Grigri by Weil c1943

Grigri by Weil: launched in 1943. The name pronounced "Gree Gree", is African in origin and means "magic charm" or "talisman." I believe that this perfume, with its exotic name and advertisements, was some sort of patriotic allusion to the French colonies in West Africa. Jean Patou, another French perfume manufacturer visited this theme with his perfume, Colony.

Carbonique Fizzing Cologne c1935

In 1935, Weil released it's Carbonique, an eau de cologne which was carbonated and sold in a cute seltzer style bottle, it was available in Bambou, Zibeline and Cassandra scents.

Stage, 1936:

"There's something pretty exhilarating about the new fizzing cologne of Parfums Weil called Carbonique. It comes in three odors: Cassandra, Bamboo, and Zibeline, and the seltzer-bottle container is returnable for credit on a new one."

Noir by Weil c1937

In 1937, the world was on the brink of significant upheaval. The late 1930s were marked by political tension, economic recovery from the Great Depression, and a cultural shift towards modernity and sophistication. Against this backdrop, Parfums Weil launched their new fragrance, "Noir," a creation by the esteemed perfumer Jacqueline Fraysse. This period saw a fascination with the mysterious and the elegant, qualities that "Noir" encapsulated perfectly.

The name "Noir" is a French word meaning "black." In the context of the late 1930s, black symbolized sophistication, mystery, and timeless elegance. Choosing the name "Noir" for a perfume was a deliberate move by Parfums Weil to evoke a sense of intrigue and allure. The word "Noir" carries with it connotations of the unknown, the seductive, and the dramatic, aligning perfectly with the era's fascination with film noir and the glamor of the silver screen.

A perfume named "Noir" would appeal to women who identified with these qualities. These were women who embraced the sophistication of eveningwear, the elegance of classic fashion, and the allure of mystery. The scent would likely evoke images of smoky jazz clubs, elegant soirées, and the enigmatic femme fatale. "Noir" was designed for the woman who wanted to feel captivating and irresistible, who appreciated the blend of darkness and light that characterized both the fragrance and the era.

The perfume itself, created by Jacqueline Fraysse, would have been a rich, complex scent that mirrored the layered emotions and experiences of the time. Women who wore "Noir" would respond to its depth and sophistication, finding in it a reflection of their own complexity and allure. The fragrance would evoke feelings of power, confidence, and seduction, making it an appropriate and desirable choice for the modern woman of the late 1930s.

Chunga by Weil c1977

Chunga by Parfums Weil was launched in 1977, a decade characterized by a cultural renaissance that embraced boldness, individuality, and an eclectic mix of influences. The 1970s saw significant shifts in fashion, music, and art, with a notable return to natural and exotic elements. This era was marked by a fascination with global cultures, reflected in the vibrant, diverse trends of the time. The fragrance industry was no exception, with many brands drawing inspiration from far-flung locales and unique cultural motifs.

The name "Chunga" likely stems from a word in Spanish, where "chunga" can mean playful or jesting. In this context, it suggests a sense of fun, mischief, and light-heartedness. Parfums Weil may have chosen this name to evoke a playful, exotic allure, aligning with the adventurous spirit of the 1970s. "Chunga" as a name for a perfume carries connotations of intrigue and excitement, a playful dance of scents that tease and tantalize the senses.

Choosing "Chunga" as a name for a perfume fits well with the adventurous, boundary-pushing ethos of the 1970s. During this period, people were eager to explore new experiences and break away from traditional norms. A perfume named "Chunga" would appeal to individuals seeking a unique, bold fragrance that stood out from the more conventional scents of the time. The name suggests a fragrance that is not just an accessory but a statement, a playful and daring choice for those who want to express their individuality and zest for life.

