Violette de Corday c1931

 The launch of Violette de Corday in 1931 occurred during a unique historical period marked by significant social and cultural shifts. This era, known as the interwar period, was characterized by a blend of modernity and a longing for nostalgia. After the elaborate and often heavy fragrances of the late 19th and early 20th centuries, there was a return to simpler, more natural scents. This trend was a nostalgic nod to the Victorian era, which appreciated the purity of soliflore (single-flower) perfumes. The 1930s aesthetics were influenced by Art Deco's clean lines and geometric shapes but also saw a romanticized return to nature and simplicity in various aspects of culture, including fashion and perfumery. Additionally, the Great Depression, which began in 1929, had a profound impact on lifestyles, leading people to seek comfort in familiar and soothing elements. Simple, nature-inspired fragrances were part of this trend.

The name "Violette" evokes delicate, fresh, and floral imagery. The violet flower is associated with modesty, innocence, and timeless beauty, offering a gentle and approachable scent that conjures feelings of comfort and nostalgia. In the Victorian language of flowers, violets symbolized faithfulness and love, a sentiment that would resonate with women in 1931, connecting them to a sense of enduring elegance and emotional depth. Phonetically, "Violette" is pleasing, soft, and feminine, sounding luxurious yet unpretentious, making it both accessible and desirable. The historical and personal connection to violets, whether through gardens, literature, or previous perfumery traditions, created a sense of familiarity and charm.

Jovoy Compact & Perfume c1925

Severem by Jovoy c1923

In 1923, Severem by Jovoy emerged as a captivating embodiment of the era's fascination with the exotic and the allure of distant lands. Against the backdrop of the 1920s, a period marked by cultural renaissance and societal transformation, Western fascination with Orientalism reached its zenith. Blanche Arvoy's selection of "Severem" as the perfume's name, meaning "I love it" in Uzbek, Azerbaijani, and Tajik languages, strategically capitalized on this trend of linguistic exoticism.

The name itself evoked a sense of mystery and adventure, offering women a portal to indulge in fantasies of faraway places where romance and passion intertwined effortlessly. For women of the time, Severem wasn't just a fragrance; it was a means of escapism into a world of opulence and intrigue, inspired by the imagined splendor of the East. The perfume's name alone conjured images of silk-clad figures in bustling bazaars, where every scent carried a story of love and longing.

The design of Severem's bottle further enhanced its allure. Crafted from glass in the shape of a sitting dromedary, with stopper depicting a Bedouin figure, it was a masterpiece of artistry and craftsmanship. This meticulous attention to detail transported women into a realm of exotic luxury, where each spray promised an olfactory journey to distant lands of enchantment.

In essence, Severem by Jovoy appealed to women of the 1920s not just as a fragrance but as a touchstone of their desire for fantasy and escapism. It offered a tangible connection to a world where the exotic met the everyday, where dreams of faraway lands could be briefly indulged through the simple act of wearing perfume. In doing so, Severem became not only a coveted accessory but also a symbol of the era's spirit of adventure and sophistication, encapsulating the allure of Orientalism in a bottle.

Allez Hop by Jovoy c1924

In 1924, the launch of "Allez Hop!" by Jovoy would have been a significant event in the world of perfume, especially considering the societal context of the time. The early 20th century marked a period of burgeoning independence for women, following the First World War when many took on roles traditionally held by men. This newfound freedom was often expressed through fashion, entertainment, and personal grooming, including the use of perfumes.

The name "Allez Hop!" itself carries a lively and spirited connotation, perfectly suited to the era's zeitgeist. "Allez" is French for "go" or "let's go," evoking a sense of energy, adventure, and forward movement. This would have resonated with women who were embracing a more active and dynamic lifestyle. The exclamation "Hop!" adds a playful touch, suggesting spontaneity and joy, qualities that were increasingly valued in the post-war years as people sought to move beyond the trauma of the conflict.

Blanche Arvoy, the creator of "Allez Hop!", likely chose this name to capture the essence of optimism and vitality that characterized the era. It reflects a departure from the more subdued and formal names of perfumes that were popular in previous decades, aligning instead with the modern spirit of the 1920s. By naming her perfume "Allez Hop!", Arvoy aimed to appeal to women who were seeking fragrances that complemented their newfound sense of freedom and confidence.

