Les Parfums Godet

Les Parfums Godet was one of the more fascinating French perfume houses of the early twentieth century because its story combines artistic ambition, entrepreneurial determination, international expansion, and unusually refined presentation. The house was established in Paris by Julien-Joseph Godet, operating from 37 Rue Saint-Lazare, and quickly developed a reputation for perfumes, cosmetics, and luxury toiletries. Although one source identifies the company's origins as 1901, a contemporary 1925 biographical account places the practical founding of the perfume house itself in January 1908, suggesting that the business may have evolved from earlier activities before becoming the recognized Les Parfums Godet enterprise.

Unlike many firms that relied heavily upon investors and inherited capital, Godet was described as a highly personal undertaking built around the determination of its founder. Contemporary accounts portray Julien-Joseph Godet as a man of unusual energy who deliberately avoided seeking external financial support, preferring slower growth if necessary in exchange for maintaining independence. The biographical article emphasized that he possessed extraordinary confidence in his own abilities and future success.

This confidence proved justified. Within only a few years, the company experienced remarkably rapid growth and gained recognition among the leading French perfume houses. Contemporary observers viewed this achievement as particularly impressive because it had occurred in an exceptionally short period of time. Yet success came at a personal cost. According to the 1925 article, Julien-Joseph Godet exhausted both his physical and emotional resources through relentless labor and suffered serious illness before dying in June 1913, just as his enterprise had reached a stage where its rewards were becoming fully visible.

Following his death, control passed initially to his widow Louise Godet and to Abel Ravaud, who had already served as director of the company. Godet himself had reportedly selected Ravaud shortly before his death to guide the future of the house. Ravaud later formalized his position through the establishment of the limited company Les Parfums Godet in June 1924, after more than a decade directing operations. Under his leadership the company entered a period of significant prosperity and international expansion.

By the early 1910s, Godet had become an important international enterprise. The company maintained Godet Inc. at 565 Fifth Avenue, New York, while a network of approximately twenty-five agents promoted its products throughout international markets. Within the United States, Rexall Drug Stores became the exclusive distributor of Godet perfumes beginning in 1913, demonstrating the company's ambition to secure a substantial American presence.

The company's catalogue extended well beyond perfume itself. Godet sold perfumes, powders, cosmetics, and toiletries, participating in the broader movement among perfume houses toward complete beauty systems. One particularly important cosmetic product was Ma Poudre ("My Powder"), introduced in 1911. Contemporary sources suggest that this product represented an unusually avant-garde presentation for its time, indicating that the company was interested not merely in fragrance formulas but also in innovative design and marketing.

Packaging and bottle design became among the defining characteristics of the house. Contemporary descriptions repeatedly emphasized the elegance and originality of Godet presentations. The company employed some of the finest glass manufacturers and decorative specialists of the period. Baccarat supplied many of its luxury perfume bottles, placing Godet within the company of prestigious perfume houses using the most celebrated crystal manufacturers available.

Additional bottles came from H. Saumont, whose striking opaque red glass flacons were also used by other distinguished perfume companies such as Lionceau. Other containers were manufactured by Depinoix. Smaller miniature dram bottles, now more commonly encountered by collectors, were particularly associated with the 1920s and 1930s.

The visual appeal of Godet packaging was also evident in contemporary advertising. A 1912 Winnipeg Tribune listing described perfumes sold in richly lithographed and embossed boxes, while more expensive offerings appeared in cut Baccarat bottles, leather cases, and satin-lined jewel presentations. The most luxurious examples included cut glass decorated with gold and portrait enamel work, housed in jewel-like cases. These descriptions reveal how carefully the company integrated fragrance, presentation, and perceived value.

The fragrance range itself demonstrated a taste for romantic and poetic themes. The 1925 article singled out perfumes such as Petite Fleur Bleue, Sous-Bois, Divinité, Parmi les Fleurs, Mondanité, and Frivolia, praising both their charm and presentation. The language used to describe them was notably lyrical. Petite Fleur Bleue was characterized as adorable, Sous-Bois as exquisite, while the others were said to possess mysterious and irresistible charm.

