Parfums Drecoll

Parfums Drecoll originated as an extension of the Parisian couture house Drecoll, itself a refined evolution of an earlier fashion enterprise founded in Vienna. The original Viennese business was established in the late 19th century by Baron Christof Drecoll, a figure of aristocratic flair, in partnership with H. Kolmarch, a Belgian entrepreneur. This house, known for its elegant and sophisticated tailoring, quickly gained a reputation among the European elite. Recognizing the potential to expand the brand's reach, Pierre and Maggy Besançon de Wagner, a French couple with a keen sense for fashion and business, acquired the Viennese operation and moved it to Paris, transforming it into a distinctly Parisian couture house.

In 1902, the French Drecoll house opened its doors at 130 avenue des Champs-Élysées, placing it directly within the heart of Paris’s fashionable landscape. The couture house flourished during the Belle Époque and the interwar years, becoming a favorite of high-society clients who admired the refined, opulent style of Drecoll's gowns. As many Parisian fashion houses did in the early 20th century, Drecoll eventually expanded into perfumery, launching its first fragrances in 1925. This move echoed a broader trend in which fashion houses sought to build cohesive luxury identities that extended beyond clothing and into the realm of scent.

The perfumery division, Parfums Drecoll, quickly became known for its luxurious presentations as much as for the fragrances themselves. The house worked with prestigious French glassmakers, including Baccarat, to produce elegant and often artistic flacons. One of the most exquisite was the bottle for "Tais-toi Mon Cœur", designed by Georges Dumoulin, which featured opaque lavender glass flecked with gold dust, a detail that exemplified the sophistication associated with the brand. These collaborations reflected the high standards of both the fashion and perfume divisions of Drecoll, making their scents collectible objets d’art in addition to sensory experiences.

In 1929, the house underwent a significant change. Maggy Besançon de Wagner, daughter of the founders and a couturière in her own right, merged Drecoll with the Rouff fashion house, and the new label Maggy Rouff was born. While the fashion name shifted to reflect this change, the Parfums Drecoll label remained active under its original identity for some years, maintaining continuity and prestige in the perfumery world.

The brand’s legacy extended into the mid-20th century, when in 1944, Marcel Guerlain—not to be confused with the Guerlain family of the famous perfume house—acquired Parfums Drecoll. He continued to use the name, incorporating it under his business Société de Parfumeurs Parisiens, a name already in use by at least 1938. Even after the merger of the fashion label into Maggy Rouff, Guerlain preserved the perfumes under both names, continuing to sell Maggy Rouff's perfumes well into the 1960s. This longevity attests to the enduring appeal of the fragrances and the brand identity they carried.

Maggy Rouff passed away in 1971, and with her death came the quiet closure of a remarkable chapter in French perfumery. Just before her passing, the perfumes bearing her name were discontinued, ending a lineage that had begun in the twilight of the 19th century and elegantly endured through wars, cultural shifts, and changing tastes.

The perfumes of Drecoll:

• 1925 Tais Toi Mon Coeur
• 1925 Le Chant de Notre Amour
• c1930 Sunbul
• c1930 Jumping (inspired by equestrianism, based on Russian leather and blonde tobacco, the luxury bottle in a modern wooden stirrup and Havana leather.)
• 1930 Aimer L'Amour
• 1937 Fin de Rêve
• 1938 Yoshiwara (still sold in 1947)
• 1938 Avalanche (still sold in 1947)
• 1947 Soir d'Orage

Americans in France: A Directory, 1926:

DRECOLL – Dresses, Coats, Furs, Lingerie.

"Tais-Toi Mon Cœur" – Their new perfume.

From 5 to 7, their tea salon features a presentation of models, a gathering place for elegant Parisian women.

DRECOLL, 130 Avenue des Champs-Élysées, Paris.

Tais Toi Mon Cœur  means "Be Silent, My Heart"

Launched in 1925, Tais Toi Mon Cœur, pronounced as "teh-twah mon kur", evokes a sense of restrained emotion, romantic longing, and inner turmoil—an intimate whisper rather than a bold declaration. The name suggests a perfume that is tender and emotional, likely powdery and floral with perhaps a musky undertone, capturing the soft ache of love unspoken. Given the era, it may have included ingredients such as violet, iris, and rose, layered with aldehydes for a slightly soapy, luminous quality.

