Marguerite Carre by Bourjois c1910

Marguerite Carré by Bourjois was introduced in 1910, a time when France was experiencing a flourishing artistic and cultural renaissance known as the Belle Époque. The name Marguerite Carré was likely chosen as a tribute to the celebrated French soprano of the same name, who was known for her grace, talent, and refined presence on the operatic stage. A leading performer at the Opéra-Comique in Paris, Marguerite Carré embodied the elegance, sophistication, and romanticism that would have been desirable qualities in a fragrance. By associating the perfume with her name, Bourjois evoked an air of high culture and artistic refinement, appealing to women who admired the world of opera and the enchanting allure of its stars.

The name Marguerite Carré is French, pronounced as "mar-guh-REET kah-RAY". Marguerite translates to "daisy," a delicate and cheerful flower, while Carré means "square" or "balanced," suggesting a harmonious composition. Together, the name evokes images of beauty, structure, and poise—qualities that would have been highly regarded during this period. The fragrance likely captured the essence of both the lighthearted freshness of a daisy and the cultivated sophistication of the opera world, offering wearers a scent that balanced vivacity with depth.

The early 1910s were marked by an era of elegance and progress, with women embracing a newfound sense of modernity while still adhering to the refined aesthetics of the Belle Époque. Fashion was shifting toward softer silhouettes, with flowing gowns replacing the rigid corsetry of previous decades. Pastel hues, intricate lace, and delicate embellishments were favored, mirroring the romantic and feminine qualities that a perfume like Marguerite Carré would have encapsulated. Women of this time would have been drawn to a fragrance that exuded charm, grace, and a touch of theatrical allure, much like the singer herself.

In olfactory terms, Marguerite Carré would have likely been a composition that balanced floral elegance with powdery sophistication. One might imagine notes of tender white flowers, such as jasmine or orange blossom, interwoven with the soft, powdery sweetness of iris and violet, complemented by a delicate musky or vanillic base. The fragrance would have been both luminous and graceful, much like the celebrated soprano, offering a scent that was both uplifting and refined—a perfect accompaniment to the fashionable, cultured women of the era.

Bottles:

The exquisite presentation of Marguerite Carré by Bourjois reflected the refined elegance of the Belle Époque. The parfum was housed in a luxurious one-ounce cut crystal bottle, crafted by the renowned Baccarat glassworks. Known for their impeccable craftsmanship and clarity, Baccarat’s crystal bottles were highly sought after, often reserved for the finest perfumes of the era. The faceted glass would have caught and refracted light beautifully, enhancing the allure of the fragrance it contained. The bottle was fitted with a small inner crystal stopper, ensuring the perfume remained fresh while adding an extra touch of sophistication. Completing the design was an opulent gilded silver overcap, which lent an air of regal grandeur, making the bottle a true objet d’art worthy of display on a dressing table.

The outer presentation was equally stunning. The perfume was nestled inside a luxurious box, covered in gold-foiled paper that gleamed with elegance. The ornamentation, done in striking black, provided a dramatic contrast, emphasizing the richness of the gold. The label was a work of art in itself, adorned with delicate daisies and a butterfly—both of which were symbolic reflections of the perfume’s name, Marguerite. The daisy, or marguerite in French, represented innocence, lighthearted beauty, and natural grace, while the butterfly symbolized transformation, fleeting elegance, and ethereal charm. Together, these motifs encapsulated the spirit of the fragrance, evoking a sense of delicate femininity and poetic refinement.

The overall presentation of Marguerite Carré was a testament to Bourjois’ dedication to artistry in perfumery. Every element, from the Baccarat crystal to the gold and black packaging, spoke of luxury, romance, and timeless beauty, making the perfume not only a sensory delight but also a treasured keepsake for those fortunate enough to own it.

 

The powder box for Marguerite Carré was a beautifully designed keepsake that paid homage to the celebrated opera star. Covered in decorative paper, the box was adorned with images of daisies, opera glasses, and handheld fans (éventails in French), each carefully chosen to reflect the essence of Marguerite Carré and her world on the Opéra-Comique stage. The daisies, or marguerites, directly referenced both her name and the delicate beauty associated with the flower, evoking themes of grace, youth, and charm—qualities that resonated with the soprano’s captivating performances.

The inclusion of opera glasses was a direct nod to the theater-going experience, where fashionable audiences would use these elegant accessories to better admire the performers from their seats. Opera glasses were not only functional but also a symbol of sophistication, as they were often ornately crafted and carried by members of high society who attended the opera as a cultural and social event. By incorporating this imagery, the powder box linked the fragrance to the prestige and grandeur of the opera world, reinforcing the idea that Marguerite Carré was a perfume for women who appreciated refinement, artistry, and the magic of the stage.

Handheld fans (éventails) were another emblem of the theater and were frequently seen in the hands of elegant women attending performances. Fans were an essential accessory for opera-goers, serving both practical and decorative purposes. They allowed ladies to keep cool in crowded theaters while also acting as a means of subtle communication through graceful gestures, a practice refined into an unspoken language of flirtation and intrigue. More significantly, fans were often integral to stage performances, used by opera singers and actresses to enhance their dramatic expressions. The presence of éventails on the powder box reinforced the theatrical and romantic spirit of Marguerite Carré, evoking an era where beauty, refinement, and artistic expression were paramount.

Together, these motifs transformed the powder box into more than just a container; they wove a narrative of glamour, artistry, and the enchanting world of the Opéra-Comique. It would have resonated deeply with women of the time, evoking the excitement of a night at the opera and allowing them to indulge in the fantasy of stepping into Marguerite Carré’s world with each use of the fragrance.

Fate of the Fragrance:

Marguerite Carré by Bourjois made its debut in 1910, a time when the Belle Époque era was giving way to the modernity of the early 20th century. Named after the celebrated soprano of the Opéra-Comique, the fragrance embodied the elegance and artistry of its namesake. Designed to capture the romance and refinement of the operatic world, it was likely a floral or powdery composition, in keeping with the prevailing trends of the time. Though the exact discontinuation date remains unknown, the perfume remained available for purchase well into 1936, indicating its lasting appeal.

Its continued presence on the market suggests that Marguerite Carré resonated with women across generations, maintaining its relevance through shifting fashion and fragrance trends. The 1920s and 1930s saw dramatic changes in perfume preferences, from the heady, aldehydic florals popularized by Chanel No. 5 to the emergence of bold, exotic compositions reflecting the Art Deco era’s love of opulence and adventure. Yet, Marguerite Carré endured, perhaps offering a sense of nostalgia and timeless femininity to those who sought the grace and refinement of an earlier time. The fragrance’s long availability also speaks to Bourjois' reputation as a house that skillfully balanced innovation with tradition, ensuring that its creations remained cherished for decades