Mais Oui by Bourjois c1939

Mais Oui by Bourjois, launched in 1939, carried an intriguing and bold name that encapsulated the spirit of the era. The French phrase "Mais Oui" literally translates to "But Yes" in English. Pronounced "meh wee", it evokes a sense of confident affirmation, a playful and slightly teasing response, reflecting a certain lighthearted, yet assertive, charm. The phrase was widely used in France and beyond as an exclamation of enthusiastic agreement or approval, often imbued with a sense of elegance and wit. By naming their fragrance Mais Oui, Bourjois captured an essence of exuberance and femininity, aligning the perfume with a sense of modernity, sophistication, and a welcoming, yet irresistible energy. For women of the time, the name would have conveyed an image of carefree confidence, a statement of enjoyment and approval, an invitation to embrace the possibilities of life—both playful and seductive.

The scent itself, crafted by perfumer Constantin Mikhailovich "Kot" Weriguine, reflected this sense of assuredness and allure. Classified as a floral aldehydic perfume, Mais Oui shared similarities with the iconic Chanel No. 5, yet with a weightier, more sensual edge. Its aldehydic composition, which was a prominent trend during the 1930s, offered a modern, almost industrial cleanliness, lending a cool and sophisticated texture to the floral notes. However, Mais Oui distinguished itself through the use of Synarome's Animalis base, a blend of natural musk, civet, costus, and castoreum—ingredients known for their animalic, musky qualities. This animalic fixative provided a rich, warm undertone that contrasted with the cooler aldehydic top notes, creating a more sensuous and complex scent. It suggested an underlying depth, a richness that evoked both elegance and intimacy.

Clin d'Oeil by Bourjois c1984

 Launched in 1984, Clin d’Oeil by Bourjois emerged as a lively and engaging fragrance, created by renowned perfumers François Demachy and Jacques Polge. The name "Clin d’Oeil," which is French for "wink," captures a sense of flirtation, mischief, and charm. Pronounced as “klahn duh-yuh,” this phrase evokes an image of someone making a quick, playful gesture—a subtle yet deliberate act of acknowledgment or allure.

For women in the mid-1980s, the name "Clin d’Oeil" resonated with the playful confidence and bold individuality that defined the era. It suggested an effortless way to express one's personality, perhaps with a hint of mystery or cheeky fun. The phrase "wink" is universally understood as both an action and a metaphor, symbolizing charm, spontaneity, and sometimes, a secret shared between two people. As a name for a perfume, it conjures images of a woman exuding effortless charisma and leaving an indelible impression, much like the fleeting nature of a wink itself.

Interpreted as a scent, "Clin d’Oeil" could be imagined as light, sparkling, and bright—a burst of energy that doesn't overwhelm but leaves a memorable trail. The fragrance, classified as fresh, green, fruity, and floral, would embody this playful elegance. The green and fruity notes hint at vitality and youthful exuberance, while the floral heart provides an air of femininity and sophistication. Together, they evoke the spirit of a woman who can balance playful allure with refined grace.

Kobako by Bourjois c1936

Launched in 1936, Kobako by Bourjois is a perfume that stands out not only for its unique fragrance but also for its intriguing name. The term "Kobako" is derived from Japanese, where it translates to "perfume-box" or "scented box," and it refers to a lacquer or porcelain box used for storing incense. Pronounced as "koh-BAH-koh," the word evokes images of delicate craftsmanship, refined elegance, and a sensory experience tied to both fragrance and cultural symbolism. The association with a "perfume-box" suggests a treasured, almost sacred container for rare and precious scents, resonating with ideas of beauty and ritual. For women of the 1930s, particularly those attuned to global influences and trends, a name like Kobako would have conjured images of exoticism, luxury, and sophistication, drawing on the allure of Eastern traditions and the mystique of Far Eastern arts and culture.

The word "Kobako" in relation to scent would evoke a sense of deep, enveloping luxury. It conjures a perfume that is as much about the presentation and atmosphere as it is about the fragrance itself—a scent that would be housed in something as precious and alluring as a lacquered box. The perfume might be imagined as contained within a beautiful object, promising a fragrance that would linger and resonate, much like the incense stored in those precious boxes. In scent, it speaks to a luxurious, almost ritualistic experience, drawing upon the Eastern idea of treasured, often mystically rich scents held in reverence.

Kobako was created by renowned perfumer Ernest Beaux, with assistance from Constantin Mikhailovich "Kot" Weriguine, and it is classified as a warm leathery floral chypre fragrance for women. It is described as "heady," with rare wood species and jasmine as the dominant notes, providing a rich, sensual, and somewhat exotic olfactory experience. The fragrance is noted for its ability to hold better in fabrics and furs, positioning it as a perfume for brunettes of an exotic type—suggesting a scent that is both deep and striking, perhaps better suited to those with darker hair and a bold, sophisticated personality. The warm, woody, and floral elements would have made it a perfume that lingered on the skin and in the mind, creating an aura of mystery and sensuality.

Evening in Paris 1944 Advertisements

Evening in Paris perfume presentations and gift sets shown in a 1944 advertisement.

Evening in Paris Advertisement 1958 #2

Evening in Paris Advertisement 1958 showing perfume presentations and gift sets.

Evening in Paris 1958 Advertisement

Advertisement shows perfume bottles, perfume presentations and other sets.

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.