Early History and Origins: The House of Laugier
The founder, M. Laugier, was originally a perfumer from Grasse, the Provençal town that would later become synonymous with the French perfume industry. Archival records indicate that the business was already active in Paris by the late eighteenth century. A notice published in the Mercure de France in 1789 referred to "Laugier, Parfumeur de Grasse en Provence," operating from the Rue Bourg-l'Abbé in Paris, and praised the establishment as one of the city's distinguished perfume manufacturers. By 1790, the firm appeared in the Tableau Général du Commerce, des Marchands under the name B. Laugier, confirming its standing as a recognized Parisian perfume house.
Evidence suggests that the company was operating even earlier. Records preserved in commercial directories place Laugier Père et Fils at 31 Rue Bourg-l'Abbé as early as 1805. By 1811 the firm was officially listed among Parisian perfumers in the Almanach du Commerce de Paris, and by 1814 it had relocated to 26 Rue Bourg-l'Abbé, an address that would remain closely associated with the family for many years. The use of the date 1817 by later Renaud advertisements may therefore represent a symbolic milestone in the company's development rather than its actual founding.
The Laugier enterprise appears to have remained very much a family concern. By 1820, members of the second generation were operating separate branches of the business. Antoine-François Laugier maintained the historic establishment at 26 Rue Bourg-l'Abbé, while Victor Laugier conducted business from 21 Rue d'Hanovre. Contemporary records also indicate that the family retained connections with Grasse through an establishment at 89 Grand Rue, while another address was recorded at 41 Rue Bourg-l'Abbé in the Chapelle Saint-Denis district near Paris. These multiple locations demonstrate the growing reach of the Laugier concern and its close relationship with both Parisian commerce and the perfume-producing region of Provence.
Throughout the late eighteenth and early nineteenth centuries, Laugier Père et Fils cultivated a reputation for longevity and prestige. Later accounts would describe the house as the oldest perfumery establishment in Paris, a distinction that became an important part of its identity. This long history provided a valuable legacy that would later be inherited by the Renaud firm, which frequently emphasized its connection to the earlier establishment in order to project an image of tradition, reliability, and historic expertise.
The transition from Laugier to Renaud occurred in 1839, when the business was acquired and reorganized under the name Renaud et Cie. Shortly thereafter, around 1840, the company passed into the hands of Joseph Sichel-Javal, marking another chapter in the evolution of a perfume house whose origins could be traced back more than eighty years. Although the Laugier name gradually disappeared from commercial use, its legacy remained embedded within the history of Parfumerie Renaud and formed the foundation upon which the later company built its reputation.
Address Timeline of the Laugier Establishment
1789 – Rue Bourg-l'Abbé, Paris (exact number not specified)
1805 – 31 Rue Bourg-l'Abbé, Paris
1811 – Listed as Parisian perfumers in the Almanach du Commerce de Paris
1814–1820 – 26 Rue Bourg-l'Abbé, Paris
1820 – 41 Rue Bourg-l'Abbé, Chapelle Saint-Denis near Paris
1820 – 89 Grand Rue, Grasse, Département du Var
1820 – 21 Rue d'Hanovre, Paris (Victor Laugier)
1820 – 26 Rue Bourg-l'Abbé, Paris (Antoine-François Laugier)
This remarkable lineage, beginning in the eighteenth century with the Laugier family of Grasse and Paris, would ultimately provide Parfumerie Renaud with one of the oldest pedigrees of any French perfume house active during the twentieth century.
Products and Perfumes of Laugier and Renaud
From its earliest years, the house of Laugier Père et Fils distinguished itself through a remarkably diverse range of perfumery, cosmetic, hygienic, and pharmaceutical-inspired preparations. Like many eighteenth and early nineteenth-century perfume manufacturers, the company did not limit itself solely to fragrances. Instead, it produced a comprehensive assortment of scented waters, soaps, beauty treatments, dental preparations, and household perfumes intended to satisfy nearly every aspect of personal grooming and domestic refinement.
Among the firm's most celebrated creations were its Eau de Cologne and Eau d'Ispahan, both of which were sufficiently distinctive to receive official legal protection. In 1812, Laugier Père et Fils obtained a five-year patent for the composition of its Eau de Cologne, a notable achievement during a period when proprietary formulas were increasingly valued commercial assets. The firm's Eau d'Ispahan likewise received patent protection, demonstrating the originality and commercial importance of its fragrance compositions. These products became so well known that they were cited in the 1824 edition of the Dictionnaire Chronologique et Raisonné des Découvertes, Inventions, which listed Laugier Père et Fils among France's recognized manufacturers of Eau de Cologne and Eau d'Ispahan.