The imagery and feelings evoked by the word "Chunga" are rich and vibrant. One might envision a lively, colorful marketplace filled with exotic spices and flowers, where every corner holds a new surprise. The scent would likely be a blend of vibrant, spicy, and floral notes, capturing the essence of a carefree, spirited adventure. The name conjures up images of playful flirtation, spontaneous dancing, and the joy of living in the moment. It suggests a perfume that is both exotic and accessible, appealing to the senses with its unique, captivating blend.

Padisha by Weil c1922

he launch of "Padisha" by Parfums Weil in 1922 and its subsequent re-launch for public sale in 1947 coincided with distinct periods of cultural and historical significance. In 1922, when the perfume was first introduced as a gift to special clients, Europe and the Middle East were undergoing significant political and social changes following World War I. This period marked the decline of the Ottoman Empire and the emergence of new nation-states in the Middle East, with Turkey transitioning into a republic under Mustafa Kemal Atatürk.

The name "Padisha," derived from the Turkish word "Padishah," refers to a high-ranking sovereign title historically used in the Ottoman Empire and Persia. It translates to "Great King" or "Emperor" in English. Choosing "Padisha" as the name for a perfume could evoke images of grandeur, opulence, and imperial authority, resonating with the cultural richness and historical legacy associated with the Ottoman Empire. The name suggests luxury, authority, and exoticism, qualities that would appeal to a clientele seeking prestige and sophistication in fragrance.

For Parfums Weil, re-launching "Padisha" for public sale in 1947 came during a post-World War II era marked by recovery and rebuilding across Europe. This period saw a renewed interest in luxury goods and a desire to recapture the elegance and refinement of pre-war times. The name "Padisha" would have appealed to individuals who appreciated classical elegance, exotic allure, and a sense of history in their perfumes. It would likely have been marketed to a sophisticated clientele who valued tradition, exclusivity, and the allure of oriental mystique embodied in the name.

Cassandra by Weil c1935

The launch of the perfume "Cassandra" by Parfums Weil in 1935 coincided with a period of artistic and cultural richness in both Europe and the United States. This era, between the two World Wars, saw a blend of traditional elegance and modernist experimentation in fashion, art, and literature. It was a time when perfumery was evolving, with new fragrances being crafted to reflect changing tastes and societal norms.

Parfums Weil likely chose the name "Cassandra" for its perfume to evoke a sense of mystery, allure, and sophistication. In Greek mythology, Cassandra was a Trojan princess blessed with the gift of prophecy but cursed so that her predictions would never be believed. She embodies a tragic yet compelling figure whose story resonates with themes of foresight, fate, and the tension between truth and disbelief.

Cassandra's association with prophecy and her tragic fate could make her an apt symbol for a perfume. Fragrance, like prophecy, can evoke emotions, memories, and anticipation of the future. Naming a perfume after Cassandra suggests it might possess an enigmatic allure, hinting at hidden depths and a captivating, yet perhaps elusive, beauty.

People who would relate to a perfume named "Cassandra" might be drawn to its evocative name and the mythological connotations it carries. They might see it as a perfume that promises to awaken senses, evoke emotions, and leave a lasting impression. Those familiar with the myth might be intrigued by the idea of wearing a fragrance that channels Cassandra's mystique and tragic allure.

The word "Cassandra" evokes images of ancient Greece, of prophetic visions, and of a woman with an intense gaze and a compelling story. It carries feelings of mystery, wisdom, and a touch of sorrow. For those attracted to the perfume, "Cassandra" could embody a blend of sophistication and emotional depth, offering wearers a chance to connect with a fragrance that speaks to both the past and the present, resonating with timeless themes of beauty, fate, and the complexity of human experience.

Weil Ad 1943

Hermine by Weil c1928

Hermine by Parfums Weil was launched in 1927, a time of significant cultural and social change. The 1920s, often referred to as the Roaring Twenties, were characterized by a dynamic shift in lifestyle, fashion, and attitudes. This era saw the rise of jazz music, flapper culture, and a general sense of liberation and modernity following the end of World War I. Women were gaining more freedom and independence, reflected in their bolder fashion choices and the embrace of new beauty standards. It was in this vibrant and transformative period that Hermine made its debut, capturing the spirit of the age with its exotic and luxurious composition.