The design of the bottle, shaped like a dalmatian puppy in a basket, further enhances the appeal of "Allez Hop!" to women of the time. Small dogs, particularly fashionable breeds like dalmatians, were popular accessories among the elite and symbolized companionship and elegance. The whimsical choice of a puppy-shaped bottle not only reflects this cultural trend but also adds a charming and endearing quality to the perfume, making it both a delightful fragrance and a coveted decorative item.

Overall, "Allez Hop!" would have appealed to women of the 1920s by resonating with their desire for independence, fun, and style. Its name and design encapsulate the spirit of the era, offering a fragrance that women could relate to on both a personal and cultural level, thereby solidifying its place as a fashionable and desirable perfume choice.

Hallo Coco! by Jovoy c1924

 In 1924, the introduction of "Hallo, Coco!" by Jovoy marked a pivotal moment in the annals of perfume history, capturing the essence and allure of its era with remarkable finesse. The choice of the name "Hallo, Coco!" resonates deeply within the cultural and social milieu from which it emerged.

Amidst the vibrant and culturally dynamic backdrop of the 1920s, characterized by exuberance, innovation, and a spirit of cultural exploration, the fascination with exotic birds such as parrots and budgies reached its zenith among affluent individuals and families. This era, often hailed as the Roaring Twenties, saw society increasingly drawn to all things colorful, adventurous, and unconventional.

"Hallo, Coco!" exudes a playful nod to the slang and colloquialisms of its time. In the bustling artistic and cultural hub of Paris during the early 1920s, where nightlife thrived and daring experimentation was celebrated, the name "Coco" carried multiple connotations. Beyond its association with parrots renowned for their vivid plumage and charming mimicry, "Coco" also intertwined with the underworld and the illicit trade in narcotics, particularly cocaine. Contemporary newspaper articles noted "Hello, coco" as a street greeting used by drug sellers in Paris, imbuing the name with an edgy, mysterious allure.

Blanche Arvoy, in christening her perfume "Hallo, Coco!", artfully tapped into this aura of intrigue and sophistication. The name itself possessed a dual meaning—a playful greeting and a subtle homage to the clandestine facets of society. It transcended mere fragrance, becoming a statement of boldness and modernity that resonated with women embracing the spirit of the Roaring Twenties.

While "Hallo, Coco!" did not overtly promote or glamorize drug use, it cleverly leveraged the slang term to cultivate an air of mystery and sophistication, catering to the desires of its contemporary audience. For women of the period, the perfume symbolized more than a mere scent; it embodied liberation and empowerment. As societal norms shifted and women asserted their independence, "Hallo, Coco!" offered a means of expressing individuality and sophistication.

In essence, "Hallo, Coco!" encapsulated the zeitgeist of 1920s Paris—an era where boundaries blurred, tradition met innovation, and women asserted their presence with elegance and style. Through its name alone, "Hallo, Coco!" not only appealed to women of its time but also provided a conduit to connect with an era defining modern femininity amidst cultural dynamism and societal change.

Fame by Corday c1946

In the post-war era of the mid-1940s, launching a perfume like "Fame" by Corday would have evoked a poignant mix of sensuality, romance, and intimacy amidst a backdrop of recovery and rebuilding. The end of World War II marked a period of rejuvenation and optimism, where people sought to embrace joy and pleasure after years of hardship and sacrifice. The name "Fame" itself carries connotations of glamour, allure, and the allure of the spotlight.

During this time, Hollywood was at its peak, with stars like Ingrid Bergman, Rita Hayworth, and Humphrey Bogart captivating audiences worldwide. Actresses and actors were not just entertainers but symbols of style and sophistication, embodying a sense of elegance and allure. The stage and radio also played significant roles in shaping cultural norms and defining societal expectations of beauty and allure.

Choosing the name "Fame" for a perfume would have been highly appropriate in this context. It speaks to the desire for recognition, admiration, and the aspiration to be remembered or celebrated. Blanche Arvoy, the creator, likely chose this name to evoke the essence of celebrity and allure, aiming to empower women with a fragrance that encapsulates glamour and sophistication.

L'Heure Romantique by Corday c1928

"L'Heure Romantique" translates to "The Romantic Hour" in English. The perfume was launched in 1928, a time known for its distinctive blend of sensuality, romance, and intimacy.