The same reference also credited the firm with producing Eau Cosmétique and Savon Oriental, indicating that Laugier's reputation extended beyond perfumery into the growing field of luxury toiletries. By the early nineteenth century, perfumers increasingly marketed their products as both beautifying and health-promoting, and Laugier actively participated in this trend through a variety of preparations intended for the complexion, hair, skin, teeth, and household environment.
A particularly valuable glimpse into the company's product line appears in César Gardeton's 1826 publication, Dictionnaire de la Beauté, ou La Toilette sans Dangers. There, Laugier Père et Fils, then established at 41 Rue Bourg-l'Abbé, offered an impressive catalog of scented waters and cosmetic specialties. Among these were the Eau Cosmétique pour conserver la beauté, intended to preserve beauty and freshness of the complexion, and an Eau fortement odorée pour la toilette, a strongly perfumed toilet water. The company also marketed an extensive collection of lavender-based preparations, including Eau de Lavande Royale and numerous scented variations such as Ambre, Musc, Héliotrope, Vanille, Maréchale, Oeillet, Bouquet Duchesse, Mille Fleurs, Rose, and L'Orange. These products reflected contemporary tastes for highly fragrant personal grooming waters that combined the cleansing properties of alcohol with fashionable floral and oriental scents.
Laugier's assortment further included restorative and medicinally inspired preparations such as Eau Régénératrice, Eau Sanitaire, Eau Vulnéraire, and Eau d'Arquebusade, products typical of a period when perfumery, pharmacy, and cosmetics frequently overlapped. More exotic creations included Eau d'Achem, described as being composed from plants originating from a distant and celebrated country, giving it an especially agreeable perfume. Eau des Alpes and Eau des Montagnes Françaises were concentrated aromatic waters designed to flavor drinking water with orange blossom or refreshing citrus notes. Such products illustrate how perfume houses of the era supplied not only scents for the body but also fragrant preparations intended for domestic use and refreshment.
Beauty treatments formed another important part of the firm's portfolio. Eau de Vénus and Eau de La Vallière were promoted as complexion-enhancing lotions, while Eau de Paris, protected by patent, was marketed as a refined alternative to traditional Eau de Cologne. The company also produced an unusual Essence Parfumée, described as a scented depilatory, as well as Parfum des Rois, an antiseptic room perfume intended to purify and perfume interior spaces.
Tooth care and soap manufacture represented additional specialties. Laugier marketed Poudre pour les Dents (tooth powder) and an extensive collection of soaps including Savon Belezan Sauboon, Savon Philoderme, Savon d'Ambrosie, Crème de Savon à la Neige Parfumée, and Savon d'Amande. The quality of these products earned widespread recognition, and the firm's soap manufacturing division became one of its most respected branches.
By the 1840s, the fragrance line had expanded to include more fashionable perfumes that reflected changing tastes under the July Monarchy. Among the known perfumes and eaux produced by the house were Bouquet de la Reine, Jonquille, Vanille, Verveine, Jockey Club, and Eau des Montagnes Russes. These creations reveal a transition from the medicinal and cosmetic waters of the early nineteenth century toward the floral bouquets, single-note fragrances, and fashionable perfume themes that would dominate Victorian perfumery.
A major turning point occurred in 1839 when Laugier Père et Fils was acquired by Renaud, who renamed the business Renaud et Cie. Although ownership changed, the company's formulas, manufacturing facilities, and reputation continued under the new name. Shortly thereafter, around 1840, the establishment was acquired by Joseph Sichel-Javal, who wisely retained the well-known Renaud name while continuing the traditions established by both Laugier and Renaud.
The quality of the firm's products continued to receive official recognition during the Sichel-Javal era. Exhibition reports from 1844 noted that Laugier had been awarded a silver medal at the 1834 exhibition for the excellence of his toilet and household soaps. This distinction was subsequently renewed in favor of Renaud and later again in favor of Sichel-Javal, whose stewardship was praised for maintaining the factory at the high standard established by his predecessors. A further report issued in 1850 emphasized that Sichel-Javal's products were manufactured largely for export markets and confirmed that the quality of the establishment remained worthy of continued distinction.
Thus, from patented Eau de Cologne and exotic perfumed waters to luxury soaps, beauty preparations, and fashionable floral fragrances, the products of Laugier formed the foundation upon which the later Renaud enterprise was built. The continuity of formulas, manufacturing expertise, and commercial reputation allowed the house to survive multiple ownership changes while preserving a legacy that stretched back to the eighteenth century.
