers winding through alpine meadows, yurts nestled in valleys, and perfumed winds sweeping through mountain passes. The name speaks of remoteness and purity, of something both timeless and untouched—ideal qualities for a perfume aimed at cosmopolitan women of taste. It evokes freshness, coolness, and a light yet wistful beauty, in contrast to the warmer, denser orientalist perfumes of the earlier 1920s.

Launched in the mid-1930s, Amou Daria arrived at a fascinating cultural crossroads. The Art Deco period was giving way to more streamlined modernism, but glamour was still prized. In fashion, Parisian women were embracing bias-cut gowns, furs, and elegantly tailored suits. The Great Depression had cast a shadow over luxury, but prestige goods like perfume remained a symbol of resilience and sophistication. In perfumery, aldehydic florals remained popular thanks to the influence of Chanel No. 5 (1921), but there was also a growing trend toward fresher, greener compositions as a counterpoint to heavier orientals.

Classified as a “cool floral,” Amou Daria set itself apart with its dominant lilac heart and crisp alpine character. Its top notes included lavender, galbanum, aldehydes, bergamot, and hyacinth—suggesting a brisk, green opening. The heart featured lilac, Grasse jasmine, Bulgarian rose, violet, orris, and lily of the valley, while the base was grounded in oakmoss from France's Central Massif, Mysore sandalwood, Andean vetiver, and tonka bean. Described as a “youthful ‘blonde’ perfume,” and “a cool odeur with the charm of an English countryside,” it was positioned as a sophisticated yet innocent scent—ideal for refined women and suggested to be worn both on bare skin and with furs, a nod to Revillon’s legacy.

In the context of 1930s fragrance trends, Amou Daria stood somewhat apart. While other houses were still creating dramatic orientals or sweet aldehydic florals, Amou Daria offered something more restrained and pastoral. Its “cool” profile and reference to natural mountain florals like lilac and orris gave it a distinctly fresh personality. Rather than being overtly sensual, it spoke of quiet grace and femininity, which likely appealed to modern women seeking subtlety and naturalism in their perfumes.

There has been some confusion in perfume literature about whether Tornade, another fragrance by Revillon, was a rebranded version of Amou Daria. However, evidence suggests this is not the case. Period newspaper advertisements from the 1930s through the 1950s list both perfumes being sold simultaneously, which contradicts the idea of Tornade replacing Amou Daria. It’s more likely they were marketed side by side, each with its own identity—Tornade perhaps representing a bolder, more tempestuous scent, while Amou Daria retained its delicate, alpine charm.

In sum, Amou Daria was not merely a perfume, but an atmospheric composition—a bottle of storybook air from a distant world. For women of the 1930s, it offered both escape and elegance, capturing the imagination as much as the senses.

The Legend Behind Parfums Revillon:

Révillon Frères (Revillon Brothers) was a French fur and luxury goods company, founded in Paris almost 300 years ago in 1723. Then called la Maison Givelet, it was purchased by Louis-Victor Revillon in 1839 and soon, as Révillon Frères, became the largest fur company in France. Branches were opened in London in 1869 and in New York in 1878. At the end of the 19th century, Revillon had stores in Paris, London, New York, and Montreal.

From 1908-1909 Revillon Freres opened fur trading posts in Siberia, Mongolia and Turkestan. By 1912 Revillon Frères had 125 fur trading posts in America and Siberia. It was in Siberia that the famous deer musk was obtained and used in Revillon perfumes. All perfumes were prepared in their laboratories with rare species of flowers, plants and fragrant woods.

For nearly a century, women cherished by the men of the esteemed House of Revillon awaited with breathless anticipation the annual arrival of raw sable shipments from Tibet. These were not merely deliveries of luxurious fur, though the gossamer-soft, smoky brown pelts—often called "the fur of queens"—were treasure enough. Hidden deep within each bale of furs lay something even more coveted: a small, weathered flask, bound in hide, filled with a rare and mysterious perfume. This was no ordinary fragrance. It was the annual gift of a remote Tibetan tribe, a token of esteem presented exclusively to the Revillon family.

