Manon Lescaut Face Powder

Manon Lescaut is an opera in four acts by Giacomo Puccini. The story is based on the 1731 novel L’histoire du chevalier des Grieux et de Manon Lescaut by the Abbé Prévost.

The libretto is in Italian. It was somehow cobbled together by five librettists whom Puccini employed (or went through): Ruggero Leoncavallo, Marco Praga, Giuseppe Giacosa, Domenico Oliva and Luigi Illica. The publisher, Giulio Ricordi, and the composer himself also contributed to the libretto. So confused was the authorship of the libretto that no one was credited on the title page of the original score.

Puccini took some musical elements in Manon Lescaut from earlier works he had written. For example, the madrigal Sulla vetta tu del monte from Act II echoes the Agnus Dei from his 1880 Messa a quattro voci. Other elements of Manon Lescaut come from his compositions for strings: the quartet Crisantemi (January 1890), three Menuets (probably 1884)[1] and a Scherzo (1883?). The love theme comes from the aria Mentia l'avviso (1883).

Bourjois used this beautiful name for their powder, Manon Lescaut starting in 1907. The powder was still being sold in 1946.


From advertisements in the 1908 Sears & Roebuck catalog:

"Bourjois Manon Lescaut. This world famous perfume represents the finest article manufactured by any Paris perfumer. The perfume odor is not that of any particular flower but represents the fragrance from the combined flowers of France. This perfume, therefore, has many times been called the Pride of France. The perfume is put up in beautiful colored embossed bottles holding by actual measurement 1 1/2 fluid ounces. The bottles are of irregular design characteristic of imported goods and trimmed with colored kid and rich silk. Each bottle put up in handsome colored lithographed fancy box. This wonderfully lasting perfume is very rich in odor, sweet and refined in character and wonderfully lasting, a few drops being sufficient to perfume an entire room.. Our price -$1.67."

"Bourjois Poudre Manon Lescaut. If you want the best, buy this. This world famous powder has been named after the beautiful heroine of the Abbe Prevost. This is the most famous of all face powders , highly and sweetly perfumed and made of the finest Oriental rice, which is bolted many times until it has become perfectly impalpable. This is combined with other ingredients, all of which are absolutely harmless to the most delicate complexion, yet when used upon the face,become perfectly invisible. This powder is made by and represents the highest skill of the world's master in face powder. Our price -per box $0.93, two boxes -$1.75."

c1922 ad

Violette de Parme by Bourjois c1890

Launched in 1890, Violette de Parme by Bourjois evokes the refined charm and elegance of 19th-century perfumery. The name, meaning "Violet of Parma," is French, pronounced as Vee-oh-let deh Parhm (with a soft "h"). It pays homage to the delicate Parma Violet, a variety of the viola known for its intensely candy-like sweet and powdery fragrance, distinct from the spicier or greener notes of other violet species. Originating in Parma, Italy—a city celebrated for its artistic and cultural heritage—this violet was highly prized in perfumery and confectionery alike, symbolizing refinement and feminine grace.

Parma itself, nestled in the Emilia-Romagna region of Italy, is synonymous with luxury and tradition. Its association with the Parma Violet conjures images of rolling Italian countryside, fields of blooming violets, and the subtle yet captivating allure of nature’s finest flowers. The name Violette de Parme would have resonated with late 19th-century women as a statement of sophistication, blending the romance of Italy with the growing trend of floral fragrances that dominated the era.

The 1890s, often referred to as the fin de siècle period, were marked by a blend of optimism, innovation, and a fascination with luxury. It was an era of burgeoning Art Nouveau, when organic forms and floral motifs influenced everything from architecture to fashion. Women’s attire featured intricate embroidery and delicate lace, often inspired by nature’s beauty. In this setting, Violette de Parme would have been perfectly aligned with the tastes of women who sought fragrances that mirrored the elegance and romanticism of their wardrobes.

Creme de Java

From advertisements in the 1908 Sears & Roebuck catalog:

"Bourjois Creme de Java. The most perfect and delightful of al face creams. The only one imported from Paris to be sold at reasonable prices. very delicately, but richly perfumed;absolutely snow white in color, rubs into the skin and leaves no traces. It is known as "The Instant Beautifier", as applications will made a muddy complexion a fine natural cream. It is also a safe remedy for all skin troubles that are purely skin troubles and not caused by an impure condition of the blood. Gives freshness and softness to the skin.Once used, you would have no other. Carried only in 2 ounce, opal, fancy top, import packages. This is not like many so called import packages, but is guaranteed to be the genuine Imported Creme de Java. try it and be convinced,. Our price- $0.59."