List of the products mentioned:
- Eau cosmétique pour conserver la beauté
- Eau fortement odorée pour la toilette
- Eau de lavande royale
- Eau-de-Vie de Lavande Ambre
- Eau-de-Vie de Lavande Musc
- Eau-de-Vie de Lavande Héliotrope
- Eau-de-Vie de Lavande Vanille
- Eau-de-Vie de Lavande Maréchale
- Eau-de-Vie de Lavande Oeillet
- Eau-de-Vie de Lavande Bouquet Duchesse
- Eau-de-Vie de Lavande Mille Fleurs
- Eau-de-Vie de Lavande Rose
- Eau-de-Vie de Lavande L'Orange
- Eau régénératrice
- Eau Sanitaire
- Eau vulnéraire
- Eau d'arquebusade
- Eau de Cologne de Laugier pere et fils
- Eau d'Ispahan
- Eau d'Achem
- Eau des Alpes
- Eau des Montagnes Françaises
- Eau de Venus
- Eau de La Vallière
- Eau de Paris
- Essence Parfumée (scented hair remover)
- Parfum des Rois (antiseptic air freshener)
- Poudre Pour de Dents (tooth powder)
- Savon Belezan Sauboon (creamy scented soap)
- Savon Philoderme
- Savon d'Ambrosie
- Crème de Savon a la Neige Parfumée
- Savon d'Amande
"Eau d'Achem, this water is composed with plants that come from this famous country it is very pleasant by its perfume. Eau des Alpes, a drop of this water in a glass of sweet water forms a very pleasant orange flower water. Eau des Montagnes Françaises (Water of the French mountains), a drop of this water in a glass of sweet water forms a lemonade very graceful. Eau de Venus a demi-lotion for the figure that is to say on a half liter the quarter of the bottle spread in the water has the same effect as the ointments for the complexion. Eau de La Valliere as the water of Venus to make use of it. Eau de Paris same use as eau de Cologne it is perfected with patent."
Known List of Perfumes and Eaux by Laugier Pere et Fils:
- 1816 Eau de Cologne
- 1816 Eau d'Ispahan
- 1826 Eau d'Achem
- 1826 Eau de Lavande Royale
- 1826 Eau-de-Vie de Lavande Ambre
- 1826 Eau-de-Vie de Lavande Musc
- 1826 Eau-de-Vie de Lavande Héliotrope
- 1826 Eau-de-Vie de Lavande Vanille
- 1826 Eau-de-Vie de Lavande Maréchale
- 1826 Eau-de-Vie de Lavande Oeillet
- 1826 Eau-de-Vie de Lavande Bouquet Duchesse
- 1826 Eau-de-Vie de Lavande Mille Fleurs
- 1826 Eau-de-Vie de Lavande Rose
- 1826 Eau-de-Vie de Lavande L'Orange
- 1826 Eau de La Valliere
- 1826 Eau de Paris
- 1826 Eau de Venus
- 1826 Eau des Alpes
- 1826 Eau des Montagnes Françaises
- c1844 Bouquet de la Reine
- c1844 Eau des Montagnes Russes
- c1844 Jonquille
- c1844 Vanille
- c1844 Verveine
- c1844 Jockey Club
List of perfumes by Renaud:
- 1919 L'Ile de France
- 1919 L'Isle
- 1920 Cour de Russie
- 1920 Lubentia
- 1920 Fleur de Manacao
- 1920 Fleurs de Grasse
- 1920 Forest of France/Foret de France
- 1920 Jardins Celestes
- 1924 Geraine (Rose Geranium)
- 1925 Gardenia
- 1925 Orchid
- 1925 L'Acacia
- 1925 Egyptia
- 1925 Fragrance
- 1925 Ghedma
- 1925 Coeur de Russe
- 1925 Sweet Pea
- 1925 Spice of Life
- 1925 Bouquet/Bocage
- 1925 Orchid
- 1925 Notchenka
- 1926 Golden Lotus (bath salts)
- 1926 Lavender (bath salts)
- 1926 Bocage
- 1926 Chypre
- 1926 Rose
- 1926 Jasmin
- 1928 Araby
- 1928 Ambrée
- 1928 Lilac
- 1928 Narcisse
- 1928 Muguet
- 1929 Magnolia
- 1929 Lotus
- 1929 Violet
- 1929 Day & Night
- 1929 Red Carnation
- 1933 Fleur d'Olivier (Blossom of the Olive Tree)
- 1934 Heliotrope
- 1934 Lilas
- 1934 Orange Blossom
- 1936 Parfums of Royalty
- 1940 Bateau Ivre
- 1940 Sur Deux Notes
- 1943 Glissade
- 1949 Foret
- 1949 Jasmin de Paris
Renaud's Perfumes and Fragrances in the Twentieth Century
By the early twentieth century, Parfumerie Renaud had transformed from a historic Parisian perfumery into a prolific creator of perfumes aimed at an international clientele. While many French luxury houses concentrated exclusively on the elite market, Renaud occupied a distinctive position, offering a wide variety of fragrances that combined French elegance with accessible pricing and widespread distribution. Its perfumes were sold throughout Europe and North America, where they gained a reputation for exotic themes, romantic storytelling, and unusually persistent fragrance.