The perfume was a scent of legend—intoxicating, elusive, and enchantingly complex. It was said to affect men like fine wine, stirring their senses and capturing their hearts. So alluring was this fragrance that even women of royal blood, upon catching its trace, would plead for the privilege of possessing even a few drops. But the formula remained resolutely out of reach. Time and again, Revillon’s offers of gold, silk, and influence were graciously declined. The message was clear: this was no commodity, but a sacred inheritance—the scent of princesses was not for sale.

This perfumed enigma remained one of the East’s most closely guarded secrets until, several years before 1937, fate intervened. A young descendant of the Revillon family had entered the family firm and, as tradition demanded, was sent to the outermost corners of the company’s empire to serve a rigorous two-year apprenticeship. During his tenure in Tibet, destiny led him to save the life of a tribal chieftain’s son—a dramatic tale as glamorous as any silver screen romance. In gratitude, the tribe entrusted the young Revillon with what generations of his family had only dreamed of possessing: the coveted formula of the legendary Tibetan perfume.

This fragrance, once hidden among pelts and whispered about in elite circles, had finally been brought to the Western world. Blended with rare botanicals and said to be enriched with hormones from the glands of sables—adding a subtle, animalic sensuality—the scent was unlike anything the perfume industry had encountered. Revillon's perfumers carefully recreated the formula in Paris, preserving its original mystery while shaping it into refined compositions fit for modern luxury.

The result was a collection of four remarkable perfumes, each bottled in luminous crystal flacons and designed not to perfume clothing, but to scent the skin directly. These were Tornade, Latitude 50, Égoïste, and Amou Daria. Unlike traditional fragrances, which rested lightly on fabrics or faded throughout the day, Parfums Revillon were meant to bond with the wearer’s body chemistry. Applied to the skin, they unfolded uniquely for each woman—becoming not just a scent, but a personal aura. The fragrance became one with the wearer, until her very being seemed to exhale perfume like an exotic bloom.

These perfumes were not intended for the mass market. Their ingredients were rare, their production limited, and their price accordingly high. Their exclusivity was deliberate: Revillon announced that sales in the United States would be restricted to only fifty select stores. For those unable to secure a bottle locally, the firm offered to ship by airmail—postpaid. Yet even this option came with a caveat: prices could not be guaranteed beyond January 1, 1937, as the cost of production was tied directly to the unpredictable global supply of sable.

Revillon’s Fifth Avenue salon in New York served as the American home for these rare perfumes. It was here that women of means and taste could experience for themselves the storied scent once reserved for princesses in faraway lands. Parfums Revillon offered not just luxury, but legend—captured in crystal, worn on the skin, and remembered forever.

Fragrance Composition:

So what does it smell like? Amou Daria by Revillon is classified as a cool floral fragrance for women with a dominant note of lilac. Was said to be a "youthful 'blonde' perfume" and a "cool odeur with the charm of an English countryside" and " Alpine flowers and plants.". It was created to be worn on the skin but was also suggested to be worn with furs.

• Top notes: aldehydes, Calabrian bergamot, Italian petitgrain, Persian galbanum, cis-3-hexenol, Mediterranean sweet fennel, Russian angelica root, Australian eucalyptus, Siberian pine needle oil, Provencal lavender, Moroccan hyacinth
• Middle notes: cyclamen aldehyde, Alpine green narcissus absolute, Algerian jonquil, Dutch lily of the valley, hydroxycitronellal, Swiss lilac, heliotropin, Grasse jasmine absolute, Bulgarian rose absolute, Parma violet, Florentine orris, Canadian hawthorn 
• Base notes: Central Massif oakmoss, Mysore sandalwood, Andean vetiver, Venezuelan tonka bean, Maltese cistus labdanum, costus root, Colombian tolu balsam, Tuscan iris concrete, Tibetan musk, Siam benzoin, Sumatran styrax, Turkish storax, isoamyl salicylate

Marie-Claire, 1937:

"Amou-Daria de Revillon: Alpine flowers and plants. Created especially to be applied to the skin. Parfum for brunettes.""

