Chanel's Magnolia fragrance, introduced in 1927, stands as a timeless testament to the brand's enduring commitment to elegance and sophistication. With its delicate yet captivating scent, Magnolia embodies the essence of feminine allure and timeless beauty. Though specific details regarding its composition may vary, one can imagine a fragrance that captures the ethereal essence of magnolia blossoms, evoking images of blooming gardens and romantic springtime evenings. Just like many of Chanel's creations, Magnolia likely exudes a sense of refinement and understated luxury, making it a cherished addition to the brand's illustrious fragrance repertoire.
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Showing posts with label discontinued. Show all posts
Showing posts with label discontinued. Show all posts
Sunday, July 6, 2014
Friday, November 1, 2013
Chanel No. 31 c1920 and Mademoiselle Chanel 31 rue Cambon c1945
Chanel No. 31: launched around 1921, created by Ernest Beaux.
Chanel No 31: possibly relaunched in 1933.
On Thursday, March 04, 1948, a U.S. federal trademark registration was filed for MADEMOISELLE CHANEL 31 RUE CAMBON by Chanel, Inc., NEW YORK.
First Use Anywhere: 2/17/1948
First Use In Commerce: 2/17/1948
First Use Anywhere: 2/17/1948
First Use In Commerce: 2/17/1948
The USPTO has given the MADEMOISELLE CHANEL 31 RUE CAMBON trademark serial number of 71551168 in 1950. The federal status of this trademark filing expired in 1992.
Mademoiselle Chanel No. 31 rue Cambon: launched in 1945. Became Coco Chanel's signature scent following the split from the Wertheimer's.
Unhappy with the quality of the perfumes that the Wertheimers were selling in her name through their newly minted Chanel, Inc. company in the USA, in 1945, Gabrielle took matters into her own hands.
After finding a small perfumer in Switzerland to produce her new perfumes using the last of her raw materials, she started a new perfume line on her own and began making a line of competitive perfumes, based on the originals. She named them "Mademoiselle Chanel No.5", , “Mademoiselle Chanel 31 rue Cambon”. The perfumer also made new versions of Ernest Beaux’s creations and renamed them “Mademoiselle Chanel Bois des Iles” and “Mademoiselle Chanel Cuir de Russie.”
Gabrielle Chanel gave lawyer, Rene de Chambrun several tiny bottles to give to his wife. She then asked if it were possible that she could make these up from her own home, and Chambrun declared that she could, provided that she could only give them as “gifts”. Chambrun’s wife enjoyed the perfume and a Russian “nose” also agreed and they both deemed the perfume “exquisite”. A Swiss perfumer was instructed by Gabrielle to make up a hundred bottles of her various perfumes.
To get around the trademark for the bottle design, she used cylindrical bottles with sloping shoulder and topped with disk shaped, ground glass stoppers adorned with a red circular label bearing a large C for Chanel. These same bottles (sans Chanel labels) were also used by D’Orsay for several of their perfumes. To decorate the bottles Gabrielle used a eye catching red label with white lettering, in a simplistic font, true to her style of minimalism.
She then started selling the perfumes in her boutique. Chambrun mistakenly believed that she was permitted to do so in her contract with the Wertheimers. The Wertheimers disagreed and claimed she was counterfeiting their product of which they owned the trademark names. In 1946, a lawsuit between her and the Wertheimers ensued. They came to her boutique and seized all of her bottles labeled "Mademoiselle Chanel No. 5". A new settlement was reached and, she was allowed to sell perfumes under the name "Mademoiselle Chanel" but was not allowed to use the number 5 in conjunction with any of her perfumes.
Keeping her promise to Chambrun and Maitre Chresteil, president of the French Bar Association, she prefixed each perfume with “Mademoiselle Chanel” and sent them as gifts to her friends, Hollywood’s own Samuel Goldwyn and owners of the two most prolific department stores in New York Neiman Marcus and Bernard Gimbel.
She ceased the production of these perfumes in 1947. Who was the Swiss perfumer? No one knows. Gabrielle never revealed his name publicly.
Unhappy with the quality of the perfumes that the Wertheimers were selling in her name through their newly minted Chanel, Inc. company in the USA, in 1945, Gabrielle took matters into her own hands.
After finding a small perfumer in Switzerland to produce her new perfumes using the last of her raw materials, she started a new perfume line on her own and began making a line of competitive perfumes, based on the originals. She named them "Mademoiselle Chanel No.5", , “Mademoiselle Chanel 31 rue Cambon”. The perfumer also made new versions of Ernest Beaux’s creations and renamed them “Mademoiselle Chanel Bois des Iles” and “Mademoiselle Chanel Cuir de Russie.”
