Les Parfums d'Arys

Among the many perfume houses that flourished during the first half of the twentieth century, few experienced the meteoric rise, international expansion, and eventual disappearance of Les Parfums d'Arys. Although largely forgotten today, Arys was once counted among the most ambitious perfume companies in France. During its peak years in the 1920s and 1930s, it operated a vast industrial network, maintained subsidiaries and factories across Europe, exported throughout the world, supplied royal courts, and earned numerous awards at international exhibitions. Contemporary publications even described the company as one of the most powerful perfume organizations in existence.

The story of Arys begins with its founder, Dr. Lucien Graux, a remarkable figure whose career extended far beyond the world of perfumery. Physician, entrepreneur, publisher, author, philanthropist, and later a hero of the French Resistance, Graux embodied the spirit of innovation and ambition that characterized France during the early twentieth century.

image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir.

The Beginning:

Born in 1878, Lucien Graux built his reputation first in the medical field. His specialties included public hygiene, urology, and pharmacology applied to healthcare. Between 1906 and 1914 he served as editor of La Gazette Médicale de Paris, one of the leading medical publications of the period. His interests extended beyond clinical medicine into pharmaceutical research and commercial enterprise. In December 1907 he filed a patent for a medication designed to combat excess uric acid, marketed under the name Urodonal. Through the Établissements Chatelain of Paris and Courbevoie, Graux successfully promoted Urodonal alongside other pharmaceutical preparations such as Globeol and Jubol. His aggressive use of advertising and publicity demonstrated an instinct for marketing that would later become central to the success of his perfume empire.

Around 1916, during the difficult years of the First World War, Graux founded the Société Anonyme des Parfums d'Arys in Paris. The name Arys had already appeared on fragrances produced by Graux prior to the formal establishment of the company, suggesting that the brand identity was carefully developed before the creation of the corporation itself. In 1918, the company was listed on the stock exchange, providing capital for future expansion. Graux simultaneously opened a prestigious boutique at 3 Rue de la Paix, one of Paris's most fashionable luxury shopping districts. Situated near the Place Vendôme and surrounded by jewelers, couturiers, and luxury merchants, the location immediately positioned Arys among the elite houses of French luxury.

The timing of Arys's creation proved ideal. During the late nineteenth century and the years following the First World War, Europe experienced an intense fascination with exotic cultures. Orientalism permeated art, fashion, interior decoration, literature, and perfumery. European consumers became captivated by romanticized visions of the Middle East, North Africa, India, China, and Japan. Perfume houses eagerly responded by creating fragrances inspired by imagined Eastern palaces, desert caravans, harems, spices, incense, silks, and precious woods.

Arys entered the market precisely as this fascination reached its height. It competed alongside houses such as Vantine's, Parfums de Rosine, Bichara, and Babani, all of which sought to satisfy consumer demand for Oriental-inspired luxury goods. Through evocative fragrance names, luxurious presentation, and sophisticated advertising, Arys successfully captured the imagination of both European and American consumers during the 1920s.

By the middle of that decade, the company had become a major force in the international perfume trade. A remarkable 1925 publication devoted to the company described the Société Anonyme des Parfums d'Arys, whose products were prepared according to formulas developed by Dr. Reymondon, as "one of the most powerful organizations in France and the whole world." Although clearly promotional in tone, the article nevertheless provides a fascinating glimpse into the scale and ambition of the enterprise.

image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir.

Manufacturing:

At the heart of Arys's operations stood its vast manufacturing complex located at 107 Boulevard de la Mission Marchand in Courbevoie, just northwest of Paris. Unlike many perfume houses that outsourced components of production, Arys developed an unusually integrated industrial structure. The factory employed several hundred workers and operated with approximately 350 horsepower of mechanical power, a considerable figure for a perfume manufacturer during the period.

Visitors were greeted by spacious, brightly illuminated workshops and modern laboratories equipped with advanced machinery that was continually updated to incorporate the latest technological innovations. The company emphasized cleanliness, hygiene, and worker comfort, reflecting the growing influence of scientific management and industrial efficiency during the interwar period. These concerns likely reflected Graux's medical background, as he consistently highlighted public health, sanitation, and modern production methods throughout his various enterprises.

The scale of the operation was extraordinary. In addition to perfume manufacturing, Arys maintained automobile repair workshops, crate-making facilities, packaging and cardboard factories, a printing works, and even its own glassworks where artistic perfume bottles were produced. The company controlled nearly every aspect of production, from fragrance formulation and bottle manufacturing to packaging design and distribution. A fleet of delivery vehicles served its expanding network of retailers and distributors.

This industrial strength allowed Arys to grow at an astonishing pace. During the 1920s, the company launched numerous fragrances that it claimed represented entirely new directions in perfumery. Whether these claims were exaggerated for advertising purposes or not, contemporary observers clearly regarded Arys as one of the most innovative houses of its era. The company's advertisements regularly stressed modernity, originality, and scientific sophistication while simultaneously promoting the timeless elegance associated with French luxury.

image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir.

International Expansion:

The success of Arys was not confined to France. From the beginning, Lucien Graux envisioned the company as an international enterprise. The 1925 report emphasizes the enormous resources devoted to export markets. Thousands of catalogues and promotional brochures were distributed annually in English, Spanish, Italian, Portuguese, and German. This multilingual approach was highly sophisticated for its time and demonstrates that Arys understood the importance of adapting its message to local markets rather than relying exclusively on French prestige.

The company established an extensive international manufacturing network that was almost unprecedented among perfume houses of the period. A subsidiary in Milan occupied approximately 8,000 square meters, while additional factories operated in Barcelona, Brussels, and Budapest under the supervision of French specialists. Plans were already underway for further expansion into England, Romania, Chile, and Czechoslovakia. These facilities enabled Arys to avoid import duties, accelerate distribution, and establish a stronger presence in foreign markets while simultaneously promoting French luxury culture abroad.

Italy became one of Arys's strongest markets. Beginning in the mid-1930s, the fragrance Lavanda achieved considerable popularity there and helped strengthen the company's position among Italian consumers. This success was no doubt aided by the firm's longstanding presence in Milan and its familiarity with local tastes.

The company's growing reputation earned it prestigious appointments as supplier to several royal households. By the mid-1920s, Arys held warrants as an official supplier to the court of King Alfonso XIII of Spain, King Haakon VII of Norway, and Ahmed II Bey of Tunis. Such distinctions served as powerful endorsements and were prominently featured in advertising and promotional literature. In an era when royal patronage still carried tremendous social prestige, these appointments reinforced Arys's image as a luxury house of international importance.

image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir.

Awards:

One of the clearest indications of the prestige enjoyed by Parfums d'Arys during the 1920s can be found in the remarkable number of awards, medals, and honorary distinctions earned by the company at international exhibitions. During the early twentieth century, these honors carried far greater significance than they do today. International expositions functioned as showcases for industrial innovation, artistic achievement, and commercial excellence, attracting manufacturers, distributors, journalists, government officials, and consumers from around the world. A medal awarded at a major exhibition was not merely decorative; it served as an independent endorsement of quality that could be displayed proudly on perfume labels, packaging, advertisements, catalogs, and storefronts. For luxury houses such as Arys, these distinctions helped establish credibility in foreign markets and reassured customers that the products they were purchasing represented the finest standards of French craftsmanship.

Beginning shortly after the First World War, Arys accumulated an impressive series of honors. At the Strasbourg Exposition of 1919, held as France celebrated victory and reconstruction after years of conflict, the company was awarded a Silver Medal. This distinction placed Arys among the promising perfume manufacturers of the immediate postwar era and demonstrated that the young company had already begun attracting attention for the quality of its products.

The following years brought even greater recognition. At the Monaco Expositions of 1920 and 1921, Arys was awarded two Gold Medals, one of the highest distinctions granted to exhibitors. Monaco, long associated with luxury, fashion, and wealthy international clientele, provided an ideal venue for a perfume house seeking prestige. Receiving consecutive Gold Medals there signaled that Arys had moved beyond the status of a promising newcomer and was emerging as one of the leading names in modern perfumery.

In 1921, the company expanded its reputation beyond Europe when it received a Certificate of Honor at the Beirut Exposition. Such recognition was particularly significant because it reflected the growing influence of French luxury goods in the eastern Mediterranean and the Near East. During the 1920s, French perfumes enjoyed enormous popularity throughout the Levant, where they were viewed as symbols of sophistication and refinement. Recognition at Beirut helped reinforce Arys's growing international reputation and demonstrated the company's ability to appeal to consumers far beyond France's borders.

By 1922, Arys had achieved such standing within the perfume industry that it was designated *hors concours* at the Marseille Exposition. Literally meaning "outside competition," this designation was reserved for firms whose reputation and achievements placed them beyond ordinary judging. Rather than competing for medals alongside other exhibitors, Arys participated in a more prestigious capacity. According to contemporary records, the company was represented as President of the Jury, a role that reflected the respect it had earned among its peers and positioned it as an authority within the industry rather than merely a competitor.

That same year, the company received another Silver Medal at the Rio de Janeiro Exposition. This distinction illustrates the increasingly global reach of French perfumery during the interwar years. South America, particularly Brazil, represented an important and rapidly growing market for luxury goods. Recognition at Rio de Janeiro helped strengthen Arys's commercial position in Latin America and reinforced its image as an international brand capable of competing successfully on multiple continents.

A particularly prestigious honor came in 1923 at the Strasbourg Pasteur Exposition, where Arys received the coveted Grand Prix. Named in honor of Louis Pasteur, the exhibition celebrated scientific achievement, innovation, and progress. For a company founded by physician and entrepreneur Dr. Lucien Graux, whose career was deeply rooted in medicine, pharmacology, and public hygiene, receiving the highest award at such an exhibition was especially meaningful. It reflected the company's emphasis on scientific formulation, modern manufacturing techniques, and product quality.

The following year, at the Strasbourg Colonial Exposition of 1924, Arys was awarded a Gold Medal. Colonial exhibitions occupied an important place in French commercial life during the interwar period, highlighting trade connections between France and its overseas territories. Perfume manufacturers often relied upon exotic raw materials imported from around the world, including flowers, spices, woods, resins, and aromatic oils. Participation in such exhibitions allowed perfume houses to demonstrate both their commercial reach and their ability to transform global ingredients into luxury products.

image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir.

The company's string of successes culminated in 1925 when Arys received another Grand Prix at the Exposition du Val-de-Grâce in Paris. By this time, the company had firmly established itself among the elite perfume houses of France. Receiving the highest distinction at a major Parisian exhibition represented a powerful endorsement from the very center of the international perfume industry.

Beyond earning awards, Arys understood the immense value of international trade fairs as vehicles for expansion. During the 1920s, decades before television advertising, social media, or global marketing campaigns, commercial exhibitions served as the primary means by which manufacturers introduced their products to foreign buyers. These events brought together distributors, retailers, wholesalers, journalists, government representatives, and business leaders from around the world. For perfume companies, they provided opportunities not only to display fragrances but also to showcase artistic bottles, luxurious packaging, and the sophistication associated with French taste.

As part of its aggressive international expansion strategy, Arys participated in numerous important commercial events. Among these were the Casablanca Fair of 1922, which connected French manufacturers with North African markets; the Vienna Display Competition of 1922, which emphasized innovative merchandising and retail presentation; the New York Commercial Fair of 1922, which exposed the company to the enormous American market; and the Havana Fair of 1924, which offered access to the growing economies of the Caribbean and Latin America.

Participation in these events required considerable financial resources and organizational effort. The ability of Arys to maintain a presence at so many international fairs demonstrates the scale of the company and the global ambitions of its founder, Dr. Lucien Graux. These exhibitions allowed the firm to cultivate relationships with distributors, secure export contracts, study foreign consumer preferences, and strengthen the international reputation of the Arys name. Together with its numerous medals and honors, they helped transform what had begun as a Parisian perfume house into one of the most internationally recognized French fragrance brands of the interwar period.

The company was equally active in public relations. In 1924, it welcomed visiting groups of Yugoslav students and approximately 150 Canadian journalists who were in Paris for the Olympic Games. Such visits provided an opportunity to showcase French industrial expertise and create goodwill among future opinion leaders. The strategy resembles modern corporate hospitality programs and demonstrates how effectively Arys understood the value of publicity.

One of the company's proudest achievements came through its participation in the Exposition Internationale des Arts Décoratifs et Industriels Modernes held in Paris in 1925. This historic exhibition gave birth to what would later become known as the Art Deco movement. Arys played an active role in its organization, and the company's chairman was appointed Rapporteur for Class XXII of the Admissions Committee, a position of considerable responsibility and prestige. The appointment reflected the high regard in which Arys was held within French luxury industries at the height of its success.

image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir.

WWII & Beyond:

Yet the story of Arys cannot be separated from the extraordinary life of its founder. During the German occupation of France in the Second World War, Lucien Graux became actively involved in the French Resistance. In June 1944, he was arrested by the Gestapo at his home and deported to the Dachau concentration camp. There, on October 10, 1944, he was murdered by the Nazi regime. His death deprived Arys of its founder, visionary, and driving force at a moment of profound upheaval for France and for the perfume industry as a whole.

Following the war, the company paid tribute to Graux through the release of a fragrance named Témoignage ("Testimony"), a memorial to the man whose entrepreneurial energy had built one of France's most successful perfume houses. Further information about his life and achievements can be found in Bibliothèque du Docteur Lucien-Graux, published in 1956.

The original company continued operating after the war under the name Arys Parfums de Luxe. Trade references indicate that the brand remained active at least into 1959, although evidence suggests that the original enterprise likely disappeared around 1960. Like many interwar perfume houses, Arys faced a dramatically changed postwar market dominated by larger international corporations and evolving consumer preferences.

The Arys name, however, would not disappear entirely. In 1965, a new company called Arys Parfums Paris SARL was established to revive the historic brand. According to Chemical Industry: Magazine for the German Industry (1965), the new venture was financed jointly by French interests and the Milan-based firm Algi Picardi & Co. SAS, demonstrating that the Italian connection established during the original company's expansion continued decades later. In 1968, official commercial notices recorded an increase in capital from 15,000 to 65,000 francs and described the company's activities as the creation and operation of a commercial and industrial enterprise devoted to the research, manufacture, purchase, and sale of perfumes and beauty products.

Unlike the original Arys company of the 1920s and 1930s, the revived enterprise embraced contemporary packaging and presentation. Modern bottles, often equipped with atomizer sprays, replaced many of the ornate flacons of the Art Deco era. Nevertheless, the company retained a strong connection to its heritage by reviving numerous fragrance names originally introduced by Arys during its golden age. Although these later perfumes were new productions, they preserved the memory of a brand that had once stood among the leading perfume houses of France.

Today, Parfums d'Arys remains one of the most intriguing forgotten names in perfume history. The surviving bottles, advertisements, and exhibition records reveal a company that successfully combined scientific innovation, industrial efficiency, artistic presentation, and international ambition. The remarkable 1925 account describing Arys as one of the most powerful perfume organizations in the world may have been promotional in tone, but it was not entirely without foundation. For nearly two decades, under the leadership of Lucien Graux, Arys built a global perfume empire whose influence extended from Paris to Milan, from New York to Budapest, and from royal courts to ordinary consumers. Though the company eventually disappeared, its story remains a fascinating chapter in the history of French perfumery and a testament to the vision of the extraordinary man who created it.

 

 

 

The photos below illustrate the opulent interior of the Arys boutique in Paris from 1925 to 1927.

The fragrances of Arys Parfums Paris included:

• A Paris
• Grand Lavande
• Jour et Nuit
• Fox Trot
• Eau de Lavande
• Un Jour Viendra
• Mary Poppins
• Monsieur Arys
• Nuit Blanche

image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir.

The perfumes of Arys:

• 1911 Promenade Matinale
• 1916 Arys
• 1916 Arysette
• 1916 Bridal Bouquet
• 1916 Le Chypre
• 1917 Chypre 2
• 1917 La Rose
• 1917 Le Cyclamen
• 1917 Parlez-lui de Moi (a floral bouquet perfume)
• 1917 Secret d'Arys
• 1918 L’Heure Heureuse
• 1918 Un Jour Viendra (a floral bouquet perfume)
• 1919 C'est Ca!
• 1919 Chypre 3
• 1919 Croyez Moi
• 1919 L'Amour Dans la Coeur (a floral bouquet perfume)
• 1919 L'Anneau Merveilleux (a floral bouquet perfume)
• 1919 L’Œillet
• 1919 La Violette
• 1919 Parce Que
• 1919 Premier Oui (a floral bouquet perfume)
• 1919 Rien que de Bonheur
• 1919 Un Jardin le Nuit
• 1920 Ambre Vermeil (a floral bouquet perfume)
• 1920 Assola
• 1920 Blasé
• 1920 Dame au Saphir
• 1920 Djola
• 1920 En Fermant Les Yeux
• 1920 Faisons un Reve (a floral bouquet perfume)
• 1920 Faites-Lui Mes Aveux
• 1920 Fox Trot (a floral bouquet perfume)
• 1920 Idee de Femme
• 1920 L’Héliotrope
• 1920 La Mimosa
• 1920 Le Jasmin (housed in both bottles by Baccarat & UMAB)
• 1920 Musky
• 1920 Parfum Admirable
• 1920 Parlez -lui de moi
• 1920 Rose sans fin (a floral bouquet perfume)
• 1920 L’Anneau Merveilleux
• 1920 Vouloir c'est pouvoir (parfum pour homme)
• 1920 Yank
• 1922 Caresse Infinie
• 1922 Éternellement
• 1922 Feuilles
• 1922 L'Iris
• 1922 Le Lilas
• 1922 Le Muguet
• 1922 Un Jardin La Nuit
• 1923 Blues
• 1923 Eau de Cologne Ambrée
• 1924 Un Reve
• 1925 Le Bonheur dans L’Air
• 1926 Ambré de Carthage
• 1926 Charlestown
• 1927 Diamant Imperial
• 1928 Mes Chers Aimis
• 1920 Black Narcissus
• 1930s Amneris
• 1934 Eau de Lavande (Lavanda)
• 1934 Eau de Lavande Ambree
• 1940 Soubrette
• 1945 Témoignage (housed in a stepped pyramid crystal bottle)
• 1950s Lavande Pour Monsieur
• Mon Jardin le Nuit
• Quercia
• Can Can
• Célisse
• Rien Que du Bonheur
• Verveine
• Automatique
• Sabine

image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir.

A 1920 ad lists the following perfumes in their own categories:

BOUQUETS:

• Un Jour Viendra
• Ambre Vermeil
• Parlez -lui de moi
• Premier Oui
• Rose sans fin
• L’Anneux Merveilleux
• L'Amour Dans la Coeur

DERNIERES CREATIONS:

• Faisons un Reve
• Fox Trot
• Vouloir c'est pouvoir (parfum pour homme)

EXTRAITS:

• Œillet
• Rose
• Mimosa
• Cyclamen
• Jasmine
• Mimosa
• Iris
• Lilas
• Muguet
• Heliotrope
• Chypre

image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir.

Bottles:

One of the most important factors contributing to the luxury image of Parfums d'Arys was the company's commitment to exceptional presentation. During the first half of the twentieth century, the perfume bottle was often considered as important as the fragrance it contained. A beautifully designed flacon transformed a perfume from a simple toiletry into an object of art, worthy of display on a dressing table or vanity. Understanding this, Dr. Lucien Graux spared little expense in commissioning some of the finest glassmakers and designers of the era to create distinctive containers for the Arys fragrances.

Among the most prestigious names associated with Arys was the celebrated glass artist and designer René Lalique, one of the most influential figures in decorative arts during the Art Nouveau and Art Deco periods. The relationship between Arys and Lalique began in 1916, the same year that Lucien Graux formally established the Société Anonyme des Parfums d'Arys. At the time, Lalique was already internationally renowned for his jewelry, glasswork, and innovative perfume bottle designs. By commissioning Lalique, Graux immediately positioned Arys among the elite ranks of French perfumery, alongside the most prestigious luxury houses of the era.

The partnership would continue throughout much of the company's golden age. Between 1916 and 1929, Lalique designed a remarkable series of perfume bottles for Arys, creating at least fourteen distinct flacons, many of which were produced in multiple sizes. While collectors and historians generally agree that the Arys commissions do not rank among Lalique's most elaborate or artistically ambitious creations, they nevertheless represent an important chapter in the history of both the perfume house and the designer. They demonstrate the determination of Arys to compete directly with the leading perfume manufacturers of Paris by associating itself with the foremost artistic talents of the period.

Lalique's creations for Arys reflected the changing tastes of the interwar years. Moving away from the flowing naturalism of Art Nouveau, many of the bottles displayed the geometric elegance and restrained sophistication that would come to characterize the emerging Art Deco movement. These flacons were designed not only to hold perfume but also to reinforce the image of modern luxury that Arys sought to project throughout the world.

Among the fragrances for which Lalique created bottles were Ambre Vermeil, L'Oeillet, Violette, Dame au Saphir, En Fermant les Yeux, Diamant Impérial, Faisons un Rêve, Fox-Trot, L'Amour dans le Cœur, L'Anneau Merveilleux, Le Bonheur dans l'Air, Le Chypre, Le Lilas, Parlez-Lui de Moi, Premier Oui, Rien Que du Bonheur, Rose Sans Fin, Un Jardin la Nuit, Un Jour Viendra, and Vouloir c'est Pouvoir. Even the names themselves evoke the romantic and imaginative spirit of French perfumery during the 1920s. They promised dreams, happiness, love, mystery, flowers, jewels, and aspirations, themes that appealed strongly to consumers during the glamorous years between the two World Wars.

The sheer number of Lalique-designed bottles produced for Arys demonstrates the importance of packaging within the company's marketing strategy. Unlike many smaller perfume houses that relied upon stock bottles purchased from commercial suppliers, Arys invested heavily in custom-designed flacons that distinguished its products from competitors. These bottles were often prominently featured in advertisements and promotional materials, serving as visual symbols of the brand's sophistication and exclusivity.

Lalique was not the only prestigious glassmaker employed by the company. Arys also commissioned bottles from Baccarat, the legendary French crystal manufacturer whose name had become synonymous with luxury since the nineteenth century. Baccarat's reputation for exceptional craftsmanship made it a natural choice for a company seeking to position itself among the finest perfume houses in France. Bottles manufactured by Baccarat brought an added level of prestige to the Arys name and reflected the company's willingness to invest in the highest quality materials and workmanship.

image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir.

Another important contributor to the visual identity of Arys was Julien Viard, one of the most prolific and talented bottle designers of the early twentieth century. Viard's work appeared for many of the leading French perfume houses, and his collaborations with Arys further enhanced the artistic reputation of the brand. Through designers such as Lalique and Viard, Arys successfully combined fragrance, glassmaking, and decorative arts into a unified luxury experience.

The company also worked with the glass manufacturer UMAB (Usines et Manufactures d'Art de Bezons), located in Bezons, France. Although less well known today than Lalique or Baccarat, UMAB was an important producer of decorative glass during the Art Deco era. The firm's quality was recognized internationally when it received a Certificate of Honor at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris in 1925, the exhibition that gave rise to the term "Art Deco." This distinction placed UMAB among the respected decorative arts manufacturers of its time and helps explain why Arys chose the company as one of its bottle suppliers.

The collaboration between Arys and these distinguished glassmakers reflects a broader philosophy that permeated every aspect of the company. From its luxurious Rue de la Paix boutique to its international advertising campaigns and award-winning exhibitions, Arys consistently sought to present itself as more than a perfume manufacturer. It aimed to embody the very essence of French luxury. The fragrance itself was only one component of the experience. The bottle, the packaging, the advertising, and the artistic presentation were all carefully orchestrated to create an object of desire.

Today, surviving Arys bottles are among the most tangible reminders of the company's former importance. Whether produced by René Lalique, Baccarat, Julien Viard, or UMAB, these flacons provide a glimpse into a period when perfume houses collaborated with leading artists and glassmakers to create miniature works of art. For collectors and perfume historians, they remain valuable artifacts from the golden age of French perfumery and testify to the extraordinary ambition of a company that once ranked among the most influential perfume houses in the world.

image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir.

image enhanced & colorized by Grace Hummel/Cleopatra's Boudoir.