To a French-speaking audience, Au Matin would conjure the image of a quiet, radiant morning—a time often associated with renewal, grace, and unspoiled beauty. To English-speaking consumers, especially in the United States during the late 1920s, the use of French in a product name imbued it with a sense of luxury, modern sophistication, and effortless chic. Houbigant, already a storied French house by this time, leaned into its Parisian identity to appeal to women eager for a taste of continental elegance.
The advertising of Au Matin further expanded upon this mood. Phrases like “breath of dawn’s awakening flowers” and “liquid sunlight” painted an idealized, almost poetic image of the fragrance. One particularly evocative line — “that triumphant atmosphere of spring mornings, when all of Nature sings of Youth and Joy” — positioned the perfume not merely as a scent but as an emotional experience. The flacon itself, a clear crystal bottle nestled in a luxurious gold-flecked case, echoed this theme: a radiant jewel to hold the freshness of morning. Au Matin emerged at a moment of cultural shift. The early 1920s marked the beginning of what would later be called Les Années Folles in France and the Roaring Twenties in the United States — a decade defined by rapid modernization, artistic experimentation, and social liberation. Women, having recently secured the right to vote in several countries and begun to experience greater autonomy, were embracing new fashions, new roles, and new identities.
In perfumery, the 1920s was a decade of innovation. This was the age of Chanel No. 5 (1921), the first widely celebrated aldehydic perfume. Aldehydes—synthetic compounds with a fizzy, effervescent quality—became a hallmark of the modern woman’s scent wardrobe. They offered a sense of crisp cleanliness and elegant abstraction, in contrast to the heavy, animalic perfumes of the 19th century. Au Matin clearly followed this trend, embracing aldehydes alongside fresh green notes and a bouquet of flowers including daffodil and carnation. This composition was aligned with the spirit of the times. Daffodils, with their trumpet-like blossoms and sunny disposition, were harbingers of spring and perfectly symbolized renewal and cheer. Carnation, with its spicy, clove-like nuance, lent depth and personality. Together with the aldehydic and green elements, Au Matin conveyed a sense of sparkling clarity—a fragrance with the emotional profile of morning light filtering through a garden.
To interpret Au Matin as a scent is to imagine a floral landscape touched by the first light of day. The aldehydes act as a burst of chilled air, carrying the green, sappy notes of freshly cut stems. The floral heart, delicate yet vibrant, seems to unfurl slowly like petals in morning sun. Daffodil brings freshness tinged with narcotic sweetness, while carnation adds a soft spiciness. The blend is both innocent and sophisticated, much like the modern woman of the 1920s—fresh-faced but with a strong sense of her own identity. Houbigant’s choice of name and fragrance structure would have resonated with women navigating this new era of visibility and personal expression. Au Matin offered a moment of pause, of introspection, or perhaps even aspiration—the ability to embody the mood of a perfect morning at will. It also reflected the evolving ideal of femininity: not just alluring or maternal, but vibrant, bright, and individual.
While Au Matin was very much in line with the aldehydic floral trend of its time, it distinguished itself with its poetic concept and luminous positioning. Unlike the overt sensuality of some contemporaries, it leaned into the symbolic—evoking purity and renewal. Many perfumes in the early 1920s embraced heady white florals or oriental richness. In contrast, Au Matin stood out for its lightness, clarity, and joyful optimism, perhaps anticipating the more delicate florals that would gain popularity in the 1930s. Its creators, Paul Schving and Raymond Kling, succeeded in crafting a fragrance that felt not only timely but timeless—a sensory embodiment of morning’s promise. In this way, Au Matin by Houbigant was more than a fashionable scent. It was a mood, a metaphor, and a memory captured in a bottle.
So what does it smell like? Au Matin by Houbigant is classified as a floral fragrance for women with aldehydes, fresh green notes, daffodil, carnation and other flowers.