In the 1920s, particularly in Western societies, there was a notable shift towards more liberated attitudes regarding love, relationships, and personal expression. The era was characterized by jazz, flappers, and a sense of freedom after the end of World War I. Women's fashion became more daring, and there was a growing emphasis on enjoying life and indulging in pleasures, including romantic ones.

The name "L'Heure Romantique" captures the essence of this period perfectly. It suggests a specific moment in time dedicated to romance and intimacy, evoking images of candlelit dinners, whispered confessions of love, and stolen kisses. During the 1920s, notions of romance were evolving beyond traditional norms, embracing new forms of expression and freedom in relationships.

Blanche Arvoy, the founder of Corday perfumes, likely chose the name "L'Heure Romantique" to tap into the spirit of the times and appeal to women who sought elegance, sensuality, and a touch of allure in their fragrances. The name suggests a perfume designed for a woman who appreciates romance and understands its nuances, someone who values moments of intimacy and wishes to enhance them with a scent that complements the atmosphere.

Women of that era would likely respond positively to such a perfume with a name like "L'Heure Romantique." It would resonate with their desire for sophistication and romance, offering them a way to enhance their allure and create an aura of mystery and sensuality.

The name "L'Heure Romantique" conjures images of moonlit walks, silk dresses, and whispered promises. It evokes feelings of nostalgia for a time when romance was celebrated openly and passionately. In the context of the 1920s, it signifies a departure from Victorian restraint to a more modern, liberated approach to love and relationships.

Overall, "L'Heure Romantique" by Corday not only captures the essence of its time but also embodies the desires and aspirations of women who sought romance and intimacy amidst the changing social landscape of the 1920s.

Corday Perfume Tester Racks

Corday tester rack made up of black Bakelite, showing Zigane, Toujours Moi, Trapeze, and Jet.

Voyage a Paris by Corday c1932

In the early 20th century, particularly around the time when "Voyage à Paris" by Corday was launched in 1932, luxury liner travel symbolized the pinnacle of elegance and sophistication. Trans-Atlantic voyages were not just journeys but lavish experiences, especially for those traveling to Paris. These voyages were not merely about reaching a destination but were events in themselves, often associated with acquiring the latest fashions from France's leading designers.

Luxury liners like the Île de France, launched in 1927 by the French Line, and the Europa and Bremen, launched in 1928 by the Germans, epitomized this era. The Île de France was celebrated for its luxurious accommodations and elegance, catering to affluent passengers who enjoyed the finest in service and style. The Europa and Bremen were notable for their speed and modern design, making them popular choices among travelers seeking efficient and comfortable crossings. The SS Normandie, launched in 1932, continued this tradition of opulence and sophistication, setting new standards in luxury travel.

The phrase "Voyage à Paris" evokes a sense of glamour, adventure, and exclusivity. It suggests a journey to the heart of fashion and culture, to a city synonymous with haute couture and luxury. For a perfume, "Voyage à Paris" is an evocative name because it captures the essence of sophistication and elegance associated with Parisian style.

Blanche Arvoy likely chose to name her perfume "Voyage à Paris" to evoke these very sentiments. By associating her fragrance with the idea of a voyage to Paris, she positioned it as a luxury item that embodies the essence of Parisian chic. The name suggests that wearing this perfume transports one to the world of high fashion and elegance that Paris represents.

Women of the time would likely respond positively to such a perfume. It would appeal to their desire for sophistication and the allure of Parisian style. The name itself conjures images of Parisian boulevards, fashionable boutiques, and the artistry of French perfumery, resonating deeply with the aspirations and dreams of many women of that era.

"Voyage à Paris" not only encapsulates the allure of luxury liner travel and trans-Atlantic journeys but also embodies the glamour and romance associated with Paris during the early 20th century. It conjures feelings of excitement, sophistication, and the promise of indulging in the finest fashion and fragrance. In essence, it perfectly resonates with the opulent spirit of the time period and the aspirations of those who sought to experience Parisian elegance firsthand

Possession by Corday c1937

In 1937, the time period when the perfume "Possession" by Corday was launched, Europe and the United States were emerging from the depths of the Great Depression. This era was marked by a mix of nostalgia for the Roaring Twenties and a growing sense of anticipation for the looming conflicts that would lead to World War II. Socially, women were asserting more independence and participating actively in the workforce, albeit amidst lingering traditional gender roles.