Le Chant de Notre Amour means "The Song of Our Love"

Also introduced in 1925, Le Chant de Notre Amour, pronounced as "luh shon duh noh-truh ah-moor,"  its name brings to mind something melodic, harmonious, and emotional. A love song in olfactory form would likely open with romantic florals—perhaps Bulgarian rose and jasmine—interwoven with soft amber or honeyed notes. The emphasis on "our love" suggests a shared warmth and depth, so expect a rich, enveloping base of woods or resins like benzoin or sandalwood.

Sunbul, the Arabic word for “hyacinth.”

Pronounced as "Soon-bool," this perfume likely paid homage to the heady, intensely sweet scent of the hyacinth flower. It may have contained other narcotic spring blooms such as tuberose or lilac, all anchored by a green or balsamic base. Released around 1930, Sunbul would have fit in with the era’s fascination with exoticism and orientalism in perfumery.

Jumping:

A rare and unique name for the time, Jumping was inspired by horseback riding and the luxury equestrian lifestyle. With a scent profile built on Russian leather—a dry, smoky, and tarry accord—combined with blonde tobacco, it was likely unisex or aimed at bold women of the time. The packaging—a modern stirrup made of wood and Havana leather—suggests a tactile, textural theme. This scent probably included vetiver, birch tar, and possibly hay or dried herbs to evoke the stable, the field, and the saddle.

Aimer L’Amour means "To Love Love"

Released in 1930, and pronounced as "Eh-mehr lah-moor," this perfume’s name is unabashedly romantic and indulgent, hinting at a fragrance that celebrates passion and sensuality. The duplication of “love” implies excess—a rhapsody of florals like rose, ylang-ylang, and carnation, perhaps with animalic musks or civet in the base to suggest intensity and skin-like warmth.

Fin de Rêve means "End of the Dream"

Launched in 1937, a poetic and melancholic name, Fin de Rêve, pronounced as "Fan duh rev," likely leaned toward soft, introspective notes. Powdery florals, tonka bean, and iris may have featured prominently, creating a dreamy, fading trail. This fragrance could symbolize a wistful goodbye to a beautiful illusion—a scent suitable for twilight or reflective moments.

Yoshiwara

Launched in 1938 and named after the historic pleasure district in Edo-period Japan, Yoshiwara evokes an aura of exoticism, seduction, and the ephemeral world of the geisha. Likely an oriental or ambery perfume, it may have included spicy notes, incense, sandalwood, and resins like myrrh or benzoin. The name alone would have conjured far-off lands and sensual intrigue for 1930s Western consumers. Still sold in 1947.

Avalanche

Avalanche implies coolness, force, and white purity. This scent probably skewed to the aldehydic floral family, similar in profile to Chanel No. 5, with icy citrus top notes, crisp green florals, and a cool musky or powdery base. The name suggests impact and clarity—a modern, clean scent for its time. Still sold in 1947.

Soir d’Orage means "Stormy Evening"

Launched in 1947, Soir d’Orage, pronounced as "Swahr dor-ahzh," carries a cinematic, dramatic name. It conjures thunderclouds, lightning, and romance—a tempestuous evening filled with intensity. Expect a dark floral chypre or spicy oriental, perhaps with labdanum, patchouli, and moody jasmine or violet. It would have captured postwar moods—strength, survival, and renewed passion.

 

 

 

Pierre Besancon designed the bottle below, molded with a fan motif, and fan shaped stopper. In 1926, a patent was granted for the bottle design.

Tais-Toi Mon Coeur by Drecoll, photo by ebay seller daisiesvintage

Pierre Besancon designed the bottle below, a ball shape, and triangular, spire shaped stopper. In 1926, a patent was granted for the bottle design.