Gabrielle Chanel gave lawyer, Rene de Chambrun several tiny bottles to give to his wife. She then asked if it were possible that she could make these up from her own home, and Chambrun declared that she could, provided that she could only give them as “gifts”. Chambrun’s wife enjoyed the perfume and a Russian “nose” also agreed and they both deemed the perfume “exquisite”. A Swiss perfumer was instructed by Gabrielle to make up a hundred bottles of her various perfumes.
To get around the trademark for the bottle design, she used cylindrical bottles with sloping shoulder and topped with disk shaped, ground glass stoppers adorned with a red circular label bearing a large C for Chanel. These same bottles (sans Chanel labels) were also used by D’Orsay for several of their perfumes. To decorate the bottles Gabrielle used a eye catching red label with white lettering, in a simplistic font, true to her style of minimalism.
She then started selling the perfumes in her boutique. Chambrun mistakenly believed that she was permitted to do so in her contract with the Wertheimers. The Wertheimers disagreed and claimed she was counterfeiting their product of which they owned the trademark names. In 1946, a lawsuit between her and the Wertheimers ensued. They came to her boutique and seized all of her bottles labeled "Mademoiselle Chanel No. 5". A new settlement was reached and, she was allowed to sell perfumes under the name "Mademoiselle Chanel" but was not allowed to use the number 5 in conjunction with any of her perfumes.
Keeping her promise to Chambrun and Maitre Chresteil, president of the French Bar Association, she prefixed each perfume with “Mademoiselle Chanel” and sent them as gifts to her friends, Hollywood’s own Samuel Goldwyn and owners of the two most prolific department stores in New York Neiman Marcus and Bernard Gimbel.
She ceased the production of these perfumes in 1947. Who was the Swiss perfumer? No one knows. Gabrielle never revealed his name publicly.
So what does it smell like? Notes of oakmoss, jasmine and roses. This was later reformulated by Henri Robert and christened Chanel No. 19 and launched in 1970 as a tribute to Coco Chanel on the occasion of her birthday.
This is a different perfume than the newly made 31 rue Cambon: created in 2007 by Jacques Polge and Christopher Sheldrake. Notes: Iris, rose, jasmine, sandalwood, bergamot, black pepper, patchouli, citrus, labdanum
The Best French Short Stories of ... and the Yearbook of the ... - Page 23, 1923:
"They were like that cursed perfume — mixture No. 31, which he got from Chanel's — which always floated round Gerard. . . . Ah, what a nuisance!"
Photo from Elysium.
Photo from Elysium.
Chypre de Chanel c1925
"Chypre de Chanel" stands as a timeless fragrance masterpiece crafted by perfumer Ernest Beaux and introduced by Chanel, the epitome of elegance in the fashion world, in 1925. The term "chypre" denotes a distinct fragrance category characterized by a base featuring oakmoss, labdanum, and bergamot. This genre traces its origins back to the 19th century, rooted in the aromatic traditions of Mediterranean perfumery.
During the early 20th century, chypre fragrances experienced a golden age, captivating the olfactory senses of perfume connoisseurs worldwide. This era witnessed a profusion of interpretations from various esteemed perfume houses, each infusing their creations with unique nuances and additional notes. Among the pioneers was François Coty, whose 1917 release of "Chypre" is often hailed as one of the earliest modern chypre compositions.
The 1920s marked a zenith for chypre fragrances, symbolizing sophistication and refinement. Chanel's rendition of the chypre style quickly garnered acclaim, solidifying its place as a legendary creation in the annals of perfumery. Renowned for its intricate blend of citrus, floral, and woody elements, "Chypre de Chanel" exudes an enduring elegance that transcends time.
The perennial allure of chypre fragrances attests to their profound impact on the world of perfumery, a testament to their lasting legacy and unwavering appeal across generations.
Ambre de Chanel c1925
Amber: Unveiled in the iconic year of 1925, this exquisite fragrance marks a pivotal moment in the history of perfumery. Crafted by the skilled hands of Ernest Beaux, Ambre is hailed as a masterpiece, believed to be the inaugural perfume created for the illustrious Chanel house.
Transport yourself to the opulent atmosphere of the Roaring Twenties, where Ambre emerged as a beacon of sophistication and allure. In an era defined by extravagance and liberation, this fragrance captivated the senses of the fashionable elite, embodying the essence of glamour and refinement.
The allure of amber fragrances in the 1920s can be attributed to their rich and complex olfactory profiles, evoking a sense of warmth, sensuality, and mystery. Amber perfumes, renowned for their unparalleled luxury and mystique, occupy a special place in the world of fragrance. Derived from the rare and precious substance known as ambergris, these perfumes exude an aura of opulence and sophistication.
With its harmonious blend of precious ingredients, Ambre de Chanel, no doubt, exuded an irresistible charm, becoming synonymous with the era's avant-garde spirit.
As the embodiment of timeless elegance, Ambre continues to enchant modern-day connoisseurs, serving as a testament to the enduring legacy of Chanel and the artistry of Ernest Beaux.
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