The choice of the name "Possession" for a perfume in this context carries several implications. Firstly, "Possession" suggests ownership and control, possibly appealing to the emerging sense of feminine autonomy and empowerment. It evokes a sense of possessing one's desires, dreams, and identity—a theme resonant with the changing roles of women in society during the late 1930s.

The perfume's name could also hint at the allure of being possessed or captivating, capturing attention and admiration. It plays into the romantic and sensual connotations associated with fragrance, suggesting a desire to be possessed or admired by others.

Corday's decision to name their perfume "Possession" likely aimed to tap into these complex emotions and desires of women during the period. By evoking notions of ownership, allure, and independence, the name would have appealed to those seeking a scent that symbolized both elegance and empowerment.

Regarding the connection to Auguste Rodin's sculpture "The Kiss," which inspired the perfume according to advertisements of the time, it offers a vivid image of passion and intimacy. "The Kiss" depicts a couple in a tender embrace, capturing a moment of intense emotion and connection. Sculpted between 1888 and 1898, it represents eternal love and desire, transcending time and space.

This sculpture enhances the perfume's branding as it aligns "Possession" with themes of romance, love, and intimacy—elements that perfume often seeks to embody. By associating with such a renowned piece of art, Corday aimed to elevate the allure and sophistication of their fragrance, suggesting it could evoke similar emotions of passion and desire.

In conclusion, the launch of "Possession" in 1937 coincided with a period of shifting societal norms and evolving women's roles. The name and its association with Rodin's "The Kiss" would likely have resonated with women of the time, offering a perfume that promised elegance, allure, and a hint of romantic passion—a compelling proposition in an era marked by both uncertainty and aspirations for a brighter future.

Serre Fleurie by Corday c1924

In 1924, the launch of "Serre Fleurie" by Corday would have coincided with a period marked by significant social and cultural shifts, particularly in the context of women's roles and interests. During this time, hothouse flowers continued to hold a special allure among women of the upper class and those who pursued leisurely hobbies.

The name "Serre Fleurie" ("flowering conservatory" in French) would have been particularly apt for a perfume launched in this era. It would evoke imagery of carefully cultivated gardens within a conservatory, where rare and exotic flowers like orchids, gardenias, and jasmine bloomed under controlled conditions. These hothouse flowers symbolized refinement, beauty, and exclusivity, appealing to the tastes of sophisticated women who appreciated luxury and elegance.

For women of the early 20th century, "Serre Fleurie" would likely have resonated deeply. The name would have conjured images of lush floral arrangements, the delicate fragrance of exotic blooms, and the serene atmosphere of a well-tended conservatory garden. It would have appealed to their appreciation for natural beauty and the artistry involved in hothouse gardening, which was often a hobby pursued by women of means.

Hothouse flowers typically included species that required careful cultivation due to their sensitivity to temperature and humidity changes. These flowers were prized for their rarity and the skill required to maintain them, reflecting the refined tastes of those who cultivated or admired them.

The perfume "Serre Fleurie" would have been expected to elicit a positive response among its target audience. Women of the time would likely have been drawn to its promise of capturing the essence of hothouse flowers in a bottle, offering a sensory experience reminiscent of their favorite blooms. The name itself would evoke emotions of nostalgia for leisurely pursuits, appreciation for natural beauty, and a sense of luxury and refinement.

Corday Perfumes Advertisement 1958

Corday Perfumes Advertisement from 1958 showing perfume presentations and gift sets. Perfumes shown in the ad are: Toujoirs Moi, Toujours Toi, Possession, Fame, Zigane (Tzigane) and Jet.

Where Should I Apply Perfume?

As a general rule, fragrance should be applied to pulse points. This is where the blood vessels are closest to the skin giving off more heat and acting like mini fragrance pumps.

Rusé by Corday c1966

Rusé by Corday: launched in 1966. The name means "Foxy" in French. In USA by 1976.

Corday Solid Perfume Sticks

Pacific Drug Review - Volume 62, Part 2 - Page 76, 1950:

“Eau de Toilette in Solid Form. Eau de Toilette in stick form is available in two fragrances, Toujours Moi and Fame. Advantages claimed for the  new product include ease of application. Supplied in two sizes—-the purse stick in plastic case which sells at $1.50, and the 2 1/2 oz. size in a frosted jar for $2.50.”

Solid perfume sticks, meant to be carried in the purse. Available in Toujours Moi, Zigane, Jet and Fame. Photo from worthpoint.