Maggy Rouff:

The 1939 edition of Home Journal offered a charming contemporary glimpse into the Parisian launch of Maggy Rouff’s perfumes Excentric and Étincelle. According to the article, these two new scents were “wafted on the spring winds of Paris,” a poetic turn of phrase that immediately places their debut in a seasonal and sensory context. Each perfume was already associated with a particular type of woman: Excentric was worn by “Parisian glamour girls,” evoking sophistication, boldness, and possibly a nightlife appeal, while Étincelle was described as très jeune fille — very young girl — suggesting a lighter, fresher composition suitable for youth and innocence. Even the packaging reinforced these contrasting identities: Étincelle was boxed with “chaste white roses,” symbolizing purity and delicacy, while Excentric came with “pink ones,” which added a romantic, possibly flirtatious note. These descriptions reinforce that Rouff’s perfumes were designed not only to be worn but to express facets of femininity — glamour, youth, allure, and charm.

By 1964, the Maggy Rouff fragrance line had evolved into a more structured and internationally marketed portfolio, as reported in The Chemist & Druggist. Although the perfumes had been sold and appreciated in France since 1950 — a somewhat simplified marketing narrative that overlooks their original 1939 launch — they were formally introduced to the British market on March 25, 1964 by Monsieur E. Arif, then president of Parfums Maggy Rouff. At this point, the perfume house was operating from Neuilly, a suburb of Paris known for its connections to the fragrance industry. Arif had acquired full rights to the perfume division in 1954, establishing his own company and rebranding the fragrance line with renewed focus.

The British launch featured a curated collection of five perfumes, a blend of earlier and post-war creations: Étincelle, Excentric, Fleur Folle, Pêle-Mêle, and Pixiola. Each perfume was given a descriptive tagline that reinforced its olfactory character and emotional tone. Étincelle was classified as a cuir de Russie blend, enriched with civet, ambergris, and natural musk, confirming its sensual, animalic base that was likely softened by exotic floral top notes. Excentric was noted for its dynamic development — starting with a fresh profile and shifting toward a mellow, woody tendency, making it complex and multilayered. Fleur Folle, on the other hand, was presented as a light, flowery bouquet, maintaining the romantic femininity of its original concept. Pêle-Mêle was described as a perfume with a fresh opening that evolved into something stronger and deeper, a deliberate contrast that offered a kind of olfactory drama. Lastly, Pixiola retained its flowery and light nature, likely serving as the youthful or daytime option in the collection.

An accompanying illustration in the 1964 report depicted a coffret, or gift box, of three bouquet fragrances, suggesting these perfumes were marketed not only as individual scents but also as collectible or giftable sets — a common mid-century approach to increase retail appeal. The availability of multiple sizes for each perfume also reflected a growing consumer orientation, offering choice and accessibility while maintaining a sense of luxury.

Together, these two publications — 25 years apart — illustrate both the continuity and evolution of the Maggy Rouff perfume identity. From their fashionable and highly gendered 1930s Parisian debut to their structured and export-ready status in the 1960s, the fragrances retained their sense of elegance and sophistication, adapting to changing markets while remaining rooted in their couture origins.

Bottles:

It appears that the perfume bottles used by Maggy Rouff were produced by Verreries Magnier Frères et Cie, the French glassworks formerly known as Verreries Nouvelles. This attribution is based on a 1946 invoice that explicitly details an order of perfume bottles for "Parfum Rouff," offering a rare piece of documentation that links the two companies. Such archival material is invaluable for tracing the provenance and manufacture of perfume packaging, especially for couture houses like Maggy Rouff that partnered with specialized glassmakers.

Magnier Frères et Cie was established in 1929 by two former ceramic artisans in the town of Blangy-sur-Bresle, located in the Normandy region (Seine-Maritime). This area was already a hub for glassmaking, particularly in the luxury perfume and cosmetic sectors. The founders transitioned from pottery to glass, focusing their expertise on the production of molded flacons, which were increasingly in demand during the interwar and postwar periods. Magnier gained a reputation for supplying high-quality glass containers tailored to the needs of perfumers and fashion houses.