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A 1928 advertisement for Au Matin by Houbigant reveals not only the perfume’s growing popularity, but also the brand’s thoughtful expansion of the fragrance into a complete personal grooming ritual. In this ad, Houbigant presents Au Matin not merely as a perfume, but as an entire scented experience—offered in face powder, hair lotion, and multiple bottle formats. This approach reflects the luxury beauty standards of the late 1920s, when a sophisticated woman might coordinate her fragrance across body, hair, and complexion products for a unified, lingering impression.
The face powder, housed in a special “Gold and Green” box, was an elegant cosmetic item, evoking refinement and soft femininity. These colors echoed the packaging used for the perfume bottle and label, reinforcing the visual identity of the Au Matin line. Rice powder was a staple of many women’s grooming routines during this period—valued for its soft texture and mattifying effect on the skin—and scented powders were considered an intimate form of luxury. At $4.50, it was the most accessible item in the range, allowing a broader segment of customers to enjoy the fragrance’s delicate morning-bloom aroma without committing to the full parfum.
Equally innovative was the hair lotion, which was presented by hairdressers in small, pre-measured bottles for single use. This method suggested exclusivity and a touch of theatricality—receiving a precise, scented application at the hands of a professional added an air of indulgence to what would otherwise be a mundane grooming task. Scenting the hair, often considered a veil of perfume that lingered with every movement, was a practice both practical and sensuous, enhancing the longevity of the fragrance and creating a subtle, yet continuous, aura.
The perfume itself was available in two formats: the standard flacon priced at $16.50, and the “large model with atomizer” at a luxurious $55.00—a significant sum in 1928, reflective of the product’s high-end positioning. The atomizer not only offered ease of application but also signified a level of modern sophistication, appealing to women who valued both beauty and practicality.
This advertisement captures Houbigant’s strategy of positioning Au Matin as more than a scent—it was a full sensory experience, a mark of elegance, and a reflection of the modern woman’s desire for beauty that was both luxurious and personal.
Launched in 1922, Au Matin by Houbigant was introduced as a fragrance that sought to capture the serene and radiant atmosphere of early morning. Its name, which translates to “In the Morning,” reflected not only the olfactory experience but also the poetic sensibility that defined many Houbigant creations of the early 20th century. With its fresh aldehydic top, soft floral heart, and warm, slightly resinous base, Au Matin was marketed as a sophisticated yet delicate perfume—ideally suited to the modern woman of the interwar period.
Though exact discontinuation records remain elusive, Au Matin appears to have had a long and successful life on the market. It was still being advertised and sold as late as 1950, indicating its lasting appeal across several decades. By this time, its presentation had evolved to include various bottle formats and sizes, from purse sprays to the luxurious Modèle Original and Grand Flacon versions, demonstrating Houbigant’s ongoing investment in the fragrance and its continued popularity among consumers.
The eventual discontinuation date remains undocumented, but the perfume likely faded from circulation in the 1950s or early 1960s, as the house of Houbigant entered a period of transition and shifting market tastes began to favor newer, more modern compositions. Despite its quiet exit, Au Matin retains a special place in the history of early 20th-century perfumery—as a fragrance that beautifully embodied the optimism and refined femininity of its era.
While Au Matin was very much in line with the aldehydic floral trend of its time, it distinguished itself with its poetic concept and luminous positioning. Unlike the overt sensuality of some contemporaries, it leaned into the symbolic—evoking purity and renewal. Many perfumes in the early 1920s embraced heady white florals or oriental richness. In contrast, Au Matin stood out for its lightness, clarity, and joyful optimism, perhaps anticipating the more delicate florals that would gain popularity in the 1930s. Its creators, Paul Schving and Raymond Kling, succeeded in crafting a fragrance that felt not only timely but timeless—a sensory embodiment of morning’s promise. In this way, Au Matin by Houbigant was more than a fashionable scent. It was a mood, a metaphor, and a memory captured in a bottle.
Fragrance Composition:
So what does it smell like? Au Matin by Houbigant is classified as a floral fragrance for women with aldehydes, fresh green notes, daffodil, carnation and other flowers.
