Fioret (pronounced Fee-oh-RAY) was a luxury perfume house founded in 1914 by Simon Jaroslawski, who was also known as Simon A. Jaroslawski-Fioret. An influential figure in early 20th-century perfumery, Jaroslawski was not only behind Fioret but also established two other notable fragrance companies: Ybry, famed for its avant-garde bottle designs and connections to French couturier culture, and Mÿon, another high-end fragrance brand. Together, these three ventures reflected Jaroslawski’s commitment to elegant, artistically presented perfumes at a time when the modern perfume industry was rapidly evolving.
Fioret’s fragrances were first imported into the United States in 1921 through F. Salathe and Co., a New York-based firm known for distributing fine European goods. Shortly thereafter, the Hartour Company also took part in distributing Fioret perfumes during the 1920s, helping the brand establish a presence in American luxury markets. This early and sustained activity in the U.S. perfume industry shows that Fioret was not just a niche French house—it had international aspirations and a strong transatlantic business strategy, especially during the golden age of French perfumery between the wars.
In the United States, the Fioret trademark was used continuously starting March 2, 1920. Just a few years later, in 1923, a formal trademark application was filed for the Fioret logo design, indicating a desire to protect and solidify the brand’s visual identity for use on its packaging and advertising materials. This trademark was likely applied to both product labels and promotional pieces, contributing to the brand's elegant, luxury image. The application listed the Fioret office address as 135–141 Madison Avenue, New York City, placing the company in the heart of Manhattan—a fashionable and prestigious commercial location at the time.
Although Fioret enjoyed early success and recognition as a purveyor of luxury perfumes, the company ultimately went into liquidation in the mid-1940s, possibly as a result of post-war economic disruption or shifting tastes in perfumery. Nonetheless, Fioret remains an important part of perfume history—both for its products and its connections to Ybry and Mÿon—and is remembered today by collectors and historians for its high-quality fragrances and refined packaging.
In 1924, Fioret Inc. was celebrated in The Pharmaceutical Era for its sophisticated approach to luxury perfumery and cosmetics. The article praised the brand’s guiding principle: "elegance exemplified by simplicity." This philosophy was evident in all aspects of Fioret’s product design, from the exquisite cut glass perfume bottles to the refined presentation boxes, whose tailored lines hinted at the quality of the fragrance within. The sense of restraint and refinement extended beyond packaging and into the very interior design of the company's offices. The New York City branch, serving as the American counterpart to the Paris headquarters, was decorated in a distinctive Fioret palette of green-gray and rose, creating a modern and understated luxury that echoed the house style.
Fioret's New York flagship was located at 677 Fifth Avenue, a particularly prestigious address that added to the company’s aura of refinement. The building itself was newly constructed around 1921 on the former site of the Cornelius Vanderbilt mansion, a prominent Gilded Age residence. Designed by architects W.L. Rouse and L.A. Goldstone, the new Cammeyer Building was a seven-story structure built at a cost of approximately $400,000. The exterior was clad in buff Indiana limestone and Tinos marble, finished in a modern English Renaissance style with a heavy slate roof and elegant cast-lead leader heads. The top floor featured roof skylights, while the first floor housed A.J. Cammeyer, a high-end shoemaker known for luxury footwear.
The Fioret boutique occupied the second floor, just above the Cammeyer office entrance. The ground-floor facade featured two left-center windows that bore the Fioret signage, partially visible in period advertisements and photos. Inside, the shop was decorated in a visually striking combination of turquoise and pink, a setting that displayed the brand's perfumes to beautiful effect. Although the space changed hands many times after Fioret's closure—later becoming home to Fendi and, most recently, a Microsoft retail store—it once represented one of the most elegant perfume retail spaces along New York’s premier shopping avenue.