Parfums Weil chose the name "Hermine" for their newest fragrance to evoke the elegance and purity associated with the ermine, a small mammal known for its pristine white fur. The French word "hermine" translates to "ermine" in English. Historically, the ermine has been a symbol of purity and virginity, particularly in art and heraldry. The legend of the ermine, which would rather face death than soil its immaculate coat, underscored its representation of unblemished purity and noble character. This symbolism made "Hermine" an appropriate and evocative name for a perfume, suggesting a fragrance that embodies both luxury and a sense of pristine beauty.

The choice of the name "Hermine" also aligned perfectly with Parfums Weil's heritage as a brand originally renowned for their exquisite fur garments. By naming the perfume after such an elegant and pure fur, Weil continued their tradition of linking their fragrances to the luxurious world of fur fashion. Hermine was designed to be worn with ermine furs, enhancing the wearer’s experience by complementing the tactile luxury of the fur with an equally opulent scent.

Women who related to a perfume called "Hermine" were likely those who appreciated both the luxurious and the symbolic aspects of their personal accessories. They were women who valued purity, elegance, and an element of sophistication in their lifestyle. For them, wearing Hermine was more than just applying a fragrance—it was about embodying the qualities that the perfume represented. These women would respond to Hermine with a sense of reverence and delight, finding in its scent a reflection of their own ideals of beauty and refinement.

The word "Hermine" evokes images of untouched snow, regal courts, and timeless beauty. It conjures feelings of nostalgia for a time when elegance and purity were held in the highest regard. The fragrance itself, heavy with sweet tropical flowers of the Pacific Isles and a green chypre accord, would transport the wearer to exotic locales, adding a touch of adventure to the sense of pristine luxury. The combination of these elements made Hermine not just a perfume, but a symbol of the wearer’s connection to both the natural world's beauty and the refined sophistication of high fashion.

Origins:

Parfums Weil traces its origins back to 1892 when the Weil brothers—Marcel, Jacques, and Alfred—established their first boutique at 4 rue Sainte-Anne in Paris under the name Les Fourrures Weil. Initially renowned for their exquisite fur garments, the brothers quickly garnered a reputation for unparalleled quality and elegance. Their craftsmanship attracted a discerning clientele, solidifying the Weil name as synonymous with opulence and sophistication in the fashion world.

By 1927, leveraging their established reputation and the evolving trends in fashion, the Weil brothers made a strategic decision to diversify their offerings. They formally introduced fragrances under the brand Parfums Weil, marking a pivotal expansion beyond their core fur business. These perfumes were innovatively designed to be worn specifically on furs, enhancing the sensory experience of their luxurious garments. This pioneering approach distinguished Parfums Weil in the competitive perfume market, as their scents were meticulously crafted to complement the texture and warmth of fur, creating a harmonious fusion of fragrance and fashion.

The introduction of perfumes represented a significant evolution for Parfums Weil, seamlessly merging their expertise in fur craftsmanship with the artistry of perfumery. This strategic move not only broadened their appeal but also solidified their position as innovators in creating scented accessories for fur garments. It resonated deeply with the refined tastes of their clientele, establishing Parfums Weil as leaders in luxury goods that celebrated both sensory elegance and tactile luxury.

Hermine:

Among the initial offerings, the fragrances bore names inspired by the luxurious furs they accompanied. One such notable perfume was Hermine, aptly named after the luxurious ermine fur, it was a heady tropical floral perfume by Parfums Weil that evoked the allure of far-off exotic locales. With its rich and intoxicating blend of notes, Hermine transported the wearer to a world of lush, fragrant blooms and warm, inviting landscapes. The perfume opened with the sweet and opulent scents of jasmine and rose, immediately captivating the senses with their timeless elegance.

