Trophee by D'Orsay c1935

Trophee by D'Orsay: launched in 1935.

Le Jardin by D'Orsay c1931

Le Jardin by D'Orsay: launched in 1931.

Parfum D'Antan by D'Orsay: launched in 1913

Parfum D'Antan by D'Orsay: launched in 1913.

Voulez Vous by D'Orsay c1960

Voulez Vous by D'Orsay: launched in 1960.

Ganika by D'Orsay c1923

Ganika by D'Orsay: launched in 1923. The name ganika means "courtesan" often associated with the Indian royal court.

 The fragrance was subtitled as " recommended to be worn by brunettes.

Toujours Fidele by D'Orsay c1912

Toujours Fidele by D'Orsay: launched in 1912.  Line included perfume, toilet water, face powder, sachet powder, and talcum powder.

 

Mystere by D'Orsay c1915

Mystere by D'Orsay: launched in 1915.

Belle de Jour by D'Orsay c1938

Belle de Jour by D'Orsay: launched in 1938.

Duo by D'Orsay c1928

Launched in 1928, "Duo" by Parfums D'Orsay was introduced during a transformative period in fragrance and fashion. The 1920s, often termed the Roaring Twenties, was characterized by its liberating spirit, social dynamism, and breaking of traditional norms. It was a decade where both men and women began to embrace more fluid identities, with the avant-garde influences of the Jazz Age challenging long-standing conventions in fashion and personal expression.

The name "Duo" reflects this period’s growing trend towards androgyny and the blurring of gender lines. The word "Duo" itself means "pair" or "two" in Latin, signifying a harmonious combination or partnership. For Parfums D'Orsay to choose this name for their unisex fragrance speaks to the zeitgeist of the time—where dualities and intersections of gender roles were increasingly explored and celebrated.

The 1920s were a time when both men and women were moving away from rigid societal roles. The notion of a unisex fragrance aligns well with this era’s ethos of freedom and self-expression. "Duo" as a fragrance name effectively communicates that the scent is designed to be equally suitable for both genders, embodying the spirit of collaboration and unity. The term suggests a balance and mutual suitability, evoking images of partners or companions sharing a common experience.

Men and women who were drawn to "Duo" in the late 1920s would have likely been individuals who embraced modernity and sought to express themselves beyond traditional gender norms. This audience would appreciate the scent's versatility and its alignment with the burgeoning movement towards gender fluidity in fashion and personal style. The response to "Duo" would have been one of sophistication and alignment with the contemporary zeitgeist—an appeal to those who saw themselves as part of a progressive, forward-thinking society.

Milord by D'Orsay c1911

Milord by D'Orsay: launched in 1911.

Meggy by D'Orsay c1911

Meggy by D'Orsay: launched in 1911. Meggy was available in parfum, lotion (a type of fortified cologne), and powder.

Fantastique by D'Orsay c1952

The perfume "Fantastique" by Parfums D'Orsay was launched in 1952, a period marked by post-World War II recovery and a surge in optimism and creativity. This era saw the emergence of new social norms and cultural shifts as people embraced modernity and sought to leave the hardships of the war behind. The 1950s were characterized by a sense of glamour and sophistication, with the fashion and beauty industries flourishing as women sought to express their newfound freedom and individuality.

The name "Fantastique" translates to "fantastic" in English, conveying a sense of wonder, excellence, and extraordinary qualities. Parfums D'Orsay likely chose this name to encapsulate the spirit of the time, aiming to offer a fragrance that was not only appealing but also evocative of the dreams and aspirations of the era. The term "fantastique" suggests something out of the ordinary, enchanting, and magical, making it a fitting name for a perfume intended to evoke a sense of allure and mystery.

"Fantastique" would be an appropriate name for a perfume as it conveys a sense of extraordinary beauty and captivating charm. In perfumery, the concept of intoxication is often used to describe the effect a fragrance can have on the senses, creating an almost hypnotic allure that draws people in. A perfume named "Fantastique" would aim to intoxicate the wearer and those around her with its enchanting scent, leaving a memorable impression.