By the mid-20th century, Magnier had become a notable name among the French glass manufacturers that supported the booming perfume industry. The company's work for Maggy Rouff aligns with this trajectory, suggesting that Rouff’s bottles were likely custom-ordered and produced in limited quantities, reflecting both the exclusivity of the brand and the craftsmanship of the glassmaker.

The perfumes of Maggy Rouff:

• 1937 Tais-toi mon Cœur
• 1939 Excentric (Excentric by Maggy Rouff is composed of more than fifty ingredients, a scent as subtle as a charming personality, presented in white boxes relieved with a touch of pink and glistening foliage.,Rose and jasmine here , plus fifty other ingredients , among them orange blossoms and oak moss . moves from a fresh fragrance to a mellow, woody tendency", spicy, rose, musk, jasmine, orange blossom, oakmoss plus fifty other ingredients)  (production halted until 1948, still sold in 1963)
• 1939 Etincelle (etincelle, a delightful extract of exotic flowers reflecting youth and exuberance, in black boxes likewise adorned with white roses and foliage, youthful extract of exotic flowers, cuir de Russie with a civet, ambergris and natural musk mixture) (production halted until 1948, still sold in 1963)
• 1946 Secret
• 1948 Euphorie (fruity-citrusy)
• 1948 Fleur Folle (a flowery perfume with a light bouquet, romantic head-turning flowery perfume with a strong dosage of attar of roses)  (production halted until 1948, still sold in 1963)
• 1949 Emile II
• 1950 Contact
• 1950 Pêle-Mêle (, which is rich and warm , and with a fresh topnote, a perfume with the unusual characteristic that its first bouquet, a fresh texture, is succeeded by a new fragrance with "a stronger, deeper feeling") still sold in 1963.
• 1953 Pixiola (flowery and light) still sold in 1963.
• 1953 Heart of Fire
• 1953 Silk
• 1953 White Wine

Tais-toi mon Cœur:

Translation: Be quiet, my heart

Pronunciation: teh-twah mon kur

This 1937 perfume debuted with a poetic and intimate name, suggesting emotional restraint, perhaps even romantic heartache or secret longing. The name implies a fragrance with a soft, introspective aura. Likely composed of delicate florals like violet, iris, or rose layered with powdery and aldehydic notes, it may have evoked the tender melancholy and elegance characteristic of pre-war French perfumery. Its emotional tone points to a quiet but lingering scent trail — subtle, yet emotionally resonant.

Excentric:

Pronunciation: eks-sahn-treek

Launched in 1939, Excentric was a complex and daring composition for its time. It reportedly contained more than fifty ingredients, including rose, jasmine, orange blossom, oakmoss, musk, and spices. The description from the period highlights its progression from fresh top notes to a mellow, woody tendency, embodying a multifaceted character — “as subtle as a charming personality.” This would have been a statement fragrance: floral, spicy, and musky, wrapped in a sophisticated base of moss and woods. The packaging, white boxes touched with pink and glistening foliage, echoed its feminine yet adventurous nature. Production paused during World War II but resumed in 1948, with the perfume still sold as late as 1963.

Étincelle:

Translation: Spark or Sparkle

Pronunciation: ay-tan-sell

Also introduced in 1939, Étincelle was described as a "delightful extract of exotic flowers reflecting youth and exuberance.” It was positioned as a livelier, perhaps more radiant alternative to the more elaborate Excentric. The scent reportedly included cuir de Russie (Russian leather), civet, ambergris, and natural musk — all rich animalic materials — layered with a tropical floral heart. The inclusion of leather and musk gave it a sensual, sophisticated base, balancing the top notes’ youthful sparkle. Packaged in black boxes adorned with white roses and foliage, this perfume likely conveyed spirited elegance with a sensual finish. Like Excentric, its production halted during the war and resumed in 1948, remaining available until 1963.

Secret:

Pronunciation: seh-kreh

The simply titled Secret debuted just after the end of World War II, during a period of renewed optimism and feminine allure. The name evokes intimacy, mystery, and hidden pleasures. Although the scent profile is not documented, one might imagine a soft, powdery floral or perhaps an aldehydic bouquet with an amber base, suitable for a “signature” fragrance meant to linger discreetly yet memorably.