Magnolia added a creamy, velvety touch to the heart of the fragrance, harmonizing beautifully with the bright and zesty hint of orange. As the scent developed, the warmth of ambergris emerged, providing a subtle, oceanic depth that was both mysterious and alluring. The base notes of musk and tonka bean added a sensual, grounding quality to the perfume, creating a lingering, unforgettable trail.

This bold and memorable tropical floral blend was designed to stand out, perfectly complementing the pristine white fur of ermine. The luxurious fragrance mirrored the sophistication and elegance of the fur, making it an ideal choice for those who sought a scent that was both distinctive and refined. Hermine by Parfums Weil celebrated the beauty of exotic flowers and the richness of natural materials, offering a sensory experience that was as enchanting as it was opulent.

Created by Firmenich's master perfumer Claude Fraysse and his daughter, Jacqueline Fraysse, Zibeline epitomized the Weil tradition of excellence and innovation in perfumery. Its creation underscored Parfums Weil's commitment to marrying the sensory pleasures of fragrance with the tactile allure of fine furs, further solidifying their unique niche in the luxury market.

The Ermine:

The winter ermine, with its pristine white fur, has long been a symbol of purity and virginity in art and culture. This association dates back to the Renaissance era, where legends told of the ermine's unwavering dedication to maintaining the purity of its coat. It was believed that an ermine would rather die than allow its immaculate fur to be soiled. According to these legends, when pursued by hunters, the ermine would turn back and surrender rather than risk tarnishing its white coat. This act of choosing death over impurity underscored the animal's emblematic representation of unblemished purity.

One notable depiction of this legend is found in Henry Peacham's Emblem 75, which portrays an ermine pursued by a hunter and two hounds. Titled "Cui candor morte redemptus," or "Purity bought with his own death," Peacham's emblem underscores the ermine's symbolic significance. He extols the ermine's example, urging men and women to emulate this legendary creature by keeping their minds and consciences as pure as the ermine keeps its fur. This message resonated during the Renaissance, a time when symbolism in art and literature was richly woven with moral and ethical teachings.

In addition to its Western symbolic meanings, the ermine holds a special place in Japanese culture as well. Known for its adorable appearance and somewhat elusive nature, the ermine is considered a symbol of good luck in some areas of Japan. This cultural reverence adds another layer to the ermine's rich tapestry of symbolic associations, blending notions of purity, virtue, and fortune.

The use of ermine fur in art and fashion, therefore, carries deep connotations of these values. Parfums Weil's Hermine perfume, named after this esteemed animal, captures the essence of the ermine's symbolic purity and luxury. The fragrance, with its heady tropical floral notes of jasmine, rose, magnolia, and orange, complemented by the warmth of ambergris, musk, and tonka bean, mirrors the elegance and refinement associated with the ermine. Just as the ermine's white coat was revered and protected, the fragrance envelops the wearer in an aura of sophistication and timeless beauty.

Fragrance Composition:

Hermine was intended to symbolize tenderness and virginity.

So what does it smell like? It was heavy with the sweet, tropical flowers of the Pacific Isles. Described as a sweet, floral, with a green chypre accord. 

• Top notes: magnolia, orange, bergamot, galbanum, gardenia, tiare, coconut, frangipani
• Middle notes: attar of rose, jasmine, ylang ylang, tuberose, orange blossom, hibiscus, orchid
• Base notes: patchouli, musk, tonka bean, oakmoss, ambergris, labdanum, vanilla, sandalwood, vetiver

In a 1930 article, the distinction between perfumes used on sable and ermine fur is described in terms of their composition and character. The perfume 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, the 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.

Scent Story:

In the lavish Weil Fur Salon in 1927, the atmosphere was charged with anticipation. The space reserved for the display of their latest creation, the "Hermine" fragrance, was nothing short of a tropical paradise. Fresh gardenias, tuberoses, hibiscus, palm trees, and orchids adorned the room, their intoxicating scents mingling in the air, creating a heady, lush ambiance. Luxurious ermine stoles, muffs, hats, and coats were elegantly draped on models who glided through the salon, their pristine white fur garments complementing the exotic floral display.

