Ciro Perfume Tester Rack

Maskee by Ciro c1923

Launched in 1923, Maskée by Ciro embodied the electrifying energy of Carnival, a time of masked revelry, music, and unrestrained joy. The name Maskée is derived from the French word "masqué" (pronounced mah-SKAY), meaning "masked"—a fitting title for a perfume inspired by the world of masquerades, revelry, and hidden identities. The name itself conjures images of elaborate Venetian masks, swirling silk gowns, and candlelit ballrooms, where intrigue and passion unfold behind veiled disguises. Maskée was designed to transport its wearer into a world of fantasy, where the boundaries of reality and illusion blurred, much like the intoxicating effect of a Carnival night.

Ciro’s choice to infuse Maskée with the spirit of Carnival was a bold and imaginative move. Carnival is renowned for its vibrant excess, dazzling costumes, and intoxicating atmosphere, making it the perfect inspiration for a perfume meant to exude "a gay, reckless odeur," as contemporary advertisements described it. This was an era when women were stepping into new freedoms—flappers were dancing in jazz clubs, hemlines were rising, and the old constraints of Edwardian propriety were being cast aside. Maskée would have appealed to this modern, adventurous woman—one who was not afraid to embrace excitement, glamour, and even a hint of mischief.

Bouquet Antique by Ciro c1923

Bouquet Antique by Ciro, launched in 1923, carries a name that suggests both timeless elegance and nostalgic romance. The phrase "Bouquet Antique" is French, pronounced "boo-KAY ahn-TEEK". "Bouquet" refers to a gathering of flowers, often with a rich and harmonious fragrance, while "Antique" conveys something aged, classic, or reminiscent of the past. Together, the name evokes an image of an opulent floral arrangement from a bygone era—perhaps a bouquet carefully preserved in an ornate vase, steeped in history and sentimentality. It suggests a fragrance that is deeply romantic, refined, and evocative of the grand traditions of perfumery.

The choice of such a name would have resonated with women of the 1920s, an era marked by both a fascination with the past and an embrace of modernity. The 1920s, often referred to as the Roaring Twenties or the Jazz Age, was a period of dramatic social change. World War I had ended just a few years earlier, and a newfound sense of liberation permeated fashion, art, and culture. Women had gained greater independence, reflected in their bolder attitudes, shorter hemlines, and daring bobbed hairstyles. Yet, even as they embraced modernity, there was a concurrent nostalgia for the elegance and refinement of previous centuries. The name Bouquet Antique would have appealed to this dual sensibility—offering a fragrance that felt luxurious and timeless while still suited to the confident, modern woman.

Oh La La by Ciro c1959

Launched in 1959, Oh La La by Ciro was a fragrance that encapsulated the allure, romance, and effortless chic of Parisian style. The name itself—"Oh La La"—is a French expression, pronounced "ooh la la," used to convey surprise, admiration, or delight. Evocative of flirtation, elegance, and a touch of mischief, the phrase suggests an air of playful sophistication, perfectly suited to a perfume that aimed to capture the fantasy of Parisian romance in a bottle. By choosing this name, Ciro aligned the fragrance with the timeless allure of France, a country long revered as the epicenter of haute couture, luxury, and refined femininity.

The late 1950s was a period of transformation, a bridge between the refined post-war elegance of the early decade and the bolder, more liberated styles of the 1960s. The era was defined by the rise of cinematic glamour, with icons like Brigitte Bardot, Audrey Hepburn, and Sophia Loren epitomizing beauty and sophistication. In fashion, Christian Dior’s "New Look" silhouette still influenced women’s wardrobes, emphasizing nipped-in waists, voluminous skirts, and ultra-feminine tailoring, though by 1959, sleeker, more streamlined looks—like those by Hubert de Givenchy and Balenciaga—were gaining popularity. Perfumes of this time were reflections of femininity, sensuality, and luxury, designed to complement the poised yet smoldering woman of the era.

Oh La La’s fragrance composition was a study in contrasts, much like the paradoxes of Paris itself—both sophisticated and sultry, reserved yet undeniably romantic. The top notes opened with a brilliant aldehydic sparkle, creating an effervescent, champagne-like effect that immediately evoked the glimmering lights of Paris at night. A burst of citrus lent freshness and vitality, setting the stage for the unfolding drama of the heart notes. Here, the classic duo of rose and jasmine, two of perfumery’s most iconic florals, took center stage. Rich, velvety rose from Grasse provided a deep, romantic warmth, while the sensual, narcotic jasmine added an air of mystery, its white floral opulence tempered by the faintest whisper of spice. This delicate hint of warmth suggested intimacy, evoking the soft heat of candlelit dinners, stolen glances, and whispered rendezvous.

