Parfum d' Argeville by Houbigant c1913

Parfum d' Argeville by Houbigant: launched in 1913. Created by Paul Parquet.

Peau d'Espagne by Houbigant c1886

In 1886, when Houbigant launched "Peau d'Espagne," Europe was experiencing the tail end of the Victorian era, a period characterized by strict social norms, industrial progress, and cultural refinement. This era saw a fascination with exoticism and luxury, where the upper classes sought to distinguish themselves through refined tastes in fashion, art, and fragrance. Against this backdrop, Houbigant, a prestigious perfumery known for its opulent creations, chose to introduce "Peau d'Espagne" as a new addition to its repertoire.

The name "Peau d'Espagne" translates from French to "Spanish Leather." It derives its meaning from the luxurious leather goods imported from Spain, renowned across Europe for their quality and craftsmanship. The choice of this name for a perfume was deliberate; it aimed to evoke images of fine Spanish leather, known for its softness, richness, and exotic appeal. By associating the fragrance with Spanish leather, Houbigant sought to tap into the allure of luxury and sophistication that such goods represented to the elite of the late 19th century.

"Peau d'Espagne" would have been an appropriate name for a perfume in this era due to its evocative qualities. The term conjures images of sumptuous leather, treated with aromatic oils and resins to enhance its fragrance. Such associations appealed to those who valued craftsmanship, refinement, and the exoticism of imported goods. The perfume would have resonated particularly with affluent gentlemen and connoisseurs of luxury who appreciated fine materials and sought to embody a sense of elegance and refinement through their personal grooming and attire.

The word "Peau d'Espagne" evokes feelings of sophistication, luxury, and exoticism. It suggests the tactile sensation of touching soft, supple leather and inhaling its subtly infused fragrance. Images of Spanish craftsmen meticulously tanning and perfuming leather goods in sun-drenched workshops come to mind, blending Old World artisanal traditions with the cosmopolitan tastes of European high society.

Despite its centuries-old history in perfumery, "Peau d'Espagne" would not have been seen as old-fashioned in 1886. Instead, it would have been perceived as a contemporary expression of luxury and refinement, aligning perfectly with the cultural and aesthetic sensibilities of the late Victorian era. The fragrance catered to the desire for exclusivity and sophistication among the elite, offering a distinctive scent that complemented the lavish lifestyles and refined tastes prevalent during this period.

In summary, "Peau d'Espagne" by Houbigant, launched in 1886 and created by Paul Parquet as a perfume for men, epitomized the opulence and exotic allure that defined the late Victorian era. Its name and fragrance composition captured the essence of luxurious Spanish leather, appealing to those who sought to embody sophistication and refinement through their choice of scent. Far from being out of touch, "Peau d'Espagne" was a timeless expression of luxury and craftsmanship that resonated with the elite clientele of its time.

Violette Houbigant by Houbigant c1907

Violette Houbigant by Houbigant: launched in the early 1800s. But was launched again in 1907.

Jasmin Floral by Houbigant c1918

Launched in 1918, Jasmin Floral by Houbigant was a celebration of one of the most beloved and evocative floral notes in perfumery: jasmine. The name "Jasmin Floral," derived from the French language, directly translates to "Jasmine Floral," elegantly hinting at the perfume’s primary inspiration. This name would have evoked visions of lush, blooming jasmine fields and soft summer evenings, conjuring an image of feminine grace and timeless beauty. The term Jasmin Floral suggests a scent that is both delicate and rich, embodying the timeless allure of jasmine—one that radiates warmth and opulence.

Jasmine has long been associated with romance and elegance. Known for its exotic, sweet, and almost animalic quality, the scent of jasmine has been a staple in perfumery since ancient times. By the early 20th century, it held an especially prominent place within the realm of feminine fragrances. For Houbigant, choosing the name "Jasmin Floral" would have immediately signaled to women of the period a sense of familiarity and sophistication, while also aligning with the trend of floral perfumes that dominated the fragrance landscape.

During the late 19th and early 20th centuries, jasmine was cultivated extensively in French colonies, particularly in North Africa, where the climate was ideal for this fragrant flower. By the time Jasmin Floral was launched, it was not uncommon for formulas in perfumery manuals and pharmacopeias to emphasize jasmine blends, reflecting the public’s enduring love for the flower. Houbigant’s rendition, however, would have distinguished itself by layering jasmine with other floral elements and perhaps a hint of animalics, as was fashionable at the time. This bouquet approach would lend Jasmin Floral a more nuanced, multi-dimensional character, setting it apart from simpler single-note florals.