As I entered, the rich aroma of magnolia, orange, bergamot, galbanum, gardenia, tiare, coconut, and frangipani filled the air, creating an immediate sense of opulence and warmth. The top notes were bright and fresh, yet carried an exotic sweetness that was unmistakably tropical. The smell was so vivid that I could almost taste the sweet nectar of these blooms, mingling with the subtle zest of citrus.

The president of Parfums Weil, standing in front of an elaborate display of the new fragrance, addressed the gathered guests. "Hermine," he announced, "was created to be worn with your most luxurious ermine furs. Apply a few drops when you want to feel most voluptuous." His voice carried the weight of experience and passion for his craft, and as he spoke, models in ermine fur stoles moved gracefully among the guests, allowing them to touch and feel the luxurious texture of the furs.

He explained the inspiration behind the fragrance, sharing the story of the winter ermine, a creature long symbolizing purity and virginity. In Renaissance legend, the ermine would rather face death than allow its pure white coat to be soiled. This unwavering dedication to maintaining its immaculate fur was the essence captured in the fragrance. The president spoke of how perfumer Claude Fraysse, renowned for his expertise in creating evocative and sophisticated perfumes, had meticulously sourced the finest raw materials from around the world to create Hermine.

As he described the middle notes of the fragrance—attar of rose, jasmine, ylang-ylang, tuberose, orange blossom, hibiscus, and orchid—the room seemed to bloom anew. The scent was rich and intoxicating, with each floral note contributing to a complex and harmonious bouquet. The sweetness of jasmine and tuberose mingled with the delicate nuances of hibiscus and orchid, creating a heart that was both bold and memorable.

The base notes of Hermine provided a grounding, sensual finish to the fragrance. Patchouli, musk, tonka bean, oakmoss, ambergris, labdanum, vanilla, sandalwood, and vetiver added depth and longevity. The earthy, woody tones of patchouli and sandalwood were softened by the creamy sweetness of vanilla and the warm, resinous quality of ambergris. The president highlighted the rarity and cost of these ingredients, emphasizing the exclusivity and luxury of the perfume.

As the evening progressed, the sounds of soft classical music played by a live quartet filled the air, enhancing the sophisticated atmosphere. Guests engaged in hushed conversations, their voices mingling with the clinking of champagne glasses. The tactile experience of touching the soft, pristine ermine fur while inhaling the exotic, floral fragrance of Hermine was truly sublime. It was as if the purity and tenderness symbolized by the ermine had been bottled, ready to transport the wearer to a world of elegance and refinement.

The president concluded by reaffirming Hermine's symbolism of tenderness and virginity, making it the perfect accompaniment to the luxurious ermine fur. The guests left with a deeper appreciation for the artistry behind Parfums Weil, having experienced firsthand the harmonious blend of fragrance and fashion that the brand so masterfully created.

Fate of the Fragrance:

Though Hermine had been launched in 1927, its allure and sophistication ensured its place in the market for decades. Despite the introduction of new fragrances and changing trends, Hermine's captivating blend of tropical florals and rich, green chypre accord continued to enchant customers. By 1951, it was still being sold, a testament to its enduring popularity and timeless appeal. The demand for this exotic and opulent perfume remained strong, with connoisseurs and new customers alike seeking out its heady, evocative scent that transported them to faraway lands. The fragrance's rich history and symbolic representation of purity and tenderness kept it relevant, ensuring that it remained a cherished part of Parfums Weil's prestigious collection, even as other perfumes came and went.

Zibeline by Weil c1927

Zibeline by Parfums Weil was launched in 1927, during a transformative period known as the Roaring Twenties. This decade was marked by a sense of liberation and innovation following the devastation of World War I. Society experienced a cultural revolution, with women gaining greater independence and embracing new roles and freedoms. The fashion and beauty industries were also evolving, with daring styles and bold statements becoming the norm. The flapper culture epitomized this shift, with women donning shorter skirts, bobbed hair, and makeup that accentuated their newfound confidence. In this vibrant and rapidly changing era, Zibeline by Parfums Weil emerged as a symbol of sophistication and elegance.