The earliest known twentieth-century perfumes appeared shortly after the First World War. Among these were L'Ile de France (Island of France) and L'Isle (The Island), both introduced in 1919. During the early 1920s, Renaud expanded its catalog with fragrances inspired by foreign lands and romantic imagery, including Cour de Russie (Court of Russia), Lubentia, Fleur de Manacao (Flower of Manacao), Fleurs de Grasse (Flowers of Grasse), Forêt de France (Forest of France), and Jardins Célestes (Heavenly Gardens). These names reflected the fascination with travel, exoticism, and distant cultures that characterized perfumery during the postwar period.
The mid-1920s marked a particularly productive era for the company. In 1925 alone, Renaud introduced numerous fragrances including Geraine (Rose Geranium), Gardenia, Orchid, L'Acacia (The Acacia), Egyptia, Fragrance, Ghedma, Cœur de Russe (Heart of Russia), Sweet Pea, Spice of Life, Bouquet or Bocage (Woodland Grove), and the mysterious Notchenka. This diverse collection ranged from floral soliflores and oriental perfumes to fragrances inspired by Russia, the Middle East, and the natural world.
Among these creations, Sweet Pea emerged as one of Renaud's most heavily advertised and successful perfumes. The company proudly described it as the culmination of more than twenty-five years of research, calling it "the crowning achievement of this famous French house." Advertisements emphasized its authenticity and faithfulness to the delicate fragrance of the sweet pea blossom. The perfume became one of the firm's signature scents and appeared frequently in magazine advertising throughout the late 1920s.
Another important fragrance was Orchid, often marketed under the French name Orchidée. It became one of Renaud's best-selling perfumes and occupied a prominent place in the company's luxury offerings. Advertising portrayed Orchidée as an intensely exotic fragrance capable of transporting the wearer to tropical islands, dense jungles, and remote desert oases. Such imagery reflected the fascination with adventure and escapism that permeated perfumery advertising during the Jazz Age. The fragrance was positioned among Renaud's most prestigious creations, commanding the considerable price of sixty dollars per ounce in the late 1920s and early 1930s.
Egyptia represented the company's interpretation of oriental perfumery. Renaud described it as possessing a warm, spicy oriental character and promoted it as embodying the mysterious allure of ancient Egyptian fragrance traditions. The perfume capitalized on the enormous public fascination with Egypt that followed the discovery of Tutankhamun's tomb in 1922, when Egyptian-inspired fashion, jewelry, and perfume became highly fashionable throughout Europe and America.
One of the most unusual perfumes in the collection was L'Acacia, which attempted to reproduce not only the fragrance of the acacia blossom but also the green freshness of the plant itself. Renaud described the scent as possessing "a slight tang of cut stems," while suggesting that a "breath from the desert" could be found within its composition. This combination of floral and green notes made it one of the more distinctive fragrances in the house's portfolio.
Perhaps the most luxurious perfume offered by Renaud was Notchenka, advertised as "Flower of the Little Night." The fragrance was inspired by romantic visions of Imperial Russia and was promoted through poetic descriptions emphasizing mystery, enchantment, and old-world elegance. Renaud claimed that the perfume captured the fascination and mysticism of old Russia through the scent of a tiny blue flower said to bloom in the land of the midnight sun. Notchenka was described as a light, spicy floral fragrance and was among the company's most expensive offerings, selling for fifty-five dollars per ounce and one hundred twenty-five dollars for a two-ounce bottle.
Another notable fragrance was Ghedma, described as "the flowers of happiness." Retailing for forty-two dollars and fifty cents per ounce, it occupied the upper tier of Renaud's perfume range and was marketed as a luxurious floral composition. Although surviving descriptions are scarce, its evocative name and premium pricing suggest that it was intended to compete with the prestigious French perfumes of the era.
