Throughout history, the tradition of wearing furs dates back to prehistoric times, where furs were indispensable for warmth and protection. As humanity progressed with the advent of modern clothing, furs became a luxury reserved for the wealthy elite. The donning of furs came to symbolize not just practical warmth, but also conveyed richness, opulence, and status. For centuries, fur garments were intricately woven into the social fabric, adorning royalty, nobility, and affluent individuals alike. Their extravagant allure extended beyond mere utility to embody power and prestige, making the wearing of furs a visible marker of wealth and influence in societies across the globe.
Ancient Eras:
During the Ancient Egyptian civilization, furs held a sacred significance, reserved exclusively for priests who adorned themselves with leopard skins perfumed with precious incense. This practice not only conveyed religious authority but also symbolized divine connection and purity within the ancient Egyptian hierarchy.
Medieval Period:
Moving into the Middle Ages, the use of furs encountered stringent regulations, particularly within the Church. Until 1127, wearing furs in religious settings was strictly forbidden, reflecting both religious austerity and the social divisions of the time.
In Tudor England, furs took on multifaceted roles. Beyond their aesthetic appeal, furs were believed to possess health benefits, making them highly sought after by the nobility. Political in nature, furs were also prized gifts exchanged among royalty, with lynx and ermine adorning the capes of kings and queens, signifying their regal status. Among these, Russian sables emerged as the epitome of luxury and value, coveted for their rarity and exquisite quality.
Among the elite, fur-lined slippers and pumps became fashionable symbols of wealth and comfort, further reinforcing the association of furs with opulence and aristocracy during this vibrant era of European history.
In the original tale of Cinderella, dating back centuries, her slippers were described as being lined with fur ("vair") rather than being made of glass ("verre"), a detail that was later misinterpreted in translations. This fur lining symbolized luxury and elegance, fitting for a tale of transformation and royalty.
The 16th & 17th Centuries:
During the 16th and 17th centuries, laws governed the ownership and display of furs based on social status and wealth. The type of fur one could wear or own was strictly regulated, reflecting and reinforcing social hierarchies. Furs became not only a symbol of wealth but also a marker of social standing, with different furs denoting varying levels of privilege and status.
The 18th Century:
By the 1700s, fur muffs became fashionable accessories, often delicately perfumed to enhance their allure. Made from luxurious white furs like Arctic fox and ermine, these muffs were favored by upper-class women as symbols of refinement and exclusivity.
The Victorians:
Until the mid-1800s, furs primarily served as ornate trimmings on dresses and other garments, further emphasizing their role as decorative elements that enhanced the prestige and aesthetic appeal of fashionable attire. The evolution of fur in fashion mirrored shifts in societal values and economic conditions, marking its journey from a practical necessity to a coveted luxury item intertwined with status and sophistication.
During the Victorian era, the wearing of fur garments such as coats, stoles, hats, and cloaks became a hallmark of fashion and status, particularly as the newly affluent middle class could now afford such luxuries. Sealskin coats, mink, fox, and dyed muskrat coats were among the most coveted items, prized for their warmth and opulence. Fur trimming adorned not only outerwear but also decorated hats, muffs, and even boots, adding a touch of extravagance to everyday attire. Carriage boots known as "Juliets," lined with fur, were specifically designed for travel, offering both comfort and elegance during carriage rides, which were then exchanged for evening shoes upon arrival at one's destination.
The Edwardians:
In the early 1900s, perfuming furs served a dual purpose: to mask any natural odors associated with fur and to enhance the luxurious experience of wearing them. Perfumes were delicately applied to furs to imbue them with a pleasant scent, often masking any mustiness that might develop over time. Furs, known for retaining the scents of their wearers, could carry the fragrance of their owners for years. Discovering the lingering perfume of a previous owner on a vintage fur coat can evoke a sense of nostalgia and fantasy, transporting one's imagination to the elegant events and carefully chosen perfumes that accompanied the garment's previous wearings. This enduring connection between scent and fur not only enhanced its allure but also added layers of personal history and luxury to these coveted fashion items.