Parfums Weil chose the name "Zibeline" to evoke the luxurious and refined qualities of the perfume. The French word "zibeline" translates to "sable" in English, referring to the sable fur, which is renowned for its exceptional softness and rich texture. Sable fur has historically been associated with opulence and high status, often worn by royalty and the elite. By naming the perfume Zibeline, Weil aimed to convey a sense of luxury, exclusivity, and timeless elegance. The choice of this name was a nod to the company's origins as a furrier, seamlessly blending their heritage with their foray into the world of perfumery.

Zibeline was an appropriate name for the perfume because it encapsulated the essence of both the fragrance and the brand. The perfume, much like the sable fur, was designed to be rich, deep, and sophisticated. It was meant to complement the luxurious furs that Weil was famous for, enhancing the overall sensory experience of the wearer. The fragrance itself, a floral chypre with balsamic undertones, mirrored the qualities of the sable fur—elegant, refined, and enduringly beautiful. The name Zibeline therefore perfectly captured the spirit of the perfume, aligning it with the luxury and sophistication that Parfums Weil represented.

1928 ad

Cobra by Weil c1941

"Cobra," launched by Parfums Weil in 1941, emerged during a unique period defined by wartime challenges and shifting cultural dynamics. The early 1940s were marked by global conflict, where nations were deeply engaged in World War II, influencing every aspect of life, including fashion and perfumery. Amidst these turbulent times, perfumes often sought to evoke strength, allure, and a sense of resilience.

Parfums Weil likely chose the name "Cobra" for its perfume to tap into these themes of power, mystique, and exoticism. The cobra itself is a symbol of danger and intrigue, often associated with the mysterious allure of distant lands and ancient civilizations. In perfume marketing, such associations can be compelling, promising wearers an experience that transcends the ordinary, transporting them to a realm of adventure and sophistication.

Chinchilla by Weil c1927

Chinchilla by Weil, introduced in 1927 and crafted by the talented perfumer Claude Fraysse, emerged as a notable fragrance in the perfumery landscape of its time. This scent, often referred to alternatively as Chinchilla Royal starting as early as 1929, exemplified the luxurious and opulent spirit associated with its namesake fur.

Claude Fraysse, known for his expertise in creating evocative and sophisticated perfumes, imbued Chinchilla with a blend of notes that captured the essence of refinement and elegance. The fragrance aimed to mirror the plushness and allure of chinchilla fur, which was prized for its softness and luxurious texture in the fashion world.

Chinchilla Royal quickly gained recognition for its ability to complement and enhance the experience of wearing fur, reflecting the glamour and sophistication of the era. By aligning fragrance with the prestige of chinchilla fur, Weil underscored its commitment to creating perfumes that resonated with the discerning tastes of luxury consumers. Chinchilla's enduring popularity and association with royalty and opulence solidified its place as a timeless classic in the realm of fur-inspired perfumery.

Perfuming Furs

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:

In 1928, four perfumes inspired by fur themes were introduced to great acclaim: Chinchilla Royal, Hermine (ermine), and Une Fleur pour Fourrure (A Flower for Furs), along with Zibeline (sable), all crafted by perfumer Claude Fraysse. These fragrances quickly became favorites, each evoking the luxurious textures and associations of their namesake furs. Zibeline, in particular, stands out as a floral chypre designed to capture the essence of Imperial Russia's expansive steppes and majestic oak forests, from where the finest sable furs were traditionally imported. Its blend of floral notes and chypre elements not only pays homage to the natural habitat of the sable but also encapsulates the opulence and allure associated with this coveted fur, appealing to connoisseurs of both fine perfumery and luxury fashion.

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