Among Fioret’s standout fragrances at the time was Essence Jouir (from the French jouir, meaning “to enjoy”), one of the house’s most successful lines in the American market. The Jouir range included not only perfume but also toilet water and face powder, and was a point of pride among the company’s salesmen, who cited growing sales figures and enthusiastic customer response. Another highlight in 1924 was the launch of Le Dernier Roman (“The Last Romance”), a fragrance line that expanded into a full toilet water, face powder, and a new Fioret compact—described in the press as the “last word in elegance and attractiveness.”
Published in The Spur in 1923, this evocative description captures the refined and thoughtfully curated world of Les Parfums des Jardins de Fioret, highlighting not only the fragrances themselves but the immersive atmosphere in which they were presented. The writer emphasizes that for any man wishing to express himself through the language of scent—whether to declare affection, admiration, or courtship—Fioret offered a complete "vocabulary" of perfumes, each capable of conveying distinct sentiments.
The boutique, likely referring to Fioret’s elegant Fifth Avenue salon in New York, was not merely a retail space but an experience in olfactory storytelling and visual harmony. Each perfume, including the celebrated Jouir and Le Roi de Paris, was encased in “a bottle of chaste simplicity from Baccarat,” signifying restrained luxury and timeless elegance. These crystal flacons—refined, clear, and perfectly cut—were complemented by small leather travel cases, adding both a tactile charm and a layer of discretion to the presentation. It suggested that the perfume was not only a gift, but a cherished object to be carried and treasured.
The boutique’s design further heightened the sensory experience. The room was decorated in “lovely Fragonard colors,” likely referencing the soft, romantic pastel palette favored by 18th-century French painter Jean-Honoré Fragonard, who was known for depicting scenes of romance, courtship, and idyllic elegance. These colors—powdery rose, faded jade, soft gold, and creamy ivory—would have created a dreamlike, feminine atmosphere, aligning perfectly with the emotional tone of the perfumes.
A particularly enchanting detail is the mention of built-in cupboards for each bouquet, with silken curtains rolled back to reveal the bottles—almost like a stage set, where each scent takes its place under a gentle spotlight. This touch of theatricality added to the sense that selecting a perfume at Fioret was a ritual, an intimate decision guided by emotion, memory, and beauty.
Altogether, this 1923 reflection offers a vivid picture of the Fioret brand ethos: luxurious yet refined, sensory yet intellectual, poetic yet practical. It was a place where perfume was not just worn, but experienced—a language of love and elegance fluently spoken in crystal and silk.
In addition to perfume, Fioret Inc. offered a comprehensive line of luxury cosmetics, reflecting the brand’s broader focus on beauty and refinement. Their lipsticks, rouges, compacts, and face powders were created to complement the perfumes and were packaged with the same attention to aesthetic harmony. These products were marketed as high-end, fashionable, and in line with the tastes of the modern, sophisticated woman of the 1920s.
At the time of this publication, E.D. Gutcheon served as vice president of Fioret Inc. in America, overseeing all business operations in the United States. His leadership helped shape the brand’s direction and ensured that the American market embraced the Fioret ideal—a perfume and cosmetics house where French elegance, modern simplicity, and visual beauty were seamlessly united.
More Than Just Perfumes:
Fioret Inc. extended its pursuit of refined luxury beyond perfumes and into the world of vanity accessories and cosmetics, producing some of the most beautifully crafted compacts and cases of the 1920s. Their octagonal powder compacts were especially prized, described in period advertising as “beautifully etched, each in its own flannel bag like any jewel.” These compacts were heavily triple gold plated, giving them not only visual splendor but also a sense of durable opulence. According to a 1927 newspaper advertisement, they were so fine in workmanship and detail that they “look as if turned out by Cartier or Tiffany,” placing them in direct aesthetic comparison to the leading luxury jewelers of the era.
Each compact featured a small affixed ring, which allowed it to be worn on a ribbon or cord, transforming it into a fashion accessory as well as a functional item. Inside, users would find a tiny silk-backed lambswool puff and a mirrored lid, lending both utility and elegance to the act of powdering. These compact designs merged practicality with jewelry-like allure, making them popular gifts and coveted personal items. However, by 1927, this line of compacts was discontinued, and remaining inventory was drastically marked down to make way for newer styles, marking the end of an exquisite chapter in Fioret’s product history.