L’Oeillet Du Roy by Houbigant c1906

L’Oeillet Du Roy by Houbigant: launched in 1906. Created by Paul Parquet.

Un Peu d'Ambre by Houbigant c1919

Un Peu d'Ambre by Houbigant: launched in 1919, created by Robert Bineaime.

Alfonse Mucha & Houbigant

Information here was found at: http://richet.christian.free.fr/houbigant/houbi.html

Houbigant asked Mucha in 1899 to design the decoration of their room to be used for the Universal Exhibition in Paris in 1900. Mucha still worked for Houbigant in subsequent years, but their collaboration will cease after Mucha departs for the United States in 1904.

There are few documents relating to the decoration of the living room of the perfumer to the Universal Exhibition in Paris in 1900. The only description is known the journalist Jean de la Tour in Le Figaro of 23 May 1900:

"The Houbigant Living Room was adorned by the master Muscha (sic), and it is somehow the apotheosis of perfumery by flowers: superimposed friezes cobee, honeysuckle and mimosa. Four panels symbolize main flowers: pink, violet, orange blossom and buttercup is, as we know, the delicate specialty Houbigant. Four small windows also designed by Muscha (sic), contain bottles of perfume Houbigant, and the center of the living room, a beautiful statue stands on an iris crown of violets and roses. " Mucha produced a number of preparatory drawings more or less completed the implementation of which been assigned to various artists and artisans. As is customary at the end of this type of event, all items made ​​to host the exhibition and exhibitors will be dismantled and destroyed. The material remains are exceptions. From the Houbigant living room,  there would be a bust."

Photograph of the  Auguste Seysses Workshop (1862-1946) who made the ornamental sculptures shown.

Rose . Study for one of four decorative panels. It was reproduced in Art and Decoration .

Bust . Bronze, silver and gold highlights 10 x 29 x 22 cm. It was certainly done by Auguste Seysses.

Around 1899, Paul Parquet wanted to create a new fragrance called Coeur de Jeannette to celebrate the Universal Exhibition in Paris. He contracted his friend Mucha to design the bottle and label. There is no evidence that this perfume then figured in the windows of the exhibition, however, it is certain that Houbigant reused the concept of Mucha's design for a wider market from 1904.

The shape of the bottles and packaging has evolved to adapt to new customers. If Coeur de Jeannette was exposed in the window of Houbigant, it is reasonable to believe that another artist was then associated with its creation. However, with the exception of hip flasks, from 1904 the label designed by Mucha has always been associated with the perfume.

Study for the bottle. To 1897-1900. Pencil and watercolor on paper 13.3 x 6.3 cm. Back to the drawing it says "this Mucha designed by Hungarian artist in vogue in Paris in 1900 bottle was never executed. F. Javal."

Perfume. Green vignette indicates that the brand was filed for marketing outside France.

Perfume. The label on the bottle is labeled "New York Paris France" unlike the lid of the box that says only "France".

Perfume. Miniature bottle. The label on the bottle is labeled "New York Paris France".

Box size 9.5 x 5.5 cm. Appears on the cover a basket of flowers, symbol of the perfumery, originally, was called A Basket Of Flowers .

Perfume. Vial. The label bears the number 207 number on the back.

Soap. The box measures 8 x 5 cm.

The perfume was sold as eau de toilette with a rustic bottle, the product was not easy for a customer.

Bottle pocket. Only the lid of the box is labeled Mucha.

The label was reproduced in the advertising pages of many newspapers and magazines. See Femina , The Theatre Magazine , Life , Scribner's Magazine , The Washington Post , The Smart Set , The Evening Post , New York Tribune , The Brooklyn Daily Eagle , Rochester Democrat and Chronicle , The Druggists Circular , The Century, NARD ...

In 1900, for the 125th anniversary of the perfume, was printed a fragrant memory card. The front has the pattern of the Central sculpure erected in the area of 'Houbigant at the Universal Exhibition in Paris in 1900. Reproduced in Our Artists .

In 1908, Paul Parquet began marketing a new fragrance named La Rose France. The composition for the decorative panel, Rose Exhibition of Houbigant in the Universal Exhibition of Paris in 1900 was diverted in 1909 to illustrate the advertising of the new fragrance. Advertising was inserted in L'Illustration , Femina , The Literary and Picturesque Month , The Evening World in programs Rejane Theatre, Theatre Antoine, the National Theatre of Opera Comique, the Théâtre du Vaudeville ...