- Top notes: aldehydes, green note accord, bergamot, cassie, phenylethyl alcohol, hyacinth, cyclamen, daffodil, linalool
- Middle notes: honeysuckle, lilac, hydroxycitronellal, Bourbon ylang ylang, alpha ionone, methyl ionone, jasmine, carnation, eugenol, rose
- Base notes: terpineol, heliotrope, guaiac, styrax, ambergris, vanillin
Scent Profile:
Smelling Au Matin by Houbigant is like opening a window onto a sunlit garden at dawn—the fragrance unfolds with the crystalline clarity of early morning light and the lush breath of dew-covered blossoms just waking to the world. The perfume opens with a silvery shimmer of aldehydes, their sparkling effervescence immediately conjuring the brightness of daybreak. These synthetic molecules, which revolutionized perfumery in the 1920s, lend an abstract, fizzy quality—like clean linen fluttering in a cool breeze or the gleam of first sunlight on a glass surface. Here, they lift the entire composition, casting a luminous glow over the greener, natural notes that follow.
Threaded through this brilliance is a green accord—fresh, sappy, and slightly sharp. It evokes the snap of crushed stems and the scent of newly budded leaves, grounding the aldehydes with a vivid sense of the natural world. This verdancy leads seamlessly into bergamot, the Italian citrus whose oil is prized for its brightness and complexity: a refined blend of green, floral, and peppery facets. The bergamot gives lift and structure, as though morning sunlight were streaming through lace curtains.
The soft, powdery florality of phenylethyl alcohol soon appears—naturally found in rose oil but often used as a synthetic isolate. Its gentle, rosy nuance gives structure to the top and links it to the richer floral heart that lies ahead. There is a slightly honeyed, mimosa-like sweetness from cassie absolute, a rare and luxurious material distilled from the blossoms of Acacia farnesiana, often sourced from Egypt. It adds a soft golden hue to the opening—sunlight filtered through feathery blossoms.
A procession of early spring flowers then begins to bloom. Hyacinth, with its watery, green floral quality, has a waxy sweetness and a soft, narcotic pull, while cyclamen, though recreated synthetically, adds an airy, delicate freshness, like floral mist. Then comes daffodil—not a common perfumery note—bright, green-yellow, with a creamy, narcotic undercurrent and a suggestion of wet earth. It smells like the moment when the sun hits a bloom still slick with dew. Threaded into this opening is linalool, a naturally occurring aroma molecule found in many flowers and spices (notably lavender and coriander). Here, it softens and diffuses the sharpness of the green notes, contributing a clean, floral-woody lift that subtly links the top notes to what follows.
As the top notes settle, Au Matin deepens into its floral heart, a full bouquet that reads like a garden in mid-spring bloom. Honeysuckle arrives first—sweet, nectarous, slightly fruity, with a soft jasmine-like character. It’s a note that sings of warmth and ease. Beside it, lilac brings a richer, more powdery bloom, evoking nostalgia, softness, and feminine elegance. These are flowers that speak of mornings spent in a sun-drenched garden, where each step brushes against fragrant petals.
Supporting this composition is hydroxycitronellal, a key aroma chemical widely used to recreate lily of the valley and similar “dewy floral” notes. It contributes a silky, watery freshness that keeps the floral heart radiant and alive—never heavy. It’s a synthetic, yes, but one that mimics the airy transparency of nature itself. Then comes ylang ylang, specifically Bourbon ylang ylang—harvested from Madagascar or the Comoros Islands, regions renowned for producing the finest quality. Rich, creamy, almost custard-like, it brings exotic sensuality and depth, offsetting the green brightness of the top. This note is essential for balance: its banana-tinged florality provides an opulent, narcotic undertone that softly anchors the composition.