In a 1906 cookbook featuring household hints, a method for cleaning furs was detailed: using a dry shampoo made of powdered orris root and cornmeal. This mixture was rubbed into the fur and left overnight, allowing it to absorb any odors and refresh the fur with a delicate perfume. The following morning, the fur was shaken out, resulting in a revitalized and pleasantly scented garment. This method not only cleaned but also maintained the luxurious quality of furs, ensuring they remained fresh and enjoyable to wear.
A New York Times article from 1910 further elaborated on the care and scenting of furs, highlighting the challenge of maintaining them, especially in warm weather when natural odors could become more noticeable. Pouring perfume directly onto furs was cautioned against due to the potential damage caused by alcohol. Instead, the article recommended using sachets filled with perfumed chamois, which were slipped between the linings of the furs. When storing furs, it was advised to roll them in wool saturated with perfume, ensuring that the fragrance permeated the fur without harming it. This meticulous approach not only preserved the quality of furs but also enhanced their allure, offering a sophisticated solution to the maintenance of these prized garments.
1920s:
In the early 20th century, several prestigious furriers expanded into the perfume industry, following the footsteps of luxury goods manufacturers like Louis Vuitton. Among them were Les Fourrures Max, Les Fourrures Weil, and Les Fourrures Blondel, renowned for their exquisite fur creations. Les Fourrures Max, known for their avant-garde and luxurious fur designs, made their foray into perfumery in 1925 with the introduction of Le Parfum Max. This fragrance was a creation of Madame Andrée Leroy, proprietor of the firm, and aimed to complement their opulent fur offerings with an equally luxurious scent.
Meanwhile, in 1927, Marcel Weil of Les Fourrures Weil responded to a specific client request by launching Parfums Weil. These were the first commercial perfumes designed explicitly for wearing with furs, addressing concerns about perfume potentially harming delicate fur fabrics. Advertisements for Parfums Weil emphasized their compatibility with furs, assuring customers that these fragrances were crafted to enhance the luxury experience without compromising the integrity of their prized fur garments. This expansion into perfume marked a strategic diversification for these established furriers, blending their expertise in luxury craftsmanship with the allure of fine fragrances tailored for discerning clientele.
In 1928, Les Fourrures Blondel, renowned for their exclusive fur creations, made a bold entry into the perfume industry with Le Sauvage (The Savage). This fragrance was housed in a stunning Baccarat crystal flacon, notable for its unique design depicting a scene that would be considered controversial by contemporary standards. The front of the flacon featured a depiction of a Native American trapper with a freshly caught fox slung over his shoulder, while in the background, an elegant Parisienne was shown wearing a luxurious fox stole. This imagery, meant to evoke the wild and exotic allure associated with fur and the outdoors, reflected the artistic sensibilities of the time but would likely spark controversy today due to its portrayal of cultural stereotypes and the use of fur.
Subsequently, Les Fourrures Blondel expanded their perfume offerings beyond fur-themed scents. They operated from the same location as the Myon Perfumery at 11 Place de la Madeleine in Paris, a prestigious address synonymous with luxury and fine fragrance. This strategic move allowed Blondel to cater to a discerning clientele who appreciated both their exquisite fur creations and the luxurious perfumes that complemented them. Despite the evolving sensitivities around fur and cultural representations, the legacy of Les Fourrures Blondel continues to resonate in the worlds of fashion and fragrance, reflecting a bygone era of opulence and artistic expression.
The First Weil Perfumes:
Chinchilla Royal:
Chinchilla Royal, a perfume crafted to evoke the grandeur of the Persian and Indian Empires, is renowned for its rich blend of jasmine and roses. This luxurious fragrance pays homage to the allure and opulence associated with the short-tailed chinchilla, also known as the Royal Chinchilla. These small mammals were prized for their incredibly soft and dense fur, which had a plush texture and a distinctive silvery-gray coloration.
The demand for chinchilla fur led to significant conservation concerns. Although a ban on hunting these animals was initiated in 1929, it wasn't fully enforced until much later, in 1983. Chinchillas were originally native to the Andes Mountains of South America, but due to hunting and trade, they were also imported from regions like India, China, and Persia to meet the luxury market's demand.