Euphorie:

Translation: Euphoria

Pronunciation: uh-for-ee

Released in 1948, Euphorie was described as fruity-citrusy, a refreshing departure from the denser animalic compositions of the 1930s. This post-war scent likely featured sparkling citrus notes like bergamot or lemon, layered with fruit accords such as peach or apricot, and perhaps a light floral heart of jasmine or neroli. As the name implies, it was designed to uplift the wearer — joyous and effervescent in spirit.

Fleur Folle:

Translation: Mad Flower or Crazy Flower

Pronunciation: fluhr foll

Also from 1948, Fleur Folle was a romantic, head-turning floral with a pronounced dose of attar of roses. The name suggests a wildly blooming or uninhibited bouquet, likely overflowing with rose, tuberose, ylang-ylang, or jasmine. The description of it being “a light bouquet” may refer to its diffusive nature rather than weight — a scent with presence and volume. Production resumed after 1948 and it remained on the market into the 1960s.

Emile II:

Pronunciation: ay-meel duh

Launched in 1949, this intriguingly named perfume, Emile II, possibly commemorates a person — perhaps someone personal to the Rouff brand or its founder. The masculine name and Roman numeral suggest a fragrance either inspired by or marketed toward a refined gentleman, or a romanticized masculine muse. The scent may have included classic fougère elements — lavender, oakmoss, coumarin — or a woody-oriental accord. It could also have been a unisex or evening scent.

Contact:

Pronunciation: kon-takt

With a minimalist name like Contact, this 1950 release suggests immediacy and intimacy — skin-close and tactile. Likely a sensual composition, perhaps featuring aldehydes, white florals, or a creamy musk-amber base. It may have been designed to feel modern and personal, aligning with mid-century aesthetics of elegance and understatement.

Pêle-Mêle:

Translation: Hodgepodge or Mishmash

Pronunciation: pell-mell

Launched in 1950, an unusual name for a perfume, Pêle-Mêle hinted at a composition in layers — described as beginning with a fresh topnote and evolving into something rich and warm with “a stronger, deeper feeling.” This evolving scent may have had citrus or aldehydic openings, unfolding into a floral heart and finishing with amber, musk, or woods. It was still sold in 1963, indicating its popularity and complexity.

Pixiola:

Pronunciation: pix-ee-oh-lah

Launched in 1953, Pixiola was described as flowery and light, its whimsical name suggesting something delicate, perhaps playful. It may have contained soft florals like lily of the valley, violet, or freesia, possibly with a lightly powdery finish. The name evokes a fairy-like lightness, hinting at a perfume designed for daytime or spring wear.

Heart of Fire:

Launched in 1953, with its vivid and dramatic name, Heart of Fire likely had a bold, spicy floral or oriental character. Think carnation, clove, or cinnamon, perhaps fused with rose or amber. This perfume’s title suggests passion, warmth, and intensity — likely a scent made for evening wear or moments of emotional fervor.

Silk:

Launched in 1953, evoking smoothness, elegance, and sensuality, Silk would have been a soft, skin-scent style perfume. It may have included orris butter, musk, sandalwood, or powdery aldehydes, creating a tactile, caressing effect. It was probably intended to evoke luxury in a discreet, wearable manner.

White Wine:

Launched in 1953, a highly unusual name for a perfume, White Wine calls to mind effervescence, fruit, and a hint of acidity or zest. It may have included aldehydes, grape, pear, citrus, or green notes, perhaps with a champagne-like sparkle. This was likely a crisp, light, refreshing scent, ideal for summer or daytime use.

Maggy Rouff’s perfume collection clearly reflected her fashion house’s ethos — elegant, feminine, and expressive. The scents moved with the times, from the florientals and animalics of the late 1930s, through romantic florals and aldehydic blends of the 1940s and early 1950s, to lighter, more whimsical or daring compositions by the mid-1950s. Many of these fragrances remained in production or on the market until at least 1963, underscoring their lasting appeal.