Recognition at international exhibitions reinforced the company's reputation. Godet received a Grand Prix at the French Exhibition in Amsterdam in 1922 and later achieved Hors Concours status at the Strasbourg Colonial Exhibition, a distinction indicating recognition beyond ordinary competition. These honors further established the house as a serious participant within the luxury perfume industry.

One of the company's most celebrated creations appears to have been Folie Bleue, which received a gold medal at the 1925 Paris Exposition. The perfume was described as combining bergamot, violet, and woods in an artfully balanced composition. Such a structure would likely have produced a refined floral-woody accord with sparkling citrus brightness and soft powdery elements.

Like many perfume houses of its generation, Godet eventually encountered severe external pressures. The Great Depression and later the disruptions of World War II appear to have significantly reduced production and innovation. Contemporary records suggest that few or no major new perfumes appeared during these periods.

Les Parfums Godet ultimately represents a characteristic but distinctive chapter in French perfume history. It embodied the ideals that many consumers associated with French perfumery: artistic presentation, luxurious craftsmanship, international sophistication, and deeply personal entrepreneurial vision. Though its rise was comparatively rapid and its founder's life comparatively brief, the house achieved an influence that extended far beyond its years, leaving behind perfumes and presentations remembered for their elegance and charm.

Godet has been resurrected: http://parfumsgodet.com/

I have listed all of the perfumes I could find, there may be more.

The perfumes of Godet:

• 1900 Oeillet D'Automne
• 1900 Bouquet de Lilas
• 1900 Bouquet de Muguet
• 1904 Envois de Fleurs
• 1908 Sous-Bois
• 1909 Fleurs de Reine
• 1909 Concentre de Violette
• 1909 Concentre de Rose
• 1909 Concentre de Muguet
• 1909 Concentre de Oeillet
• 1909 Concentre de Iris
• 1909 Concentre de Lilas
• 1909 Concentre de Cyclamen
• 1909 Concentre de Jasmin
• 1910 Gentil Muguet
• 1911 Parfum d'Ambre
• 1911 Trésor de Jasmin
• 1911 Trésor de Violet
• 1911 Trésor de Muguet
• 1911 Trésor des Prairies
• 1911 Trésor de Oeillet
• 1912 Tresor Royale
• 1912 Parfums de Luxe
• 1912 Artistic
• 1912 Brindilles Parfumées
• 1912 Aubepine Blanche
• 1912 Exquisite
• 1912 Blanche Bruyere
• 1912 Le Secret de Suzette
• 1912 La Rose Jocelyn
• 1912 Violette La France
• 1912 Rose Ambree
• 1913 Jerusalem
• 1913 Parfum d'Islam
• 1913 Marcinah
• 1913 Mondanite
• 1913 Le Coeur D'Une Rose
• 1913 Violette de Parme
• 1914 Rosy Kiss
• 1914 Violet Reve
• 1915 Violette de Nice
• 1917 Selectis
• 1917 Le Mimosa
• 1919 Cyclamen Fleuri
• 1920 Chypre de Godet
• 1920 Heliotrope
• 1920 Narcisse
• 1920 Gardenia
• 1920 Jasmin
• 1920 Violette
• 1920 La Rose
• 1920 Verveine
• 1920 Fougere
• 1920 Chevrefeuille
• 1921 Petite Fleur Bleue
• 1920 Parmi des Fleurs
• 1921 Cuir de Russie
• 1923 Tut-An-Kham - Parfum Egyptian
• 1924 Divinité
• 1924 Revelation
• 1924 Week End
• 1924 Chant du Soir
• 1925 Bouquet des Amours
• 1925 Week-End
• 1925 Fleur Noire
• 1925 Divin Mensonge
• 1925 Nuit D'Amour (This is the re-branded fragrance 'Soir de Lune' by Brecher)
• 1925 Folie Bleue
• 1927 Jasmin Fleuri
• 1927 Marjolaine
• 1927 Charmant Lilas
• 1927 Bouquet Essences
• 1929 Les Fougeres
• 1929 Predilection
• 1953 Week-End, relaunched
• 1950s Spring

The perfumes of Godet reveal a house deeply rooted in floral refinement, artistic presentation, and Belle Époque romanticism. Its earliest listed fragrances, including Œillet d’Automne, Bouquet de Lilas, Bouquet de Muguet, Envois de Fleurs, and Sous-Bois, show a naturalistic vocabulary centered on flowers, woods, seasons, and poetic gifts. Sous-Bois, meaning “undergrowth” or “woodland floor,” suggests a shaded forest atmosphere, likely mossy, woody, green, and softly floral.