Divine by D'Orsay c1947

Launched in 1947, "Divine" by Parfums D'Orsay emerged into a world grappling with the aftermath of World War II. This era, marked by a thirst for renewal and hope, saw society embracing elegance and luxury as symbols of recovery and optimism. The post-war period was a time when fragrances were not just scents but symbols of a new beginning and a yearning for something exquisite amidst the rebuilding of everyday life.

Parfums D'Orsay chose the name "Divine" for their perfume as a deliberate nod to the divine qualities of love, beauty, and transcendent grace. The term "divine" implies something heavenly, perfect, and supremely beautiful—attributes that align perfectly with the fragrance's aspirations. In the context of love, "divine" conveys an idealized, almost otherworldly form of affection that is profound and ethereal. This name suggests that the wearer of "Divine" is enveloped in an almost celestial allure, evoking feelings of enchantment and admiration.

The name "Divine" is particularly appropriate for a perfume as it encapsulates the essence of what fragrances often seek to achieve: a sense of enchantment and an elevation of the everyday. Perfume, in its essence, aims to offer a sensory experience that transcends the ordinary, making the wearer feel exceptional and unique. By naming their fragrance "Divine," D'Orsay positioned it as more than just a scent—it's a portal to a heightened state of being.

In the realm of divination, perfumes often hold symbolic meanings and are used to evoke specific moods or presages. Just as divination seeks to offer insights into the unknown or to reveal hidden truths, a fragrance like "Divine" aims to unlock the wearer’s inner essence, projecting a persona that is both captivating and mystical. The act of wearing a perfume can be seen as a form of personal divination, where one’s scent becomes a reflection of their innermost desires and traits.

Le Nomade by D'Orsay c1973

Le Nomade by D'Orsay: launched in 1973.

Chevalier by D'Orsay c1911

Chevalier by D'Orsay: launched in 1911.

Le Dandy by D'Orsay c1925

Le Dandy by D'Orsay: launched in 1925. Created by Henri Robert. The perfume's tagline was originally "the first blossoms of early summer" as found in a 1927 newspaper ad.

Intoxication by D'Orsay c1938

In 1938, the world was on the brink of World War II, with the lingering effects of the Great Depression still palpable. This was a period marked by a desire for escapism and glamour amidst uncertainties and hardships. The fashion and beauty industries often responded to such times by offering products that promised a temporary reprieve from reality, allowing people to indulge in fantasies and pleasures. "Intoxication" by Parfums D'Orsay was launched during this era, embodying this very spirit of escapism and allure. Notably, this was also a few years after the end of Prohibition in the United States, a time when society was embracing newfound freedoms and celebrating the return of legal alcohol consumption, which added to the zeitgeist of indulgence and revelry.

Parfums D'Orsay choosing the name "Intoxication" for their perfume speaks volumes about the emotional and sensory experience they aimed to evoke. The word "intoxication" suggests a state of being overwhelmed by powerful feelings or sensations, often associated with love and passion. In connection with love, "intoxication" conveys the idea of being so deeply enamored and consumed by another person that one feels a heady, almost dizzying sense of euphoria. This is an apt metaphor for a fragrance, which has the power to evoke strong emotional responses and create lasting impressions. In the context of the post-Prohibition era, the name also hints at a liberated, joyous embrace of pleasure and indulgence.

"Intoxication" is an appropriate name for a perfume because it encapsulates the transformative and alluring nature of fragrances. Perfume can create an almost magical effect, enhancing one's presence and evoking deep-seated emotions and memories. A scent that claims to intoxicate suggests that it can captivate and enthrall, much like the feeling of falling in love or being swept away by a powerful emotion. The end of Prohibition had seen a resurgence in nightlife and social gatherings, where people sought to enjoy themselves freely, and a perfume named "Intoxication" would perfectly complement this atmosphere of revelry.