L'Amour de l'art, 1950:

"This perfume takes its name from the river that flows through Central Asia, with its source in the majestic Hindu Kush mountains. According to legend, centuries ago, an emir paused by a stream at the end of a long day of hunting. As he rested, the valley around him released an intoxicating fragrance—said to rise from a place where all the flowers of paradise had gathered.

In the shade of a small grove, a yurt stood quietly. Inside lay a graceful young woman, resting on a bed of fragrant grasses. Beside her was a vial of lapis lazuli. The emir picked it up and inhaled its mysterious scent. Awakened, the young woman smiled and said, "Praise be to Allah—it is for you that I prepared this philtre. May it bring you happiness."

The secret of this fragrance, passed down for generations among traders of precious furs, has been revived by a French chemist. The result is a refined oriental perfume—like a breeze from the East, softened and purified by a long, poetic journey."

Scent Profile:

Amou Daria by Revillon unfolds on the skin like a breath of highland air—cool, crystalline, and softly floral, capturing both the aloof elegance of a youthful debutante and the quiet grandeur of an untouched alpine valley. From the very first moment, the composition reveals its complexity: an interplay of glacial freshness and delicate warmth, natural beauty and precise construction.

It opens in a shimmer of aldehydes, those airy, fizzy molecules that lift the composition like light through misted glass. These synthetic compounds lend a silvery, effervescent quality—clean, brisk, and sparkling, like sunlight refracted on snow. The aldehydic opening doesn’t simply announce the perfume; it diffuses it, turning each floral and green note into something bright and immaterial.

Following this luminous veil is the vibrant bitterness of Calabrian bergamot, cold-pressed from sun-ripened fruit grown along Italy’s Ionian coast. This particular bergamot is prized for its complexity: greener and more floral than its cousins, with a tea-like crispness and a slightly peppery undertone. Paired with Italian petitgrain, extracted from the twigs and leaves of the bitter orange tree, the opening acquires a green, woody-lemony sharpness that lends structure and elegance.

Then a ripple of Persian galbanum enters—resinous and intensely green, it smells like a snapped stem exuding sap. This galbanum is vivid and wild, retaining its raw, leafy bitterness. Natural galbanum is enhanced by cis-3-hexenol, a synthetic molecule that replicates the scent of crushed leaves or freshly mown grass. Together, they evoke a mountainside garden just brushed by spring rain—cool, green, and alive.

Threaded through this vegetal vibrance is the anisic sweetness of Mediterranean sweet fennel, delicate and herbal, providing a quiet clarity beneath the more assertive greens. Earthy and musky, Russian angelica root adds a dusty, rooty warmth that anchors the bright opening with something more primitive, almost antique.

A camphorous breeze rises next: Australian eucalyptus, brisk and nose-tingling, joins with crisp Siberian pine needle oil, lending the perfume a cooling, alpine sharpness that evokes high-altitude air and evergreen forests. This pairing adds lift and spine to the composition—an invigorating contrast to the creamy florals to come.

Provencal lavender appears not in its usual rustic form, but softened and elegant—a gentle whisper of herbaceousness that harmonizes with the more fragile facets of Moroccan hyacinth, whose cool, green-floral sweetness resembles the scent of early spring in bloom. This hyacinth is delicate and slightly watery, giving a serene, almost dewy quality to the top accord.

Then the heart begins to unfold, softening the bracing greens with an array of complex florals. At its core is Swiss lilac—the central theme—delicate, dusty, and creamy, evoking the scent of purple petals warmed by mountain sun. Though lilac cannot be extracted naturally, its effect is carefully constructed using hydroxycitronellal, which provides a sweet, soft-floral tone reminiscent of muguet and linden blossom. Heliotropin, a creamy-sweet molecule with nuances of cherry, almond, and vanilla, adds a faint powdery warmth, lending volume and roundness to the reconstructed lilac note.