Beginning in 1928, Renaud launched an innovative series of fragrances identified by the designation "Ambrée", meaning "ambered" or "ambergris enriched." Advertisements explained that these perfumes were specially processed in amber, referring to the use of ambergris-based accords that acted as natural fixatives. Ambergris, one of the most prized materials in perfumery, was renowned for its ability to increase both the longevity and diffusion of a fragrance. As a result, perfumes such as Sweet Pea Ambrée and other amber-enhanced creations were promoted as exceptionally long-lasting, a feature heavily emphasized in the company's advertising campaigns.
The late 1920s and 1930s saw the continued expansion of the Renaud catalog with fragrances such as Araby, Lilac, Narcisse (Narcissus), Muguet (Lily of the Valley), Magnolia, Lotus, Violet, Day & Night, Red Carnation, Fleur d'Olivier (Blossom of the Olive Tree), Heliotrope, Lilas (Lilac), and Orange Blossom. These perfumes reflected popular trends of the era, including floral soliflores, exotic oriental compositions, and fragrances inspired by nature.
Renaud also embraced modern marketing techniques and international distribution. A remarkable 1924 advertisement in Popular Mechanics offered twelve assorted bottles of Renaud perfume through mail order, claiming that one of the fragrances had been created exclusively for the Czarina of Russia before the First World War. The advertisement further asserted that some of the scents had previously sold for as much as one hundred dollars per ounce, emphasizing their exclusivity and prestige despite their broader commercial availability.
Throughout the 1930s and 1940s, Renaud continued introducing new fragrances including Parfums of Royalty, Bateau Ivre (Drunken Boat), Sur Deux Notes (On Two Notes), Glissade (Glide), Forêt (Forest), and Jasmin de Paris (Paris Jasmine). These later perfumes reveal a company that successfully adapted to changing tastes while preserving its long-standing emphasis on romance, elegance, and evocative storytelling.
Although Renaud never achieved the lasting fame of houses such as Coty, Houbigant, or Guerlain, its perfumes occupied a distinctive niche within twentieth-century French perfumery. The company excelled at creating fragrances with imaginative themes and memorable advertising narratives, often drawing inspiration from exotic locations, historical romance, and distant cultures. From the floral delicacy of Sweet Pea to the oriental warmth of Egyptia and the Russian mysticism of Notchenka, Renaud's perfumes embodied the fascination, glamour, and escapism that characterized much of early twentieth-century fragrance culture.
Bottles:
Like many long-established French perfume houses, Parfumerie Renaud employed a remarkable variety of bottle designs throughout its history. Unlike luxury firms that often relied upon a single signature flacon, Renaud utilized numerous bottle styles that reflected changing fashions, marketing strategies, and price points. Their fragrances appeared in everything from simple utilitarian containers intended for everyday use to elaborate molded and decorated presentations designed to evoke elegance and sophistication. Some bottles emphasized the romantic and exotic themes of the perfumes they contained, while others followed the sleek geometric forms popular during the Art Deco period. Because Renaud produced perfumes for a broad market over several decades, collectors today encounter an especially diverse range of bottles, stoppers, labels, and presentation boxes. This variety not only illustrates the evolution of perfume packaging during the early twentieth century but also reflects Renaud's ability to adapt its visual identity to changing consumer tastes while maintaining the charm and accessibility that characterized the brand.
Opaque Glass Bottles:
Among the most recognizable and collectible containers used by Parfumerie Renaud are the opaque slag glass bottles manufactured by the renowned Cristalleries de Nancy between approximately 1924 and 1934. Produced in a variety of forms, these distinctive bottles became closely associated with the company's most successful perfumes and toiletries during the late 1920s and early 1930s. Their marbled, opaque appearance gave them a luxurious and modern character that perfectly complemented the colorful and exotic image cultivated by Renaud's fragrances. Although several bottle designs were produced in this material, the most commonly encountered is the elegant rectangular bottle with softly rounded corners, a shape that exemplifies the transition from traditional perfume packaging to the streamlined aesthetics of the Art Deco era.
The rectangular bottles were manufactured in a remarkable range of colors. The most frequently encountered examples are found in red, coral orange, green, and black, while the rarest colors include yellow ochre, purple, white, and turquoise. Particularly scarce are bottles entirely covered in rich gold enamel, which transformed the simple form into an exceptionally luxurious presentation. In many cases, Renaud employed a color-coding system whereby specific colors corresponded to particular fragrances. Surviving examples suggest that yellow was used for L'Acacia, green for Sweet Pea, purple for Orchid, white or green for Gardenia, red for Notchenka, red or gilded examples for Ghedma, red for Geraine, and yellow for Cour de Russie. While not every fragrance adhered strictly to this system, it appears to have been an important visual merchandising tool that allowed customers to easily identify their favorite scents.