In the context of perfumery, "Intoxication" relates to the concept of creating a compelling and irresistible fragrance. Perfumers aim to craft scents that can evoke strong, almost addictive responses. The name implies that the perfume has a potent and unforgettable quality, designed to leave a lasting impression on those who encounter it.

"Intoxication, the champagne fragrance that whispers 'Someone lovely has just passed by' wearing Intoxication".

Chevalier by D'Orsay c1920 advertisement

Printers' Ink Monthly - Volume 2 - Page 112, 1920:

Containers That Suggest Luxury of the Product 

They appeal indirectly to the sense of smell by their open gratification of the sense of sight. A finely wrought line design and the motif of three dancing maidens give this box of tinted Baccarat glass a luxury look that suggests forcefully the quality of face powder it contains. Then the woman shopping desires to buy a few yards of silk she is not only shown the bolt of silk but also is allowed to take it in her hands to feel the softness of the fabric's texture. She takes it to the light to get the full value of the play and interplay of lights on the fine coloring. For the clerk who is selling her silk knows that the desire for purchase can be best stimulated when she has for the moment been given possession of it. 

The manufacturer of a packaged commodity however is faced with a different set of conditions. Silk on display tells its whole story of quality texture color and durability to the inquiring eyes and fingers of the experienced buyer But the product in a package is hidden from eyes and fingers. And because of this there arises a problem which every manufacturer of packaged goods must solve in order to gain anywhere near a satisfactory initial sale for his product. The package must by its outward aspect convey to the prospective buyer a forceful impression of the characteristics of the product which are most to be desired by the consumer. This is true in a varying degree of every packaged commodity from breakfast food to perfumes.

 But the seller of perfumes or of any product where sampling is an impossibility has his selling problem still further complicated. Here then is the story of how one manufacturer of perfumes overcomes his difficulties and packs his product in packages or bottles which do give expression to the inherent qualities of the perfume.

 The distributor of perfumes faces a far more difficult problem than the seller of silks or shoes or hats. While perfume ultimately gratifies the sense of smell it is not possible except in rare instances for its seller to allow the purchaser to gratify this sense. Perfume in an uncorked bottle for sampling will evaporate rapidly and the sales of perfumes are usually not large enough to allow the retailer to have sample bottles. This is especially true when there are many different brands and the sales on one brand at a particular time are comparatively small. 

To be sure some perfumers have attempted to use scented strips of paper to give the value of the odor of their product but this has never proved satisfactory particularly with high grade perfumes. Therefore the seller of perfumes must depend not upon the sense of smell to get his sales appeal but upon an allied sense that of sight. In other words he does not make his initial sale on the strength of the qualities which will eventually cause the purchaser to return to buy a second bottle. And so he must gratify the sense of sight in the same way as he would the sense of smell were sampling possible. High grade perfumes are essentially luxury products and so their package must have for the eye a luxury appeal. So close must be the alliance between the appeals to sense and sight that the buyer is almost unconscious of the fact that he is not buying the product for the qualities he desires but the visual suggestion of what they are. 

D'Orsay perfumes illustrate admirably how one distributor is gaining initial sales in a highly competitive market where direct sampling is out of the question and is making his sales by the appeal to a sense quite different from the one which will be gratified eventually.

The perfume market has certain features which should be studied in order that a better understanding of its problems can be gained. There are many brands of perfumes being sold and each has its distinctive package its own angle of sales appeal. And many are backed by heavy advertising appropriations. The package of a successful seller in this market then must have exceptional qualities to single it out from the host of its competitors. Also perfumes are sold to a much larger extent than at first might be thought to persons who are not to be the users. Of course many women buy perfumes and toilet waters for their own use. But much perfume is bought by men for women. Therefore while the woman always exerts her influence either directly or indirectly upon the sales the package appeal must hew to that fine line where meet masculine and feminine mind. 

Turn for a moment to one of the d'Orsay bottles. From a wide almost square base it tapers quickly and gracefully to a narrow neck and cork. And there perches the carefully carved figure of a tiny elephant whose attitude is piquantly impudent. This bottle will certainly combat successfully for attention with the bottles that may surround it in the druggist's show case. It is unique yet not eccentric. It is striking without being freakish. And it will appeal to the woman because it will add a refreshing touch to her dressing table. 

Another bottle modeled of Baccarat glass is tall almost sturdy in its simplicity But any harshness is defeated by the four graceful figures of Greek maidens that stand at the corners seemingly upholding the neck of the bottle. For a moment they bring a memory of the caryatids of the Erectheum on the Acropolis in Athens. Totally different from the other bottle this one is appealing in its dignity as the other is in its daring. 

It is packed in a case of rich brown leather lined with a dark red satin. Both bottle and case will harmonize successfully with any surroundings of quiet luxury and to such surroundings do they make their appeal for trial .In competition for attention they will win on the merits of pure chaste beauty. 

The scent Chevalier d'Orsay which has been promoted most heavily in the advertising is put up in a bottle that more closely approximates the conventional container. Square with a faceted stopper it is made of a fine clear glass so modelled as to escape severity. This bottle will appeal to more conservative tastes but it does not lack attention value and appeal to all users. 

As a novelty the company has devised a small leather pocket case which at first glimpse appears to be the container for a small watch But inside is a tiny round bottle of Chevalier d'Orsay.. Bottle and case can be dropped into the vanity case and are not too large for the purse or a small pocket. The woman of refinement uses little perfume and in this handy container she can carry an ample supply for her needs on a short journey. Here the appeal is twofold both of novelty and of utility. Yet the minute size gives the bottle and case an added attention value which will single them out for inspection though they be surrounded and dwarfed by larger and more imposing packages.

This then is the packing of the perfumes. Distinctive original at times almost daring yet always appealing to the woman who must see the bottle on her dressing table every day and who wishes a bottle that will neither tire nor jar her sense of the appropriate. On the other hand the man who buys perfume for her will see in these bottles fitting accessories for her dressing table. They are different without being blatantly unique. 

The toilet waters which come in the same scents as the perfumes are all packed in one style of bottle. This is of frosted glass- tall, flat with, a slight bulge at the bottom which dwindles away lightly to the cork. The lines are graceful and the opaque coloring attractive so that this bottle is made a fitting companion for the perfumes .

.The face powders are for the most part packed in square containers. But for the Poudre Chevalier d'Orsay,  there is a special box of rare beauty. It is round and made of glass through which runs the tint of rose which suggests the odor of the powder. A wrought line design is carved the edge of the box. On the cover another design whose motif is dancing maidens. This is a powder box de luxe. 

For the buyer who wishes a complete assortment of d'Orsay products powders perfume toilet waters and soap in one scent the company has fashioned a combination case. 

These cases are made to present the same sales appeal as the bottles. They are covered with leather or velvet and lined with rich satin or silk - ideal materials for display purposes. The various products are packed in harmonizing containers of fine frosted glass which has a definite soft brilliance.

Thus the whole line is packed in containers of beauty and charm. They obviate sampling because they make a forceful appeal to the sense of smell through their open gratification of the allied sense that of sight. Any one of these containers may be set down in the midst of its competitors and yet be sure of the initial sales stimulus. Luxury utility quality and charm are all prefigured in the containers and so subtly that the buyer is almost unconscious of their appeal. 

One evil has been avoided one pitfall into which more than one manufacturer of a high grade product has fallen. Sometimes luxury and eccentricity have been confused so that the product may appeal to a certain class of undesirable buyers who are looking for mere novelty. Such buyers are seldom repeaters. They care only for novelty and as soon as the container becomes familiar it ceases to be desirable. 

It is especially necessary that the distributor of a really high grade perfume avoid this mistake. He wishes his perfume not merely to sell once but more than that to become the companion of the buyer. And so while he must depend upon novelty in a small measure to create the initial desire he also must ally the element of novelty very closely with the elements of quality and enduring desirability. The package or bottle must still be thought of as a utility when the novelty has worn away.

When these qualities have been successfully brought together the manufacturer has a bottle which is different without being eccentric and which will always appeal to the woman as desirable.

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