Fioret also introduced metal lipstick cases that echoed the same level of craftsmanship. These were gold plated, like the compacts, and decorated with engine-turned detailing, a fine technique that created elegant geometric patterns on the surface. The lipstick tubes were notable for their square shape, a novel departure from the more common cylindrical designs of the time. This unique silhouette helped reinforce Fioret's reputation for creative and upscale cosmetic accessories.
Their most celebrated face powder was housed in an embossed cardboard box, wrapped in white, gold, and jade-colored paper. The name Fioret was printed around the sides, emphasizing brand recognition. The lid of the box was designed to resemble a large swansdown powder puff, a whimsical and tactile visual that charmed buyers. On top of this faux puff was a jade-colored ring, allowing the box to be lifted or held in a way that mirrored the elegance of a compact—again, highlighting Fioret’s ability to turn even basic cosmetic packaging into a work of decorative art.
For those desiring a full beauty ritual, Fioret also offered bath crystals scented with Jouir, one of their most popular fragrances. These came in shades of green and pink, stored in fancy glass jars that matched the rest of the line’s emphasis on luxury and presentation. These bath products expanded Fioret’s appeal beyond traditional cosmetics, reinforcing the idea of perfume and fragrance as an immersive, full-body experience.
Altogether, Fioret’s cosmetic accessories and bath items demonstrate a house that not only created fine perfumes, but elevated the entire personal grooming experience into a realm of art, style, and sensory pleasure—the very essence of luxury in the 1920s.
Bottles:
From 1919 through the 1920s, Fioret’s perfume bottles were distinguished by their embossed gilded paper labels, which featured Art Nouveau-style lettering—ornamental, flowing, and decorative, in keeping with the prevailing aesthetic of the immediate postwar period. These early labels embodied the elegance and artistic sensibility of the brand’s presentation. As the 1930s arrived, the visual style shifted to reflect the evolving tastes of the era: the labels became simpler and more restrained, with gold foil and clean black lettering replacing the more elaborate Art Nouveau motifs. This change mirrored broader cultural trends in design, as styles moved from ornate flourishes toward the geometric precision of Art Deco and early Modernism.
The first perfume flacons produced for Fioret were manufactured in 1919 by Cristalleries de Baccarat, France’s premier glassworks. These early bottles were tall, stark rectangular columns made of clear crystal—elegant in their simplicity and architectural in form. They were fitted with hinged, gilded brass caps that opened to reveal inner ground glass stoppers, which provided an airtight seal and preserved the integrity of the perfume. Baccarat catalogued this design as model #444, a style that reflected the house's signature craftsmanship and commitment to luxury. These bottles were used for several Fioret perfumes, including Le Dernier Roman, La Muse, Prévert, and Gardenia.
However, as production costs mounted, it appears that some of the original Baccarat designs proved too costly for ongoing use. Bottles with similar shapes and detailing were later produced by Cristalleries de Nancy, a respected but more affordable alternative to Baccarat. This substitution is confirmed by surviving examples, one of which bears markings identifying it as Nancy-made, despite being of the same form as earlier Baccarat flacons. These substitutions suggest that while Fioret maintained high aesthetic standards, they also had to adapt to commercial realities to remain competitive.
Fioret flacons were available in a variety of sizes, typically ½ oz, 1 oz, 2 oz, 2¼ oz, and 3 oz formats. For Toilet Waters, the brand utilized square crystal containers in larger sizes, including 4 oz and 6 oz. These bottles also had a tall, columnar profile, with flip-top gilded brass caps covering the stoppers. A surviving advertisement from the early 1920s confirms the design, pairing the columnar bottle with the house’s powder box in a cohesive and luxurious set.