The perfume bottles fitted with pointed glass stoppers were produced in several sizes, ranging from diminutive purse bottles to larger vanity presentations. Known sizes include examples measuring approximately 2⅛ inches, 2¾ inches, 2⅞ inches, and 3½ inches in height. The same design was occasionally produced in clear glass and fitted with a frosted stopper, offering a more traditional alternative to the colorful opaque versions. Most examples are molded on the base with the inscription "Renaud Paris 1817 Made in France Patents Pending," proudly referencing the firm's historic origins while emphasizing its modern packaging innovations.
The bottles with the pointed glass stoppers ranged in size from:
- 3.5" tall
- 2 3/4" tall
- 2 7/8" tall
- 2 1/8" tall
Drug and Cosmetic Industry, 1936:
"RENAUD'S "Parfums of Royalty" trio comes in individual flacons in French ivory [celluloid] containers for the purse,- three odors. Renaud also presents a new size flacon packaged in a jewel case holding 1/4 drams."
Renaud also adapted this successful design for its toilet waters. Square bottles with rounded shoulders and brass screw caps were produced in sizes of approximately 3½ inches and 4¼ inches tall. A miniature version measuring just under 2 inches was marketed for parfum and intended to be carried conveniently in a lady's handbag.
Other Products in Opaque Glass:
The popularity of the Cristalleries de Nancy slag glass extended well beyond perfume bottles. During the 1920s and 1930s, Renaud utilized the same attractive material for an entire line of coordinated vanity and toiletry accessories. Talcum powder containers, bath salt bottles, sachet powder containers, face creams, face powders, rouge compacts, and other cosmetic items were all produced in matching opaque glass, allowing consumers to assemble elegant dressing-table sets in their preferred fragrance.
An unusual toilet water bottle manufactured in the same opaque slag glass and standing approximately 4¼ inches tall is also known; these examples are marked simply "Made in France" on the base.
The talcum powder bottles are among the most distinctive pieces in the line. Standing approximately 5 inches tall, they were fitted with brass screw caps and patented sifters featuring a sliding closure mechanism introduced in 1921. When sold as bath salts, the same bottles were equipped with simple brass screw caps rather than sifters. Equally charming are the squat Parfum en Poudre sachet containers, which stand approximately 2½ inches tall and feature brass screw lids.
Cosmetic preparations were also marketed in coordinating slag glass containers, most commonly in green. Surviving examples include rouge compacts, face powder containers, and cream jars. The scented face powders were offered in several of Renaud's most popular fragrances, including Sweet Pea, L'Acacia, Geraine, and Orchid, allowing customers to layer their chosen scent through multiple products.
Two principal cream jar forms are known. The lower, wider jars measure approximately 3 inches in diameter and stand 2¼ inches tall, while a taller cylindrical version measures approximately 3⅜ inches high by 2⅛ inches in diameter. Both styles feature brass screw lids and share the same attractive marbled appearance that characterizes the entire Cristalleries de Nancy line.
Today, these colorful slag glass containers are among the most sought-after Renaud collectibles. Their striking colors, wide variety of forms, and close association with the firm's most famous fragrances make them highly desirable to both perfume bottle collectors and enthusiasts of French Art Deco decorative arts. Together, they represent one of the most distinctive and successful packaging programs employed by Parfumerie Renaud during its twentieth-century history
The "Stylo" Flacons: Renaud's Elegant Pocket Perfumes
Among the most distinctive and innovative containers marketed by Parfumerie Renaud were the slender cylindrical perfume vials known as "Stylo" flacons. Named for their resemblance to fountain pens or stylus-shaped objects, these compact bottles were designed for portability and convenience, allowing fashionable women to carry their favorite fragrances discreetly in a handbag or pocket. Combining practicality with luxury, the Stylo flacons became one of Renaud's most successful specialty presentations during the late 1920s and 1930s.
A defining feature of the Stylo flacons was their patented brass screw cap, introduced in 1931. The cap protected the perfume from evaporation while making the bottles easy to refill and reuse. These elegant little vials were typically sold in fitted leather jewel cases that enhanced their appeal as luxury accessories. The cases ranged from simple single-bottle presentations to more elaborate special editions containing two or three matching flacons, allowing the owner to carry several fragrances simultaneously. Some cases closed with snaps while others featured zippered enclosures, creating a compact perfume wardrobe suitable for travel.