The feel of chinchilla fur is exceptionally soft and silky, often described as luxurious and velvety to the touch. It has a unique density and thickness that contributes to its reputation as one of the most prized and sought-after furs in the world. This exceptional texture, combined with its rarity and natural color variations, makes chinchilla fur a symbol of prestige and elegance in both fashion and perfumery.
Hermine:
Hermine, a perfume designed to embody tenderness and virginity, was heavily infused with the sweet floral scents reminiscent of the Pacific Isles. The fragrance aimed to evoke a sense of purity and delicacy, mirroring the symbolism associated with the winter ermine in various cultural contexts. In art and literature, the ermine has long been revered as a symbol of purity and virginity. During the Renaissance era, legends portrayed the ermine as a creature so dedicated to its pristine white coat that it would rather surrender to hunters than risk staining its fur. This symbolism is captured vividly in Henry Peacham's Emblem 75, titled "Cui candor morte redemptus" or "Purity bought with his own death," which depicts an ermine facing hunters and hounds.
The ermine's legendary purity has been used as a moral lesson, urging people to maintain integrity and innocence in their thoughts and actions. Even in contemporary culture, the ermine remains a symbol of good luck in some regions of Japan, admired for its charming appearance and elusive nature.
Ermine fur is known for its exquisite softness and luxurious texture. It has a velvety feel that is incredibly smooth to the touch, often likened to silk. The fur is dense and fine, with a silky sheen that adds to its elegance. Ermine fur is prized not only for its softness but also for its beautiful, pure white coloration, which symbolizes purity and luxury. These qualities make ermine fur highly sought after in the world of fashion and luxury goods, reflecting its historical association with royalty and high status.
Unfortunately, Hermine was discontinued in 1940, but its legacy continues to be remembered for its poetic portrayal of purity and the timeless allure of its floral composition, which once encapsulated the essence of innocence and grace.
Une Fleur de Fourrure:
Une Fleur de Fourrure, meaning "a flower for fur," represented a charming departure from the complexity of other fur-inspired perfumes. This fragrance, centered around the essence of jasmine, embraced a minimalist approach that highlighted the pure and intoxicating aroma of this beloved floral note. Jasmine, known for its sweet and heady scent, was the sole protagonist in Une Fleur de Fourrure, creating a fragrance that was both simple and profoundly captivating.
The perfume's straightforward composition focused on enhancing the natural beauty of fur without overshadowing its inherent elegance. By delicately weaving jasmine's floral notes into its olfactory tapestry, Une Fleur de Fourrure offered a delicate yet impactful fragrance experience. The sweet, floral nuances of jasmine delicately enveloped the senses, evoking a sense of luxury and refinement that complemented the plush texture of fur garments with effortless grace.
In embracing simplicity, Une Fleur de Fourrure underscored the artistry of perfumery in accentuating the beauty of natural materials like fur. Its singular focus on jasmine served as a testament to the power of a well-chosen floral note, capable of enhancing and elevating the sensory experience of wearing fur. This enchanting fragrance stood out for its ability to evoke a timeless sense of allure and sophistication, making it a cherished choice among those who appreciated the subtle harmonies between fragrance and luxury attire.
Zibeline:
Zibeline, a renowned fragrance whose name translates to "sable" in French, stood out as a masterpiece in perfumery with its exquisite composition. This floral chypre perfume was celebrated for its sophisticated blend of aromatic elements, each contributing to its unique character. At its heart, Zibeline embraced a harmonious mix of oakmoss, patchouli, and vetiver, imparting a deep and earthy foundation. Complementing these base notes were benzoin and ambergris, which added warm and resinous nuances, enhancing the perfume's overall depth and longevity.
The fragrance further unfolded with delicate touches of incense, jasmine, rose, and ylang-ylang, offering a floral elegance that balanced its richer undertones. Aldehydes provided a sparkling quality, while bergamot contributed a citrusy freshness that lifted the composition, ensuring a sophisticated and multifaceted olfactory experience. The interplay of these meticulously selected ingredients resulted in a scent that was not only opulent but also timeless, evoking a sense of luxury and refinement that harmonized perfectly with the sumptuous fur it was intended to complement.
Zibeline's allure extended beyond its aromatic profile, encapsulating the essence of elegance and sophistication that defined high fashion and luxury during its time. Its complex blend of notes resonated with discerning individuals who appreciated the artistry of perfumery, making it a coveted choice among those seeking a fragrance that matched the prestige of their fur garments. Through Zibeline, perfumers achieved a harmonious fusion of botanical richness and sensual allure, creating a fragrance that remains a testament to the enduring appeal of fine craftsmanship and timeless luxury in the world of perfumery.
1930s:
In a 1930 article, the distinction between perfumes used on sable and ermine fur is described in terms of their composition and character. Weil's Zibeline perfume, to be used on sable fur, is noted to be rich and evocative, carrying heavy notes reminiscent of sandalwood. This choice of fragrance aligns with the luxurious and sophisticated nature of sable fur, enhancing its opulent appeal with deep, woody undertones that add to its allure and elegance.
On the other hand, Weil's Hermine perfume, intended for ermine fur, is described as lighter in comparison. It is noted to include a hint of attar of roses, a fragrant essential oil derived from rose petals. This lighter composition aims to complement the delicate and pristine quality of ermine fur, enhancing its natural beauty with floral notes that evoke freshness and purity. The use of attar of roses underscores the fur's symbolism of purity and virginity, aligning with cultural associations that have long portrayed ermine fur as a symbol of grace and innocence.
These nuanced choices in perfume compositions highlight the meticulous attention to detail in fur care and maintenance during this era, where fragrances were carefully selected to not only preserve but also enhance the luxurious qualities of fur garments, ensuring they remained both aesthetically pleasing and evocative of sophistication and refinement.
In 1930, Weil introduced their first eau de toilettes, Chinchilla and Zibeline, marking a significant expansion of their fragrance line. Zibeline, in particular, achieved notable success, becoming a cornerstone of Weil's offerings, especially with the introduction of the Secret de Venus Huile line of bath and body oils. This expansion solidified Zibeline's reputation as a luxurious and enduring fragrance, appreciated for its sophisticated blend and lasting appeal.
On the other hand, Chinchilla, despite its initial introduction alongside Zibeline, was discontinued in 1963. This decision marked the end of an era for Chinchilla as a fragrance, reflecting changing trends and preferences in the perfume industry over the decades. Despite its discontinuation, Chinchilla remains a nostalgic reminder of Weil's early ventures into perfumery and its role in shaping the brand's legacy alongside other iconic fragrances.
In a 1934 article from the Kentucky New Era newspaper, a renowned perfumer provided insightful recommendations on pairing perfumes with different types of furs. According to the perfumer, specific scents should complement the characteristics of various fur types: sweet odors like gardenia were suggested for fox furs, enhancing their natural allure with floral notes. For short-haired varieties like mink, spicy perfumes were recommended, adding a touch of warmth and complexity to their texture. In contrast, luxury furs such as ermine and sable were advised to be paired with subtle and elusive scents, which would harmonize with their luxurious and delicate qualities without overwhelming their natural elegance.
Moreover, the perfumer emphasized the application technique, advocating the use of an atomizer to apply perfume. This method was said to ensure that the scent adhered to individual hairs more effectively, prolonging its presence and enhancing the overall fragrance experience. By providing these detailed guidelines, the perfumer not only underscored the artistry and sophistication involved in pairing scents with fur but also aimed to enhance the wearer's enjoyment of their luxurious fur garments with tailored perfume choices and application techniques.
1940s:
Dorothy Gray's "Lady in the Dark" perfume, introduced in 1941, was specially designed for enhancing the allure of furs. The packaging itself was a testament to luxury and elegance, featuring a distinctive design that included a fur pompom atop a box covered with material resembling luxurious velvet. This thoughtful presentation not only reflected the glamour and sophistication of the perfume but also emphasized its intended use with fur garments. By incorporating such a tactile and visually appealing packaging, Dorothy Gray aimed to offer a sensory experience that complemented the opulence and refinement associated with wearing furs, making "Lady in the Dark" a coveted choice among fashion-conscious consumers during the era.
Perfuming Furs:
When it comes to wearing fur coats and preserving their quality, choosing the right perfume is crucial. Furriers have long recommended pure parfum extraits for use with furs since the early 1900s. These perfumes typically have a higher concentration of fragrance oils and a lower alcohol content compared to other types of perfumes. The reason behind this advice is clear: alcohol, commonly found in many perfumes, can dry out the delicate fur fibers over time. By opting for alcohol-free or low-alcohol perfumes, fur wearers can help maintain the softness and luster of their garments, ensuring they remain in pristine condition for years to come.
Another challenge in fur care is protecting garments from moth damage without resorting to the lingering scent of mothballs. While mothballs are effective, their pungent odor can be off-putting and persistent. Instead, fur owners can adopt alternative methods for storage and protection. One recommended approach is to hang the fur coat on a padded hanger, avoiding plastic hangers which can attract moisture and potentially harm the fur. Alternatively, rolling the coat in a white cotton sheet and storing it in a box filled with cedar chips under the bed or in a cedar chest can deter moths naturally, as cedar is known for its moth-repellent properties.
For those preferring professional care, furriers offer specialized storage options, including refrigerated storage facilities. These controlled environments help preserve fur by maintaining optimal humidity levels and protecting against moth damage. Entrusting fur coats to furriers ensures they receive expert care, extending their lifespan and maintaining their luxurious quality for generations to come. Whether choosing perfumes or storage methods, these practices ensure that furs remain not only fashionable but also meticulously cared for, embodying both elegance and longevity.
In a fascinating insight from an August 26, 1945 article in the Milwaukee Sentinel by Dorothy Parnell, a new trend in fashion and beauty emerged: perfume pockets in fall coats. This innovation was a collaboration between Esther Dorothy, a prominent fur designer, and Bernadine de Tuvache, a perfumer renowned for her creations such as Jungle Gardenia. Each coat from Esther Dorothy's latest winter collection featured a miniature pocket sewn into the lining, positioned high on the left side just under the shoulder pad. These pockets were designed to hold a small, delicately scented square of maline cloth wrapped around cotton soaked with a few drops of perfume.
These miniature perfume amulets served a dual purpose. Firstly, they allowed wearers to enjoy the luxury of wearing perfume without directly applying it to their furs, thus preventing potential damage caused by the alcohol content found in many perfumes. This innovation was especially crucial for preserving the integrity of precious pelts, avoiding repeated exposure to alcohol which could dry out and harm the delicate fur fibers over time. Secondly, the perfume pockets offered practicality by allowing wearers to easily change their perfume choices at will, adapting their scent to suit different occasions or moods.
From a August 26,1945 article in the Milwaukee Sentinel by Dorothy Parnell:
"PERFUME POCKETS IN NEW FALL COATS!
The perfume pocket is the latest fashion and beauty trick in New York. It is the joint inspiration of two top glamour creators, Esther Dorothy, the fur designer and Bernadine de Tuvache, perfumer. Each coat in Esther Dorothy's new winter collection has in its lining a miniature pocket, only about an inch in width and depth, placed high at the left side just under the shoulder pad. Out of it peeps the corner of what looks like a doll's chiffon handkerchief, but is in reality a tiny square of maline tied around a piece of cotton holding a drop or two of perfume. These little perfume amulets are to be worn instead of putting perfume on your furs and have the practical advantage of giving you a chance to change your perfume at will , and most important preventing the actual injury to precious pelts when it comes repeated burning by the alcohol in perfume."
This trend highlighted not only the creativity of fashion designers and perfumers in adapting to practical concerns but also reflected a desire for elegance and innovation in fashion during the post-war era. By integrating such thoughtful details into their designs, Esther Dorothy and Bernadine de Tuvache set a trend that combined luxury, practicality, and preservation, ensuring that fashionable women could enjoy their furs with both style and care.
Bibliography:
- The Art of Perfume by Christie Mayer Lefkowith, 1994
- The Progress Meatless Cook Book and Valuable Recipes and Suggestions For Cleaning Clothing, Hat, Gloves, House Furnishings, Walls and Woodwork And All Kinds of Helps (sic) For The Household by Lotta M. Lake. Copyright 1911
- Emblem 75 by Henry Peacham, 1612
- The New York Times, Uses For Perfume, December 25, 1910
- Scentzilla website
- Perfume Shrine website
- The Scented Salamander website
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