Surrender by Ciro c1932

Launched in 1932, Surrender by Ciro arrived during a time of immense transition and resilience. The name itself, Surrender, is evocative—derived from the Old French surrendre, meaning "to give up, deliver over" and ultimately from the Latin rendere, "to give back." In English, surrender can imply yielding, giving in to emotion, passion, or an irresistible force. This name suggests a fragrance that invites complete immersion—perhaps a surrender to beauty, to romance, or to the fleeting intoxication of a white floral dream. The word conjures images of moonlit gardens, whispered confessions, and the kind of irresistible allure that one cannot fight. There is a softness in the surrender, not one of defeat but of willing abandon, of yielding to something greater than oneself—perhaps love, perhaps desire, or simply the pleasures of fragrance itself.

The early 1930s were defined by both glamour and struggle. The world was deep in the throes of the Great Depression, a period of economic hardship that followed the exuberance of the Roaring Twenties. Despite financial challenges, luxury and escapism remained central themes in fashion and beauty. Hollywood’s Golden Age flourished, offering an escape from reality through silver-screen starlets like Jean Harlow and Marlene Dietrich, who exuded an untouchable, polished beauty. Evening gowns of bias-cut silk clung to the body like liquid, mirroring the fluid sensuality of surrender itself. Daywear became more refined, with elegant tailoring, high necklines, and sculpted silhouettes that gave women an air of power, even as society itself was shifting.

Perfume during this era reflected a need for both comfort and seduction. While opulent fragrances of the 1920s—laden with heavy aldehydes and intoxicating florals—still lingered, the 1930s saw a shift toward softer, more delicate compositions. Surrender fits seamlessly into this transformation, offering a lighter, airier floral with an oriental warmth that made it ideal for warmer weather. The choice of magnolia as its central note evokes a timeless femininity—lush, lemony, yet creamy and soft. This was a scent that suggested romance, sophistication, and quiet strength, qualities that resonated deeply with the women of the time.

Ptah by Ciro c1923

Launched in 1923, Ptah by Ciro arrived at the height of Egyptomania, a cultural phenomenon ignited by the discovery of King Tutankhamun’s tomb in 1922 by British archaeologist Howard Carter. The name Ptah (pronounced "Puh-tah") was a deliberate nod to ancient Egyptian mystique and power, chosen to align with the era’s fascination with the grandeur of the past. In Egyptian mythology, Ptah was one of the most important gods, a creator deity associated with art, craftsmanship, and rebirth. Often depicted as a mummified figure wearing a skullcap, holding a scepter, Ptah was revered as the divine architect of the universe, a god of creation and transformation. The subtitle "King of Them All" further emphasized its majesty, suggesting that Ptah was not merely another fragrance but a ruler among perfumes, a scent of unparalleled distinction.

The 1920s were defined by a relentless pursuit of modernity, but alongside the rush toward the future, there was an insatiable curiosity for the past—particularly the exotic and mysterious world of ancient Egypt. The discovery of Tutankhamun’s tomb sent shockwaves through popular culture, influencing fashion, jewelry, architecture, and, of course, perfumery. Egyptian motifs—lotuses, scarabs, sphinxes, hieroglyphics, and gold accents—appeared on everything from evening gowns to Art Deco perfume bottles. The era’s most stylish women, including socialites and Hollywood actresses, embraced Egyptian-inspired beauty, drawing kohl-rimmed eyes in the likeness of Cleopatra and adorning themselves with beaded headdresses and exotic jewelry.

Fragrance was an essential part of this aesthetic, and Ptah was perfectly positioned to embody this mystical, regal allure. The very name evoked images of an ancient world steeped in ceremony and splendor—the burning of resins in gilded temples, floral offerings laid at the feet of gods, the scent of rare oils perfuming the air of royal chambers. It was a fragrance that whispered of power, mystery, and eternal beauty, capturing the fantasy of a civilization both long-lost and yet newly rediscovered.

New Horizons by Ciro c1941

Launched in 1941, New Horizons by Ciro was more than just a perfume—it was a message of hope during one of history’s darkest times. Created amidst the turmoil of World War II, this fragrance sought to uplift the spirits of American women, reminding them that brighter days were ahead. Unlike many perfumes of the era, which often bore French names to evoke luxury and sophistication, New Horizons was deliberately named in English, making its meaning immediate and accessible. The phrase "New Horizons" speaks of possibility, fresh starts, and boundless opportunities. In layman’s terms, it can be understood as looking toward a brighter future, a world beyond the present struggles. 

The words New Horizons evoke a powerful emotional and visual response. They conjure images of a sun rising over an open landscape, vast and full of potential. The phrase speaks to resilience, renewal, and optimism, themes that were deeply significant to the women of the early 1940s. With the world at war, families were separated, men were called to battle, and women took on new roles in the workforce, often in factories and offices, supporting the war effort while managing households alone. Rationing affected everything from food to luxury goods, and the uncertainty of the future weighed heavily. Yet, amidst this hardship, there was also a sense of strength and perseverance—a belief that, beyond the struggle, there would be victory and peace. New Horizons was a fragrance designed to encapsulate that very sentiment: a small luxury that provided comfort, beauty, and the promise of a future filled with possibility.