The earliest Stylo flacons were crafted from clear cut glass and reflected the refined craftsmanship associated with fine European perfume packaging. These examples were fitted with glass inner stoppers attached to long, slender daubers used to apply perfume directly to the skin. Decorative metal over-caps protected the stoppers and completed the sophisticated appearance of the bottles. Their elongated proportions and jewel-like construction made them as much vanity accessories as fragrance containers.
Among the most attractive early examples are the striped glass Stylo flacons produced in Germany for Renaud during the 1920s. These bottles feature decorative vertical striping molded into the glass and were fitted with brass screw caps. Authentic examples can often be identified by the word "Germany" stamped on the brass cap, a useful detail for collectors seeking to distinguish original pieces from later reproductions or unmarked variants. The combination of German glass craftsmanship and French perfume marketing reflects the international nature of luxury packaging during the interwar period.
By 1930, Renaud expanded the Stylo line with a new generation of opaque colored glass vials manufactured by the Kimble Glass Company. These bottles retained the practical cylindrical shape but adopted the colorful aesthetic already familiar from Renaud's other packaging. Contemporary advertisements indicate that the earliest colors included orchid, green, and lavender, each corresponding to particular fragrances or marketing themes. The brightly colored glass, combined with gleaming brass screw caps, created a modern appearance that appealed to consumers of the Art Deco era.
The popularity of the Stylo flacons continued throughout the 1930s. Trade publications frequently highlighted the packaging as an example of successful perfume merchandising. In 1939, Drug and Cosmetic Industry noted that pocket-sized quantities of Renaud perfumes were packaged in colorful Kimble Glass vials with shining metal screw caps and enclosed in attractive leather cases fitted with snap or zipper closures. The same year, Glass Packer reported that the fragrances, promoted as "the finest perfumes imported from France," were distributed in glass vials supplied by Kimble Glass Company and marketed in the United States through Dale S. Davis' Associates of Watertown, Massachusetts.
The Stylo flacons perfectly embodied Renaud's approach to perfume packaging: elegant yet practical, fashionable yet affordable. Their compact dimensions, luxurious leather cases, and colorful presentation transformed a simple perfume vial into a sophisticated personal accessory. Today, these pocket-sized perfume sets remain highly collectible, particularly when found complete with their original leather cases and multiple matching vials. They serve as charming reminders of an era when carrying one's favorite perfume was considered an essential part of a fashionable woman's daily routine.
Cut Glass Flacons with Colored Glass Stoppers:
Among the most elegant presentations offered by Parfumerie Renaud during the late 1920s were a series of tapering clear glass perfume bottles fitted with brightly colored glass stoppers. These attractive flacons were designed to imitate the appearance of expensive hand-cut crystal while remaining accessible to a broader market. Their refined proportions, delicate ornamentation, and jewel-like stoppers made them particularly fashionable vanity pieces during a period when perfume bottles were increasingly viewed as decorative accessories as well as fragrance containers.
The bottles feature a graceful tapering form embellished with finely etched sprays of lily of the valley blossoms, a motif long associated with purity, springtime, and delicate femininity. The engraved decoration creates the illusion of finely cut crystal, catching and reflecting light in a manner similar to much more costly luxury glassware. This combination of simplicity and elegance made the bottles highly attractive while allowing the fragrance itself to remain visible through the clear glass body.
Perhaps the most distinctive feature of these flacons is their colorful transparent glass stoppers. Surviving examples are known with stoppers in blue, vaseline yellow-green, peach, and amethyst purple glass. These brightly colored stoppers provided a striking visual contrast to the clear bottle beneath and echoed the growing Art Deco fascination with colored glass and geometric accents. When displayed together, the various color combinations created a vibrant and fashionable presentation that appealed to consumers seeking both beauty and practicality.
The design was produced in at least three sizes, allowing customers to select a presentation suited to their needs. Known examples measure approximately 4½ inches, 3 inches, and 2¾ inches in height. The larger bottles were intended for dressing-table display, while the smaller versions offered a more compact and affordable alternative. Some examples were manufactured in France and may bear the acid-etched mark "Made in France" on the base, particularly the taller size. Other examples are believed to have been produced in the United States by the Tiffin Glass Company, reflecting Renaud's practice of utilizing both European and American glass manufacturers to supply its growing international market.