Java Poudre de Riz c1879

From advertisements in the 1908 Sears & Roebuck catalog:

"Bourjois Java Poudre de Riz. We guarantee this to be the genuine imported Java Rice Face Powder. It is made by A. Bourjois & Cie, Paris France. Used almost exclusively by the theatrical profession. Absolutely pure. Delightful and lasting perfume. Absolutely free from injurious substances. The most adherent powder in the world. Almost double the powder found in any other box. Our price- $.027"

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Bourjois Rouge de Theatre

From advertisements in the 1908 Sears & Roebuck catalog:

"Bourjois Rouge de Theatre. This is not the cheap American rouge but the genuine Imported Bourjois Rouge put up in round wooden boxes. This is positively the best,giving a natural and lifelike glow,never injures the skin is today considered by the theatrical profession the only safe and satisfactory rouge, and used by them almost exclusively owing to the fine distributive qualities which it possesses so that it can never be noticed or detected. Be sure to get the genuine. Our price- $0.19"

La Rose Pompon by Bourjois c1903

Launched in 1903, La Rose Pompon by Bourjois entered a rapidly evolving world of perfumery, one that was shifting focus from complex bouquets to the faithful recreation of singular floral aromas. The name itself, La Rose Pompon, is French and translates to "The Pompon Rose" in English. Pronounced lah rohz pom-POHN (with a soft nasal ending on "pohn"), it evokes images of delicate, rounded rose blooms, often associated with charm, femininity, and frivolity. The pompon rose, a small, ruffled bloom, was admired for its cheerful abundance and soft, rounded shape, qualities that resonated with notions of beauty and elegance at the time.

For women of the early 20th century, a perfume named La Rose Pompon would have conjured vivid imagery of lush gardens in full bloom, romantic strolls, and a sense of youthful gaiety. The name itself exudes charm and an air of innocence while hinting at a playful sophistication. Women of the era, immersed in the Edwardian fascination with nature and opulence, would have embraced the name as a reflection of their ideals—graceful yet spirited, rooted in tradition yet lively and modern.

In terms of scent, La Rose Pompon likely interpreted the pompon rose as a celebration of freshness, delicacy, and subtle complexity. It would have captured the sweet, powdery, and slightly green nuances of a fresh rose garden, embodying both the airy lightness and intimate warmth of its namesake flower.

Evening in Paris by Bourjois c1929

Evening in Paris, originally launched as Soir de Paris in 1928 in France, was a fragrance that instantly captured the essence of the French capital's romantic allure and timeless elegance. The name Soir de Paris translates from French to "Evening of Paris" or "Paris Evening." Pronounced as "Swahr duh Pah-ree," the name conjures vivid imagery of the city at twilight—when the streets are bathed in the soft glow of lamplights, the air is filled with the scent of fresh blooms, and the atmosphere is alive with possibility. It evokes feelings of romance, sophistication, and the captivating magic of Paris after dark. The name speaks to the heart of the Roaring Twenties in Paris, a time when the city was at the forefront of cultural and artistic innovation. It reflects the exuberance and charm of the era, when Paris was the symbol of freedom, fashion, and glamour, and the scent captured this exuberant spirit.

In 1929, the perfume was rebranded as Evening in Paris for the U.S. market, likely to appeal to American sensibilities while still retaining the Parisian glamour at its core. The choice of the name for the American release was strategic, leaning into the allure of Paris as a destination synonymous with romance and sophistication. For women of the time, particularly in the late 1920s, Soir de Paris would have seemed like an invitation to a world of opulence, mystery, and elegance—just as the city of Paris itself was considered the epicenter of high society, fashion, and culture. The fragrance's name would have resonated deeply with women who sought to capture that same Parisian allure in their daily lives.

The time period during which Soir de Paris was introduced was one of immense cultural change. The Roaring Twenties—or Les Années Folles as they were known in France—was a period marked by liberation, social upheaval, and a flourishing of art and culture. Women were embracing newfound freedoms, including the right to vote and a shift toward more relaxed, modern styles. Fashion was dominated by shorter hemlines, bobbed haircuts, and a more practical, yet glamorous, aesthetic. The rise of jazz and the avant-garde in the arts mirrored a shift in social norms and attitudes. The fragrance itself, created by Ernest Beaux with assistance from Constantin Mikhailovich “Kot” Weriguine, mirrored the lively, sparkling energy of the time while providing a touch of sophistication and softness that was very much in tune with the tastes of the Flapper generation.

Ashes of Roses by Bourjois c1909

Launched in France in 1909 and introduced to the United States by 1913, Cendre des Roses, better known as "Ashes of Roses," became a significant part of the Bourjois toiletry line. It reached the English market in 1923, coinciding with the establishment of Bourjois Ltd. The name “Ashes of Roses” is both poetic and evocative, inspired by a specific shade of mauve that gained popularity in the late 19th and early 20th centuries. This color, a muted blend of soft lavender and gray, was admired for its subdued elegance and romantic connotations. In the Victorian era, it was common to name colors and products after evocative imagery, leading to similar hues such as "Ashes of Violets" and "Ashes of Carnations."

The phrase "Cendre des Rose" originates from French, pronounced as "sondr day rose". To modern ears, the name may seem unusual or somber, but during its time, it resonated with deep emotional and aesthetic significance. The imagery of roses reduced to ashes suggests fleeting beauty, delicate melancholy, and wistful remembrance—qualities that appealed to the romantic sensibilities of the era.

The name "Ashes of Roses" evokes images of faded bouquets, timeless elegance, and the fragility of beauty. For women of the early 20th century, this fragrance name likely conjured feelings of nostalgia and refinement, connecting to themes of love and memory. Roses, traditionally symbols of passion and romance, paired with the ethereal quality of ashes, spoke to an era preoccupied with romantic idealism and the transient nature of beauty.