Around 1909, Godet developed a series of concentrated floral perfumes: Concentré de Violette, Concentré de Rose, Concentré de Muguet, Concentré d’Œillet, Concentré d’Iris, Concentré de Lilas, Concentré de Cyclamen, and Concentré de Jasmin. This group shows the house’s command of elegant soliflore perfumery. These were likely intended to present recognizable floral effects in refined, intensified form, suitable for customers who wanted clear, polished, luxurious flower perfumes.

The Trésor series of 1911–1912 continued this idea in a more luxurious register. Trésor de Jasmin, Trésor de Violette, Trésor de Muguet, Trésor des Prairies, Trésor d’Œillet, and Trésor Royale used the language of treasure to elevate floral perfumes into precious objects. Their presentation in embossed boxes, Baccarat bottles, and jewel-like cases would have strengthened this impression of delicacy and value.

By 1912, Godet’s naming became more imaginative and theatrical. Artistic, Parfums de Luxe, Brindilles Parfumées, Aubépine Blanche, Exquisite, Blanche Bruyère, Le Secret de Suzette, La Rose Jocelyn, Violette La France, and Rose Ambrée suggest refined gifts, boudoir elegance, and feminine sentiment. Rose Ambrée likely combined rose with warm ambered sweetness, while Le Secret de Suzette belongs to the playful, intimate naming style of the period.

The 1913 releases introduced a stronger exotic and cosmopolitan tone. Jerusalem, Parfum d’Islam, and Marcinah suggest the era’s fascination with the Middle East, sacred cities, incense, resins, spice, and imagined oriental luxury. Mondanité, by contrast, evokes fashionable society and worldly elegance, while Le Cœur d’Une Rose returns to romantic floral imagery.

During the First World War years, Godet continued with soft, accessible floral names such as Rosy Kiss, Violet Rêve, Violette de Nice, Selectis, and Le Mimosa. These names suggest delicacy and reassurance rather than drama. Violet Rêve and Violette de Nice would have fit the enduring French taste for violet perfumes, while Le Mimosa likely offered a powdery yellow floral effect.

The 1920 catalogue shows Godet organizing itself around major fragrance families and familiar floral themes: Chypre de Godet, Heliotrope, Narcisse, Gardenia, Jasmin, Violette, La Rose, Verveine, Fougère, and Chèvrefeuille. This group reads almost like a classic perfume wardrobe. Chypre de Godet would have represented the mossy bergamot-labdanum-oakmoss style; Fougère an aromatic lavender-coumarin-moss structure; Verveine a bright lemony herbal cologne; and Chèvrefeuille a sweet honeysuckle floral.

The early 1920s brought some of Godet’s most evocative creations. Petite Fleur Bleue, Parmi des Fleurs, and Cuir de Russie show three different directions: tender floral poetry, bouquet-style abundance, and sophisticated leather. Cuir de Russie placed Godet within a prestigious perfume tradition associated with smoky birch leather, polished woods, florals, tobacco-like warmth, and aristocratic elegance.

In 1923, Godet introduced Tut-An-Kham – Parfum Egyptian, clearly inspired by the international Egyptomania that followed the discovery of Tutankhamun’s tomb. Such a perfume would have promised mystery, gold, incense, resins, balsams, and ancient splendor, even if the actual formula is unknown. Its appearance shows Godet’s ability to respond quickly to cultural fashion.

The mid-1920s marked a particularly artistic and modern phase. Divinité, Révélation, Week End, Chant du Soir, Bouquet des Amours, Fleur Noire, Divin Mensonge, Nuit d’Amour, and Folie Bleue belong to the language of Art Deco romance and sophistication. These names are less literal than the early soliflores and more emotional, suggesting mystery, leisure, nightlife, seduction, and dreamlike color.

Folie Bleue of 1925 was especially important, earning recognition for its refined composition of bergamot, violet, and woods. The idea of “blue madness” suggests a cool, elegant, slightly melancholy floral-woody perfume, with violet lending powdery softness, bergamot adding radiance, and woods providing structure. It appears to have been one of Godet’s most artistically admired creations.

Nuit d’Amour is notable because it was a re-branded version of Brecher’s Soir de Lune. This kind of rebranding was not unusual in the perfume trade, particularly when companies shared distribution, licensing, or presentation arrangements. The name “Night of Love” gave the perfume a more overtly romantic and sensual identity.

The late 1920s returned to florals and refined aromatic themes with Jasmin Fleuri, Marjolaine, Charmant Lilas, Bouquet Essences, Les Fougères, and Prédilection. Marjolaine suggests sweet herbaceous warmth, while Les Fougères indicates a group or interpretation of fern-like aromatic perfumes. Prédilection implies a personal favorite, a chosen scent, and belongs to the elegant emotional vocabulary of interwar perfumery.

After the disruptions of the Depression and World War II, the relaunch of Week-End in 1953 and the appearance of Spring in the 1950s suggest an attempt to revive Godet’s lighter, leisure-oriented image. These names feel cleaner, brighter, and more modern than the dense romanticism of the 1920s. They point toward postwar optimism, casual elegance, and renewed femininity after years of economic and wartime difficulty.

Taken together, Godet’s perfumes form a graceful arc from naturalistic Belle Époque florals to Art Deco fantasy and postwar freshness. The house excelled at violets, roses, muguet, lilac, jasmine, and refined floral bouquets, but it also ventured into chypre, fougère, Russian leather, Egyptian fantasy, ambered rose, and modern emotional perfumes. Its catalogue reflects a brand that understood both scent and spectacle: Godet perfumes were not only composed to smell beautiful, but presented as treasured, artistic objects.

The perfume Chant du Soir is classified as a floral chypre fragrance for women.

• Top notes: bergamot, lily of the valley
• Middle notes: rose, jasmine and carnation
• Base notes: amber, oakmoss, musk, sandalwood and civet

Cosmetics & Toiletries:

Brilliantine:

• Bouquet D'Heliotrope
• Bouquet de Muguet
• Bouquet Lilas
• Brindilles Parfumees
• Coeur d'Une Rose
• Cyclamen
• Charmant Lilas
• Chevrefeuille
• Chypre
• Chypre de Godet
• Divinite
• F1eurs de Reine
• Folie Bleue
• Gardenia
• Gentil Muguet
• Les Fougeres
• Marjolaine
• Mimosa
• Oeillet d'Automne
• Parmi les Fleurs
• Petite Fleur Bleue
• Rose Ambree
• Rose Joselyn
• Sous Bois
• Tresor de Violette
• Violette de Nice
• Violette de Parme

Rouge:

• Mandarine
• Brunette
• Blonde

Lipstick
Eyeliner

Face Powder Compacts:

• Parmi les Fleurs
• Petite Fleur Bleue
• Rose Ambree
• Sous Bois
• Tresor de Violette

Talc:

• Chypre Godet
• Divinite
• Gentil Muguet
• Oeillet d'Automne
• Parmi les F1eurs
• Petite Fleur Bleu
• Rose Ambree
• Sous Bois
• Tresor de Violette

Bath Salts:

• Petite F1eur Bleue

Perfumed Sachet:

• Folie Bleue
• Petite F1eur Bleue

Bottles:

 The company's perfume bottles displayed some of the finest labels of the era.

Baccarat was a supplier for many of their perfume bottles. Cristalleries de Baccarat flacons design numbers as follows:

• #116 which was also used by Annick Goutal
• #118
• #280
• #626

The company's perfume bottles displayed some of the finest labels of the era. Baccarat was a supplier for many of their perfume bottles Other bottles are the red opaque glass flacons made by H. Saumont, these bottles were also used by the Lionceau perfume company for their perfumes. Other bottles were made by Depinoix. More commonly found are the mini dram bottles for various Godet perfumes, these date to the 1920s-1930s.

In this 1930 advertisement for the luxury perfume box manufacturer Gouvernent, we can see that they were the ones who provided the presentation box for the Godet perfume Divin Mensonge! This MAY be the ONLY image of the perfume's box currently in existence.