When sold new, these bottles were presented in especially attractive packaging. Each flacon was housed within a gilt octagonal presentation box decorated with a luxurious gold-and-black silk tassel. The elaborate packaging transformed the perfume into an ideal gift item and reinforced the impression of elegance and exclusivity. The presentation was carefully designed to appeal to consumers who desired a touch of luxury without the expense associated with the most prestigious French perfume houses.
These bottles were heavily promoted during the late 1920s, a period when Renaud increasingly marketed its perfumes as fashionable accessories. A 1928 advertisement described the collection as "Perfumes of Royalty", emphasizing that the fragrances had been "created to meet the new vogue of smart accessories." The advertisement highlighted several of Renaud's most popular perfumes housed in these colorful flacons. L'Acacia was described as carrying "a breath from the desert," Egyptia captured "the alluring fragrance of Egyptian perfumery," Fragrance was said to embody a bouquet of beautiful French flowers, and Gardenia promised the true scent of the beloved blossom itself.
The cut-glass style flacons represent an interesting chapter in Renaud's packaging history. They demonstrate the company's ability to combine attractive design, fashionable colors, and sophisticated presentation while maintaining its reputation for offering quality French perfumes at attainable prices. Today, collectors prize these bottles not only for their elegant appearance but also for their variety of stopper colors, decorative presentation boxes, and their close association with some of Renaud's most popular fragrances of the late 1920s.
The bottle was available in three sizes:
- 4.5" tall
- 3" tall
- 2.75" tall
Frosted Pyramid Bottle with Blue Flower Stopper
Among the rarest and most intriguing perfume bottles attributed to Parfumerie Renaud is an unusual squat flacon formed as a four-sided truncated pyramid and crafted from partially frosted glass. The bottle's distinctive silhouette, broad base, and tapering sides create a striking geometric appearance characteristic of the Art Deco period. Its most remarkable feature is the stopper: a beautifully molded satin-finished blue glass flower whose design closely resembles the celebrated floral stopper used for Caron's Narcisse Noir, though rendered in translucent blue rather than opaque black glass.
The combination of frosted surfaces and luminous blue glass creates a sophisticated visual contrast that would have stood out dramatically on a dressing table. Surviving examples are exceptionally scarce, and the bottle is seldom encountered by collectors today. One known example bears a Sweet Pea by Renaud label, suggesting that it may have been used for one of the house's most popular fragrances, possibly as a special presentation or limited production variant. Its rarity and elegant design make it one of the most desirable and mysterious bottles associated with the Renaud name.
The Notchenka Bottle
Created exclusively for Notchenka, the most luxurious and expensive fragrance in Renaud's catalog, this remarkable bottle ranks among the finest presentations ever produced by the house. Designed by the celebrated French glass designer Julien Viard, the flacon is fashioned from deep jet-black opaque glass and stands approximately 3 inches tall. Its sculptural molded ornamentation is highlighted with a distinctive Nile-green patina, a technique known as piqué, in which color is carefully applied to the raised details to accentuate the design and create dramatic contrast against the black glass. The resulting effect is both exotic and sophisticated, perfectly complementing the mysterious Russian-inspired character of the perfume it contained.
The bottle was housed in an equally luxurious presentation case finished in black and gold and adorned with an elegant bullion tassel. Together, the bottle and box created a presentation worthy of the fragrance's prestigious positioning. When Notchenka debuted in 1928, it was promoted as one of the most exclusive perfumes available in America, retailing for an astonishing $55 per ounce, a price that placed it among the costliest fragrances of its era. Renaud's advertising emphasized the perfume's Russian mystique, describing it as the fragrance of a tiny blue flower from the land of the midnight sun and evoking the romance and enchantment of Imperial Russia.
By 1932, however, the selling price had fallen dramatically to just $8.75, a decline that likely reflected the profound economic effects of the Great Depression. Following the stock market crash of 1929, demand for luxury goods collapsed as consumers reduced discretionary spending. Many perfume houses were forced to lower prices, discontinue expensive presentations, or reformulate products in order to remain competitive. Renaud's steep reduction in the price of Notchenka was probably an effort to move existing inventory and broaden the fragrance's appeal during a period when few customers could justify spending the equivalent of several weeks' wages on a bottle of perfume. The price reduction may also suggest that the elaborate Viard bottle and luxury presentation had become too costly to sustain in a rapidly changing marketplace. Whatever the reason, the surviving bottles remain exceptionally rare today and represent one of the most ambitious and elegant perfume presentations ever produced by Parfumerie Renaud.
Other Bottles:
