Violette d'Alger by Ciro c1936

The name Violette d'Alger is a poetic and evocative choice, one that immediately conjures images of exotic beauty and colonial romance. In French, Violette d'Alger translates to "Violet of Algiers" (Vee-oh-LET dal-ZHAY), a name that suggests both the delicate sweetness of violets and the grandeur of a distant, sun-drenched land. Algeria was a French colony at the time, and its capital, Algiers, was often romanticized in literature and art as a place of intrigue, luxury, and intoxicating scents carried on warm Mediterranean breezes. By choosing this name, Ciro was not only capitalizing on the long-standing popularity of violet perfumes but also infusing the fragrance with an air of mystery and sophisticated escapism.

Why violets from Algeria? While violets were cultivated across Europe, the idea of Algerian violets likely played into the era’s fascination with the exotic. French colonial territories, particularly in North Africa, were often associated with rich botanical landscapes and prized ingredients for perfumery. The association with Algiers may have been more about imagery than sourcing, evoking the lush gardens of the city—perhaps filled with violet-like heliotrope, jasmine, and other aromatic blooms mingling in the balmy air. The name also reflects a sense of longing, as violets were often symbolic of nostalgia, love, and wistfulness.

L'Heure Romantique c1929

L'Heure Romantique by Ciro was launched in 1929. This was also a perfume by Corday, in fact, I can only find references to this perfume as by Corday and not Ciro.

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.