Alongside it, alpha-ionone and methyl ionone—violet-scented molecules with a woody-powdery finish—blur the edges of the florals like the softness of tulle or the haze of dawn. These molecules evoke violet petals and iris root but with a more diffused, ethereal quality. They smooth transitions and lend a velvety, almost wistful character. Jasmine—sweet, indolic, and creamy—brings a pulse of warmth and sensuality, counterpointed by carnation, whose spicy clove-like edge sharpens the bouquet and adds depth. The carnation is supported by eugenol, the main compound found in clove oil, lending warmth, bite, and a slightly medicinal dryness. Rose—soft, romantic, and classic—grounds the entire floral heart with its familiarity, ensuring that this is a floral that still wears the perfume’s feminine signature with grace.
As the flowers begin to fade, a soft, resinous warmth emerges. Terpineol—found in pine oil but used here for its lilac-woody qualities—adds a clean, floral-woody trace, helping bridge the final transition to the base. This note is subtle but plays a technical role in extending the brightness of the heart as the heavier materials emerge. Heliotrope, with its almond-vanilla-powder scent, adds a dreamy, soft-focus finish, like morning light diffused through sheer curtains. Then there is guaiac wood, smoky yet creamy, with a hint of rose-like sweetness—often sourced from Paraguay, it’s a sustainable and refined wood note that adds both body and warmth.
Styrax, a balsamic resin with leathery, cinnamon-sweet undertones, mingles with ambergris—or, more likely by this era, a synthetic interpretation such as ambroxan or amberlyn—offering a salty-animalic hum beneath the florals. This gives the fragrance longevity and a very natural diffusion—an almost skin-like quality. Finally, vanillin—the isolated molecule responsible for the sweet warmth of vanilla—wraps everything in a creamy, comforting glow. Used sparingly here, it does not turn the fragrance gourmand but adds a soft sweetness to the finish, much like the warmth that lingers on skin hours after sunrise.
Au Matin is not just a floral perfume—it is a sensory composition that captures the unfolding of a new day. It begins in radiance and clarity, softens into warmth and bloom, and ends in the gentle hush of sun-warmed skin and whispering flowers. Its clever use of synthetics like aldehydes, hydroxycitronellal, and ionones serve not to obscure nature, but to reveal it through a poetic lens. The result is not a mere imitation of the morning—it is morning itself, bottled.
Bottles:
The presentation of Houbigant’s Au Matin during the 1930s was a carefully considered blend of elegance and modernist refinement, reflective of both the fragrance’s delicate inspiration and the visual language of contemporary design. The crystal perfume bottle, manufactured by Cristal Nancy, was a product of one of France’s finest glassmakers, renowned for their high-quality pressed glass and close attention to decorative detail. Standing 9 cm tall, the bottle was fashioned in colorless pressed glass, with a clean rectangular cross-section—a nod to the modernist principles of geometry, balance, and functionality.
The body of the bottle was faceted, creating a play of light across its surface. These angular planes were highlighted in gold, suggesting both the soft shimmer of morning sunlight and the luxurious nature of the fragrance itself. The decoration was not overly ornate, but rather sophisticated in its restraint—emphasizing form and clarity over flourish, aligning well with the streamlined elegance of the 1930s.
The stopper was knurled, its texture lending a tactile contrast to the smooth faceted glass. This detail, together with the embossed brass collar or cap, echoed Art Moderne aesthetics—with metallic accents and industrial-influenced textures that were popular in both architecture and packaging of the time. The brass detailing, combined with the golden embellishments on the glass, gave the bottle a precious, jewel-like quality without resorting to excess.
The perfume’s outer box and label were coordinated in shades of green and gold, creating a striking yet harmonious presentation. Green, symbolic of freshness, new life, and nature, was a fitting companion to the dawn-inspired theme of Au Matin. Gold added richness and an aura of sunlight—perhaps also reinforcing the fragrance’s positioning as a luxurious, aspirational object.
Altogether, the packaging of Au Matin in the 1930s exemplified Houbigant’s continued commitment to fine presentation and Parisian refinement. The bottle by Cristal Nancy was not merely a container, but a sculptural object—a modernist interpretation of dawn’s quiet brilliance, meant to sit like a treasure on a woman’s vanity.