In addition to the square and column-style flacons, Fioret also used cylindrical and round crystal bottles. These had conical, disk-shaped metal caps, also gilded, which covered inner ground glass stoppers. Occasionally, these caps were used interchangeably between bottle shapes, as evidenced by a 1922 newspaper advertisement that showed a square bottle topped with what was described as a “Chinese mandarin top for a gilt stopper.” This mix-and-match approach reflects both the adaptability of Fioret’s packaging and the ornamental experimentation of the period.
The round crystal bottles were approximately 2¾ inches tall, with a circumference of about 8 inches at the widest point, giving them a satisfying, tactile fullness. The gilded brass lids were themselves finely proportioned, typically ½ inch in both diameter and height, sitting neatly atop the compact form. These bottles—both round and square—help define Fioret’s legacy of creating perfume vessels that were not only practical but also beautiful expressions of early 20th-century French design, meant to appeal to both the olfactory and the visual senses.
Among Fioret’s variety of perfume bottles, some elegant examples were produced by Cristalleries de Nancy, a distinguished French glassmaker known for combining quality craftsmanship with refined, simpler designs. These particular bottles stood out for their clean, square shape that emphasized geometric clarity and understated elegance. The front panels of the bottles were beveled, creating subtle angled edges that caught the light and added visual interest without overwhelming the overall simplicity of the design.
Complementing the crisp lines of the bottles were frosted glass stoppers, each delicately molded with a stylized daisy flower pattern. This floral motif introduced a gentle decorative touch, blending nature-inspired artistry with the modern, streamlined shape of the flacon. The frosted finish of the stopper contrasted beautifully with the clear glass body, enhancing the tactile and visual appeal while also evoking a sense of softness and femininity.
These bottles by Cristal Nancy represented a thoughtful balance between elegance and restraint, offering a tasteful alternative to more ornate or heavily embellished perfume flacons. Their design showcased how subtle details like beveled edges and finely molded floral stoppers could elevate a simple shape into a sophisticated vessel, perfectly suited for Fioret’s luxurious perfumes.
René Lalique was renowned not only for creating exquisite perfume bottles but also for designing stunning frosted glass medallions that adorned some of the most luxurious presentation cases. These medallions often featured intricate motifs—such as floral patterns or symbolic imagery—that added a layer of artistic refinement and exclusivity to the packaging.
The presentation cases themselves were crafted with equal attention to luxury and style. Some were covered in rich silk satin fabrics in striking colors such as red or blue, evoking vibrancy and opulence. Others were made in more subdued tones, including ivory or gray, which conveyed understated elegance and classic sophistication. The choice of fabric and color was carefully matched to the overall aesthetic of the perfume, enhancing the tactile and visual experience for the customer.
Together, Lalique’s frosted glass medallions and the sumptuous silk satin or finely finished cases represented a seamless fusion of art, luxury, and craftsmanship, underscoring the brand’s status at the pinnacle of early 20th-century perfume design and presentation.
R. LALIQUE "Chose Promise" pendant for Fioret, circa 1924, in clear and frosted glass with gray patina, with black silk cord. Molded R. LALIQUE FIORET PARIS. M p. 937. Diam. 1 1/4 in (3.3 cm).
Photo by Rago Arts.
The perfumes of the Fioret line:
- 1914 Chypre
- 1919 Jouir
- 1919 Prevert
- 1920 Les Parfums des Jardins
- 1920 Qui dit Tout
- 1921 Chose Promise
- 1921 L'Elan
- 1921 Legourde
- 1921 Sweet Pea
- 1921 Prince Rival
- 1921 L'Impromptu
- 1922 Priere
- 1922 Ambre Byzantin
- 1922 La Fleur Sacree
- 1922 Monar
- 1922 Paris de Fioret
- 1922 Rose de Fioret
- 1922 Hommage A La Femme
- 1922 Fatalitas
- 1922 L'Au-Dela
- 1923 La Muse
- 1923 Le Roi de Paris
- 1923 Votre Sourire
- 1923 Le Dernier Roman
- 1923 L'Ensorceleur
- 1923 Eau de Cologne des Jardins
- 1923 Les Visions
- 1924 Le Muguet
- 1924 Violette
- 1924 Le Lilas
- 1924 Jasmin
- 1924 Orchid
- 1924 Gardenia
- 1924 Perle Noir
- 1924 Priere
- 1924 Chose Promise
- 1925 Beaujolais
- 1927 Ambre
- 1927 Rose Lilas
Jourir:
Launched in 1919, Jouir (pronounced zhoo-EER) is a perfume created by Simon Jaroslawski, founder of Fioret. The word “Jouir” is French for “to enjoy” or “to take delight in,” capturing a spirit of joyous celebration and pleasure. This fragrance is believed to be a rebranded version of “Le Dernier Roman” (“The Last Romance”), a perfume that evokes romantic and poetic moods.
Jouir was notably used in a unique cultural moment in 1926, when the fragrance was sprayed throughout the Belasco Theatre in New York City to enhance the atmosphere of David Belasco’s play “Tiger Rose.” This theatrical use highlights the perfume’s vibrant and captivating nature—designed to envelop and transport audiences with its scent, much like a delicate invisible costume.
The perfume was presented in a tall, stark rectangular column-style bottle made of clear crystal by the prestigious Cristalleries de Baccarat, catalogued as design #444. This bottle design is sleek and architectural, emphasizing clarity and elegance. Jouir was also available in other bottle shapes, adapting to different market preferences.
Contemporary descriptions of Jouir emphasize its charm and allure. The American Hebrew and Jewish Tribune in 1925 praised Simon Jaroslawski as an “innovator” and “impressionist who composes with fragrances,” calling Jouir “the most fascinating perfume given to the world in years.” They described it as a “delicate idyll of happiness translated into an odeur,” meaning the scent was like a poetic expression of joy and lighthearted pleasure. Fioret’s reputation was bolstered by other celebrated perfumes such as Prévert, named after the famous French poet, further connecting the brand with artistry and refinement.
In 1926, the same publication lauded Jouir as a “most enchanting goal,” a fragrance that conjured the romantic ambiance of Paris, a city long associated with luxury, beauty, and sophistication. The mention of accompanying powders and toiletries indicates that Jouir was offered as a complete line, allowing users to immerse themselves in its scent through multiple products.
By 1927, Hearst’s Magazine noted the popularity of Fioret’s face powder scented with Jouir, calling it “perhaps the most famous of all the delightful scent secrets Fioret of France.” The powder was praised for its enduring fragrance that “clings, clings, clings,” emphasizing its quality and lasting appeal.
Based on the name and these descriptions, Jouir likely had a light, joyful floral-oriental character, evoking happiness, elegance, and sensual delight. The perfume’s association with theater and poetic imagery suggests it combined bright, fresh notes with a subtle warmth—perfectly embodying the pleasure and romance implied by its name.
The Jouir parfum was available in the elegant and practical “Travelette flacon,” a compact curved flask-shaped crystal bottle designed for portability and style. The bottle measured approximately 2¼ inches tall, 1¾ inches wide, and 1½ inches deep, making it a perfect size for travel or discreet touch-ups. It featured a gilded brass hinged cap that protected an inner glass stopper, ensuring the fragrance remained secure and fresh.
The bottle was crafted by two renowned French glassmakers, Baccarat and Cristalleries de Nancy, both celebrated for their exceptional quality and artistry in crystal production. The presentation was enhanced by a red leather case, embossed on the outside with “Les Jardins de Fioret Paris,” lending an air of luxury and refinement. This travel-sized flacon originally sold for $2.75 in 1928 for the ½ oz version, with a larger 2 oz size available for $9.00.
This flask shape was not exclusive to Jouir; it was also used for several other notable Fioret fragrances, including Le Dernier Roman, La Muse, Jasmin, Le Lilas, Violette, Muguet, Chypre, and Prévert. This consistency in bottle design across different scents helped maintain a cohesive brand identity while offering customers a convenient and attractive way to carry their favorite perfumes.
A 1928 reference in The New Yorker mentioned these “square flacons of Fioret Perfume in dainty leather cases” priced at $2.75, underscoring the combination of elegance and accessibility that Fioret sought to offer its clientele. The Travelette flacon represents both the luxury and practicality that defined Fioret’s approach to perfume presentation during this era.
Le Dernier Roman:
Launched in 1923, Le Dernier Roman (pronounced luh dehr-NYAY roh-MAHN) translates from French as “The Last Romance.” The name alone evokes a sense of wistful elegance—perhaps a final, unforgettable love story filled with tender emotion and bittersweet beauty. It suggests a fragrance crafted not just to charm but to leave an impression of lingering memory, as if it were the final chapter in a cherished book of passion.
The perfume was described as having the delicate scent of narcissus, a flower known for its softly green, slightly powdery, and floral facets. Narcissus is both luminous and contemplative, often used in perfumery to convey quiet luxury, poetic melancholy, and emotional depth. In this context, Le Dernier Roman likely opened with lightly green and airy top notes, revealing a soft, creamy heart of floral narcissus, underpinned by gentle powdery or mossy undertones. The result would have been an intimate, romantic perfume—suggestive of springtime reflection and fading tenderness.
The fragrance was presented in one of Fioret’s most iconic vessels: a tall, stark rectangular column-shaped bottle made of clear crystal, produced by Cristalleries de Baccarat, and catalogued as design #444. The flacon was minimalist and elegant, its clean lines providing a visual counterpart to the refined nature of the scent within. It was the perfect bottle for a fragrance like Le Dernier Roman—elegant, modern, and profoundly poetic.
Eventually, Le Dernier Roman was renamed Jouir (“to enjoy”), possibly to appeal to a broader audience with a name that conveyed joy and delight rather than introspection. While the composition may have remained the same or similar, this rebranding signified a shift in emotional tone—from a final romance to a celebration of pleasure. Even so, Le Dernier Roman, in its original form, stands as one of Fioret’s most evocative creations: a perfume that captured the fragrance of memory, romance, and quiet beauty in a single, crystalline bottle.
Ambre Byzantin:
Launched in 1922, Ambre Byzantin (pronounced AHM-bruh bee-zan-TAN) translates from French as "Byzantine Amber." The name evokes the luxurious, exotic splendor of the Byzantine Empire, suggesting a perfume inspired by the East—rich in texture, opulence, and deep, resinous warmth. The word “ambre” refers to amber, a classic base note in perfumery derived from ambergris or labdanum, known for its warm, slightly sweet, balsamic, and sensuous character. When paired with the term “Byzantin,” the name conjures images of golden mosaics, silk tapestries, incense-filled palaces, and ancient trade routes scented with spices and resins.
Based on the name, Ambre Byzantin likely smelled of resinous amber, possibly enriched with oriental spices, benzoin, vanilla, and perhaps faint traces of opoponax or incense to lend a smoky or liturgical effect. The perfume would have been deep, rich, and enveloping, designed to evoke mystery and grandeur—something worn on a winter evening or by candlelight.
The presentation of Ambre Byzantin was equally refined. The perfume came in a square bottle, measuring approximately 1¾ inches square and 3¼ inches high. It featured a glass inner stopper, ensuring the preservation of the perfume’s delicate composition, and was topped with a gilded metal stopper cover, marrying form and function with decorative flair. The neck of the stopper was engraved or stamped with "Fioret, Paris," proudly associating the perfume with the prestige of the Parisian luxury house.
An embossed gold foil paper label adorned the bottle, adding a touch of gleam and reinforcing the preciousness of its contents. The label’s texture and golden finish echoed the opulence suggested by the perfume’s name. Altogether, Ambre Byzantin represented Fioret’s ability to merge historical fantasy with modern French elegance, delivering a scent that was as much a voyage through time and culture as it was a personal adornment.
Prevert:
Launched in 1919, Prévert (pronounced preh-VEHR) was one of the earliest fragrances created by Simon Jaroslawski, the founder of Fioret. While the name "Prévert" is not directly translatable from French in this context, it is possibly a poetic allusion, perhaps referencing a surname associated with artistry or refinement—later famously linked to French poet and screenwriter Jacques Prévert, though his fame postdates the perfume’s launch. The choice of name suggests a fragrance intended to embody romanticism, elegance, and intellectual sophistication—perhaps even a wistful, sentimental mood.
Prévert was originally presented in a bottle made by Cristalleries de Baccarat, catalogued as design #445. This flacon, like many early Fioret presentations, was likely geometric and architectural in style, consistent with the transitional aesthetic between Art Nouveau fluidity and the emerging Art Deco formality. In 1924, the perfume was offered in a second Baccarat design, model #543, which may have reflected updated styling to appeal to changing tastes in the early 1920s—possibly more streamlined, or with decorative flourishes aligned with Art Deco trends.
Though the exact composition of Prévert is not detailed in surviving sources, its positioning and era suggest a perfume with a floral heart, softened by powdery or aldehydic nuances and possibly warmed by light musky or amber bases. Given its poetic name and early launch date, Prévert may have included notes of iris, violet, or rose, common in elegant compositions of the time, lending a delicate and emotive character—something that could be worn in intimate settings or as a personal signature.
The use of Baccarat crystal for two distinct bottle designs over time speaks to the importance Fioret placed on visual luxury. Prévert was likely one of their more refined or artistically positioned scents, designed to appeal to cultured women seeking a fragrance that was both expressive and discreetly opulent. As with other Fioret creations, Prévert blended sensory beauty with visual artistry, standing as an early example of the brand’s commitment to fine perfumery and luxurious presentation.
Les Parfums des Jardins: Presented in a bottle by Cristalleries de Nancy.
Qui dit Tout: Presented in a bottle by Cristalleries de Nancy.
Sweet Pea: Presented in a bottle by René Lalique et Cie.
Priere:
Launched in 1922, Prière (pronounced pree-EHR) is the French word for “prayer.” The name immediately evokes a sense of introspection, reverence, and quiet devotion. With such a spiritually resonant title, Prière likely aimed to capture a contemplative, almost sacred quality—something intimate, serene, and emotionally stirring. It suggests a perfume that would envelop the wearer in a soft, ethereal aura—more of a whispered presence than a bold statement.
Created by Simon Jaroslawski, founder of Fioret, Prière would have reflected his inclination toward poetic and refined fragrance compositions. Based on its name and era, the perfume may have had a soft floral heart, possibly with lily, violet, or orris, notes commonly used to convey purity, calm, and spirituality. These may have been framed by delicate powdery aldehydes or a touch of amber, musk, or even incense, evoking a reverent or meditative atmosphere. The overall effect was likely delicate, soothing, and luminous, crafted to reflect the quiet solemnity and grace suggested by the name.
The perfume was presented in a spherical crystal flacon, produced by Cristalleries de Baccarat, a glassmaker known for its precision and luxury. The bottle’s rounded form may have symbolized completeness or eternity—both fitting motifs for a fragrance named “prayer.” The flacon was fitted with a glass inner stopper, preserving the integrity of the perfume, and capped with a flat, disk-shaped gilded metal cover. This minimal but elegant design lent a note of quiet luxury, reflecting the perfume’s restrained and contemplative character.
Prière stood out among Fioret's offerings as likely one of its most introspective fragrances—not a scent for grand entrances, but one for personal moments, perhaps worn during reflection, solitude, or romantic quietude. It exemplified the brand’s ability to marry emotional storytelling with artistic presentation, and to craft a scent that resonated like a whispered prayer—gentle, poignant, and enduring.
Chose Promise:
Launched in 1921, Chose Promise (pronounced shoz proh-MEEZ) translates from French as “Promised Thing” or more poetically, “Promised Gift”. The name suggests a sense of anticipation and emotional longing—perhaps the hope of love fulfilled, a vow remembered, or a cherished sentiment awaiting its moment. It evokes romanticism, delicate femininity, and an emotional connection that bridges elegance with tender sincerity.
The fragrance itself was an orange blossom perfume, a fitting choice for a scent built on the theme of promise. Orange blossom has long been associated with purity, bridal symbolism, and joy, making it a beloved floral note in perfumery. It’s at once bright and soft—a white floral with sweet, neroli-like nuances, and a lightly green, honeyed character. In Chose Promise, the orange blossom likely played the starring role, supported by subtle hints of musk or woods to lend it warmth and depth. The overall effect would have been uplifting and graceful, capturing the emotional freshness of new beginnings and heartfelt intentions.
What truly set Chose Promise apart, however, was its remarkable presentation—a design hailed as one of the greatest of the decade. The bottle itself was made by Cristalleries de Baccarat, known for their precision-cut crystal, and it was paired with a classical René Lalique stopper—a collaboration between two titans of French decorative arts. The stopper’s design had originally been conceived by René Lalique in 1911, but it wasn’t brought into production until 1924, when it was finally used for this Fioret perfume. The result was described as a “wonderful understatement of design and manufacture,” reflecting a perfect harmony between form, symbolism, and luxurious restraint.
This union of Baccarat's crystal and Lalique’s artistic stopper symbolized not just elegance, but also refined modernity—the perfume becoming a true objet d'art. It wasn’t merely a fragrance, but a statement of aesthetic sophistication, embodying the ideal of perfume as both sensory and visual pleasure.
In sum, Chose Promise was a perfume of hope, tenderness, and timeless beauty—an orange blossom soliflore encased in a bottle of such distinction that it elevated the fragrance into the realm of collectible artistry. It stands as one of Fioret’s most quietly iconic creations, bridging the early 1920s’ romanticism with the emerging clarity of Art Deco design.
Le Muguet:
Le Muguet: Created by Simon Jaroslawski. Presented in a flacon by Cristalleries de Baccarat, design # 543.
Jasmin:
Chypre:
Chypre: Created by Simon Jaroslawski. Came in various perfume flacons including Baccarat and Cristal Nancy.
Lawsuit:
In 1938, the Fioret Sales Company of New York was told by the Federal Trade Commission (FTC) that it had to stop misleading customers about where its perfumes were made.
The issue was that Fioret was selling perfumes made in the United States, but gave people the impression that these perfumes were made in France or imported. They did this by using French-sounding phrases like “Les Parfums des Jardine de Fioret”, and by using other foreign-sounding names or wording that suggested the perfumes were of foreign origin.
The court looked at the evidence and ruled in favor of the FTC. The court found that Fioret didn’t actually import complete perfumes—they only imported some ingredients (like fragrance concentrates). These concentrates were then mixed with American-made alcohol in the U.S. to create the finished perfumes.
The court explained that what Fioret was really selling wasn’t the imported essence by itself, but the final product—the diluted perfume—which was made in the U.S. And the alcohol made up most of the final product.
Because of this, the court said that claiming the perfumes were imported was misleading to consumers, especially since most buyers assume that if a perfume is described as imported, the whole bottle—including the alcohol and fragrance—comes from overseas.
By doing this, Fioret was not only deceiving customers, but also hurting fair competition. Other companies who actually imported finished perfumes from France—or who were honest about making their perfumes in the U.S.—were being put at a disadvantage.
So, the court ordered Fioret to stop making any claims or suggestions that their perfumes were imported when, in fact, they were made in the U.S. using only some imported ingredients.
In short: You can’t pretend your perfume is French if it’s made in America—especially if you're just using a little French-sounding branding and some imported ingredients. Customers deserve the truth, and so do honest competitors.