Cyclamen aldehyde, another synthetic, contributes a watery, cool transparency—like the scent of flower petals crushed underfoot. It mimics the light floral freshness of cyclamen and reinforces the perfume’s ethereal coolness. This molecule blends seamlessly into Alpine green narcissus absolute, a bold floral note with bitter green and animalic undertones. This particular narcissus, harvested from high mountain fields, has a striking clarity—damp earth and white petals, heady yet restrained.

Algerian jonquil, intensely narcotic and rich, lends a narcissus-like weight to the heart, while Dutch lily of the valley (also reconstituted with hydroxycitronellal and related aroma chemicals) offers its sweet, aqueous purity. These are flower notes not of a garden, but of a wild, untamed landscape.

Then bloom the richer florals: Grasse jasmine absolute, creamy and narcotic with its distinct banana-leaf facets, and Bulgarian rose absolute, lush and velvety with honeyed undertones. Their natural sweetness anchors the cooler florals, while Parma violet—soft, powdery, and nostalgic—enhances the lilac’s vintage character. Florentine orris, one of the most precious ingredients in perfumery, lends its iconic buttery, woody-violet aroma; sourced from aged rhizomes of Iris pallida, it adds a refined texture and faintly suede-like smoothness.

Unexpectedly, the floral heart is made more natural with Canadian hawthorn, a thorny shrub whose tiny white blossoms give off a green, powdery, slightly almondy scent. It lends a countryside charm—hedgerows in bloom, the breath of wild air.

As the perfume dries down, it sinks into its luxurious base—a cool, mossy forest floor beneath the mountain bloom. Central Massif oakmoss, harvested from French forests, is earthy, mineral, and slightly salty, with the haunting shadow of damp wood and leather. It intertwines with Mysore sandalwood, prized for its mellow creaminess and warm, sacred, milky-wood aroma. Unlike the harsher Australian varieties, real Mysore sandalwood lends gravitas and depth to the drydown.

Andean vetiver, from high-altitude South America, contributes a crisp, green-woody smokiness—drier and more silvery than the earthy Haitian type. Its effect is cooling and serene, keeping the perfume light and airy, never dense.

From here, a soft sweetness begins to radiate. Venezuelan tonka bean, with its coumarin-rich scent of warm hay and almond, softens the moss and woods. Maltese cistus labdanum, rich and leathery, adds a glowing resinous undertone, intensified by the dusky, slightly dirty animalic whisper of costus root. Colombian tolu balsam enriches this with its sweet, spicy, cinnamic richness—suggestive of polished wood and amber.

Rare Tuscan iris concrete, heavier and more buttery than the earlier Florentine orris, fuses beautifully with the moss, lending a cold powdery elegance. A note of Tibetan musk (likely synthetic or symbolic, given ethical sourcing restrictions) adds a skin-like sensuality, a subtle trace of warmth and intimacy.

Completing the base are three exquisite resins: Siam benzoin, with its silky, vanilla-balsamic warmth; Sumatran styrax, smokier and more intense, evoking antique wood and incense; and Turkish storax, a rarer, balsamic note with a touch of medicinal bitterness. Finally, isoamyl salicylate, a synthetic with a sweet, woody-floral character and a faint banana facet, subtly harmonizes these darker notes, binding them to the lingering floral accord.

Amou Daria is not a floral perfume in the conventional sense—it is a landscape, a temperature, a feeling. It smells like early spring in the highlands: a breeze from the snow line, flowers just beginning to awaken, cool wind stirring through fir trees. The aldehydes and synthetics enhance the natural materials, not by replacing them but by extending their reach, lending radiance, and creating seamless transitions between crisp air, soft petal, and warm skin. A perfume designed to be worn on the body, or layered with furs, it’s a fragrance of intimacy and atmosphere—a cool floral for a woman of elegance, strength, and quiet mystery.

Bottles:

In 1936 Amou Daria was available in the following:

Amou Daria Extrait:

• 1/2 oz
• 1 oz
• 2 oz

Amou Daria Fluide was described as "a super eau de toilette, but more than a toilet water, just less than a perfume, in stunning square carved crystal containers" and originally retailed from $8.50 to $19 in 1936. Amou Daria Fluide (a type of eau de parfum): 

• 7 oz
• 14 oz
• 28 oz

Twin Set:

This set of interlocking glass bottles is extremely hard to find. The 1936 ad below states the presentation includes bottles of Tornade & Amou Daria.

Esquire, 1937:

"Like the other Parfums Revillon, Égoïste is invincible when it is applied directly to the person in your city, we will supply ... New York. PRICES BY THE OUNCE, TORNADE, $12.50, AMOU DARIA, $12.50, LATITUDE 50, $14.00; EGOISTE.."

Tank Bottles:

Launched in 1935, Amou Daria by Revillon was presented in a striking Art Deco-style flacon made of clear, heavy crystal. The bottle, often referred to as a “tank” flacon due to its solid and blocky silhouette, features a cubical shape with a clean, modern profile. Its most distinguishing feature is the decorative motif of three horizontal godrons—rounded edge steps or fluted bands—which give the bottle a sense of depth and architectural elegance, perfectly reflecting the design trends of the 1930s.

The flacon is etched with the name of the perfume (titré) and the Revillon logo (ciglé), and is sealed with a faceted stopper that complements the angularity of the design. The bottle still bears its original gold labels, adding a touch of understated luxury. It was designed by Georges des Lauriers, a pseudonym used by Georges Chevalier (1894–1987), a celebrated French designer known for his work with Baccarat and his significant contributions to perfume bottle design in the interwar period.

The largest presentation contains 200 ml of perfume and the bottle stands 14 cm tall (approximately 5.5 inches). The smaller bottles look as if a tank bottle was sliced in half.

The same flacon design was used for several Revillon perfumes and was available in multiple sizes, including ½ oz, 6 oz (with a height of approximately 4.25 inches), 5 inches, and 5.5 inches. Its solid weight and bold design made it not only a vessel for fragrance but also a display piece—evoking modern luxury and the refined craftsmanship for which Revillon was known.

 Esquire - Volume 7, 1937:

"For almost a century, women loved by the men of Revillon awaited breathlessly for the annual shipment of raw sables from Tibet. It was not only for the gossamer-soft brown fur of queens they waited. It was for a small, hide-bound flask of perfume that was always found hidden away in the heart of each bale of sable skins. The annual gift of a Tibetan tribe to the house of Revillon, this flask contained a rare and enchanted perfume that went to the heads of men like wine; a scent so subtle, so alluring, that women of royal blood coaxed for even a few drops of the of the precious fragrance. 

Time and again, the Revillons tried to acquire the formula, but each offer was met with polite refusal. The scent of princesses was not for sale. And so, this strange and fascinating redolence remained one of the mysteries of the east until several years ago, a young Revillon entered the firm of his fathers.  

Like every Revillon who goes into this business, he was forced to serve his two-year apprenticeship in the far-flung outposts of the company. How, during his visit to Tibet, he saved the life of a chieftain's son is another story, glamorous as any tale of the cinema.  But it is your good fortune that his reward for this service was the gift of the formula for making the Tibetan perfume which his family had sought for a century. 

Hormones from the glands of sable lend subtle charm to these perfumes for the skin. 

Now imprisoned in lovely flacons of flashing crystal are four perfumes that bear the stamp of Revillon. Tornade, Latitude 50, Egoiste, Amou Daria. Unlike ordinary perfumes, these Parfums Revillon are not applied to the outer garments but are placed directly on the person. When they are correctly used, as they are now in Paris, they are interpreted differently by every woman who wears them.

Then they become not merely a scent to be put on and off with every gown, but an enchantment of the very being of the individual, until the body itself gives off its own glorious perfume like an exotic flower.   

Today, these perfumes may be yours if you can afford them. Frankly their cost is high because their ingredients are extremely rare and costly. Since our supply is limited we in turn are forced to limit their sale to fifty stores in the entire united States. 

If you are unable to purchase Parfums Revillon for the skin we will undertake to supply you by air mail, postpaid. We cannot guarantee prices after January  1, 1937, since our costs are dependent upon the world catch of sables. Parfums Revillon 684 Fifth Avenue, new York, NY. 

If you want to be thought extremely generous by some very attractive lady, we suggest you send her the 5 ounce bottle of Tornade for $60. 

Prices by the ounce: Amou Daria, $12.50; Tornade, $12.50; Latitude 50, $14.50; Egoiste (in 3 ounce bottles only), $30."

 The New Yorker, 1938:

"Revillon: Carnet de Bal, new, luxurious, feminine. Amou Daria in vast, square crystal bottles ; it’s a blended, concentrated toilet water, mostly lilac, apparently; $8.50. The bath oil, brisk and verbena-ish, can also be used as a friction rub; $19.50 (Revillon and Bonwit Teller)."

During the Second World War, Revillon, like many other French perfume houses, faced enormous disruptions to its operations. Though known globally for both its fine furs and exquisitely crafted perfumes, Revillon's ability to produce and export fragrances came to a standstill for several years. From 1939 through the mid-1940s, wartime realities forced even the most luxurious and well-established houses into a state of dormancy—particularly where perfume was concerned.

The war brought a near-total halt to perfume production due to a combination of practical and geopolitical constraints. France was occupied by Germany from 1940 to 1944, and during this time, strict wartime rationing, embargoes, and blockades made it nearly impossible to obtain the raw materials necessary for fragrance creation. Essential ingredients—like jasmine from Grasse, Mysore sandalwood, tonka bean from Venezuela, orris from Tuscany, and even alcohol used as a base—were either impossible to source or diverted to support the war effort. Shipping lanes were heavily restricted; transatlantic trade was suspended, and many shipping routes were considered too dangerous due to the threat of German U-boats patrolling the Atlantic.

Even beyond raw materials, the war affected all elements of perfume production. Artisanal flacon manufacturers could no longer produce bottles at scale, as glassworks were repurposed for military needs or left without labor. Labels, boxes, sealing wax, atomizers, and decorative finishes were considered nonessential and thus deprioritized. For a house like Revillon—which prided itself not only on scent but on refined, luxury presentation—this meant perfumes simply could not be made to the house’s standards, if at all.

The blockade and destruction of France’s infrastructure also cut off exports to international markets, most notably to the United States. American consumers, who had previously enjoyed Revillon’s perfumes like Amou Daria, Tornade, and Latitude 50, found their favorite fragrances suddenly unavailable. The U.S. imposed its own wartime trade restrictions, and the collapse of the luxury import market further isolated French perfume houses from their most lucrative overseas clientele.

It was not until 1947, two years after the war’s end, that Revillon perfumes began to reappear in American stores. A New Yorker magazine advertisement from that year announced with fanfare:

“Made, bottled, sealed entirely in France. Revillon perfumes are again being imported into the United States in limited quantities.”

The perfumes listed—Carnet de Bal, Latitude 50, Tornade, and Amou Daria—represented a return to pre-war luxury and the resumption of Parisian elegance. The ad’s emphasis on “luxury imports” and the careful wording “in limited quantities” suggests that even two years after the war, access to ingredients, bottles, and production facilities was still in recovery.

This reentry into the U.S. market marked more than just a return of scent—it symbolized the revival of France's identity as the world’s perfume capital, and the enduring desire, even in the shadow of hardship, for artistry, beauty, and refinement. For American women who had once worn Amou Daria with furs during the 1930s, its postwar return would have evoked a bittersweet nostalgia—luxury restored, if only in brief, precious quantities.

Cue, 1949:

"Back with us in quantity is Carnet de Bal, along with those other wonderful Revillon fragrances — Tornade, Latitude 50, Amou Daria and Eau Marveilleuse. Revillon perfumes are made, bottled and sealed in France, which should make the perfectionists even happier."

Wing Bottles:

The striking perfume bottles below —which I have nicknamed the "wing bottles"—were used by Revillon for a range of their fragrances between the 1930s and 1950s. These elegant Art Deco flacons are distinguished by their wing-like silhouette, created by the graceful, flared shoulders of the glass that curve outward, giving the impression of delicate wings poised for flight. This unique form lends the bottle an ethereal, almost sculptural quality that makes it stand out among more traditional perfume presentations of the era.

Topped with either heavily silvered or gilded glass stoppers, these closures reflect light with a luxurious shimmer, enhancing the bottle’s jewel-like presence. In some versions, the stoppers are left clear, offering a subtler aesthetic that still complements the refined lines of the glasswork. Each bottle bears a silver foil label with the inscription: "Amou Daria Revillon Paris France", clearly marking its origin and fragrance identity. On the underside, the base is acid-etched with “Revillon Paris Made in France,” a detail that helps authenticate the bottle and links it firmly to the house’s Parisian heritage.

Though some collectors and sellers have speculated that these bottles were made by Baccarat, there is no documentation or photographic evidence of them in the definitive reference book Baccarat: Les Flacons à Parfum. This absence suggests they were not part of Baccarat's officially catalogued output and were likely produced by another high-quality French glassmaker on behalf of Revillon.

These winged flacons were used across several of Revillon’s perfume offerings, including Amou Daria, Tornade, Egoiste and Latitude 50 during a time when the brand was known not only for its fine fragrances but also for the elegant presentation of its products. They were produced in at least five known sizes: 2.25", 2.5", 3", 3.25", and 4.25" tall, with some bottles containing up to 1.75 oz of perfume. Their varying dimensions, combined with their elaborately finished or minimalist stoppers, suggest they were used both for gift sets and full-sized retail presentations. Today, these bottles are highly collectible—not just for their rarity, but for the grace and imagination of their design.

• 2.25" tall
• 2.5" tall
• 3.25" tall 
• 3" tall.
• 4.25" tall
• 1.75 oz

Column Bottle:

The tall, column shaped bottle measures 2.5 long x 1.75" wide x 4.75" tall. The top of the stopper is molded with an intaglio of the Revillon logo. The base of the bottle is acid etched with "Revillon Paris - Made in France."

Fate of the Fragrance:

Amou Daria by Revillon was launched in 1935, during a time when French perfumery was experiencing a golden age of creativity, refinement, and olfactory storytelling. The fragrance, marketed as a “cool floral” with a distinctive lilac heart, was designed to appeal to sophisticated women who appreciated quiet elegance and an air of youthful freshness. Worn close to the skin—often beneath fur—it was part of a small but distinctive collection of perfumes offered by Revillon, a house more commonly known at the time for its luxurious furs.

Despite its early success and elegant composition, Amou Daria was ultimately discontinued, though the exact year of its withdrawal from production remains unknown. However, evidence suggests that it was still available well into the 1950s. Newspaper advertisements and department store circulars from the early 1950s show that Amou Daria was still being sold in 1953, though by that point, it was offered at heavily reduced prices. This marked a significant shift in the perfume's position: what had once been a premium, prestige fragrance—marketed as rare, exclusive, and often associated with elite fur salons—was now being liquidated through clearance sales and discounted outlets.

Such slashing of prices typically signals that a perfume has entered its final stage in the market. Retailers were likely selling off leftover inventory, possibly old stock that had remained unsold after postwar changes in taste, production capabilities, or company priorities. The dramatic price drop also hints at a possible decline in demand; perhaps the cool floral profile of Amou Daria, once considered fresh and youthful, had grown out of step with the bold, aldehydic florals and rich orientals that dominated the postwar perfume landscape.

Ultimately, Amou Daria faded from the mainstream, quietly leaving behind little more than traces in newspaper listings and the memories of those who once wore it. Today, it survives primarily in archival references and rare vintage bottles—silent reminders of a time when perfume was inseparable from luxury, storytelling, and the sensual mystery of far-off lands.