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The face powder, housed in a special “Gold and Green” box, was an elegant cosmetic item, evoking refinement and soft femininity. These colors echoed the packaging used for the perfume bottle and label, reinforcing the visual identity of the Au Matin line. Rice powder was a staple of many women’s grooming routines during this period—valued for its soft texture and mattifying effect on the skin—and scented powders were considered an intimate form of luxury. At $4.50, it was the most accessible item in the range, allowing a broader segment of customers to enjoy the fragrance’s delicate morning-bloom aroma without committing to the full parfum.
Equally innovative was the hair lotion, which was presented by hairdressers in small, pre-measured bottles for single use. This method suggested exclusivity and a touch of theatricality—receiving a precise, scented application at the hands of a professional added an air of indulgence to what would otherwise be a mundane grooming task. Scenting the hair, often considered a veil of perfume that lingered with every movement, was a practice both practical and sensuous, enhancing the longevity of the fragrance and creating a subtle, yet continuous, aura.
The perfume itself was available in two formats: the standard flacon priced at $16.50, and the “large model with atomizer” at a luxurious $55.00—a significant sum in 1928, reflective of the product’s high-end positioning. The atomizer not only offered ease of application but also signified a level of modern sophistication, appealing to women who valued both beauty and practicality.
This advertisement captures Houbigant’s strategy of positioning Au Matin as more than a scent—it was a full sensory experience, a mark of elegance, and a reflection of the modern woman’s desire for beauty that was both luxurious and personal.
Fate of the Fragrance:
The marketing and press mentions of Au Matin by Houbigant from the late 1920s through the early 1940s offer a vivid glimpse into both the fragrance’s poetic positioning and its place in the social and retail landscape of its time. The language used across these advertisements and articles is evocative, emphasizing not only the perfume’s olfactory beauty, but its emotional and cultural resonance.
In a 1929 Collier’s advertisement, Au Matin is introduced as a gift of intelligence and discernment—“that deep, inner satisfaction that accompanies the gift intelligently chosen and gratefully received.” This isn’t simply a perfume; it’s a gesture of refinement and thoughtfulness. Houbigant aligns the fragrance with the “French modernes”, situating it within the cutting edge of Parisian taste. The description “breath of dawn’s awakening flowers” frames the scent as something ephemeral and poetic—meant to capture the moment flowers greet the morning light. Pricing is significant here: $10 for the Modèle Original, $18 for the Grand Flacon, and $20 for the atomizer version—placing Au Matin squarely in the category of prestige perfume, accessible to the luxury-minded middle and upper class.
In 1930, Theatre Magazine deepened this romantic association, describing Au Matin as “the sublime fragrance of the early hours...when flowers unfold to the sun.” This poetic language, paired with the mention of a complementary poudre, reveals Houbigant’s attention to offering a cohesive scented experience—fragrance and powder in harmony. The description underscores a “kinship” between nature’s fleeting beauty and the lasting impression of the perfume.
By 1933, a New Yorker ad distilled the concept with elegant simplicity: “AU MATIN— ‘Dawn,’ the freshness and fragrance of a Spring morning.” This brief description signals a subtle shift in marketing: from lush prose to concise lifestyle imagery. The price range—from $5.50 to $22.50—shows both affordability at the entry level and aspirational luxury for larger sizes, allowing broader access to a perfume associated with freshness and youth.
Meanwhile, Fashions of the Hour (1930) highlighted Au Matin alongside other Houbigant favorites like Quelques Fleurs and Bois Dormant, offering it in a dainty one-ounce crystal bottle with a gold stopper for $2.50. This price point suggests a giftable, decorative presentation—perhaps intended for holidays, weddings, or as tokens of affection—making Houbigant’s elegant scents accessible to younger women or those new to fine perfumery.
Finally, a 1941 listing in Drug Topics Redbook shows that Au Matin remained in circulation well into the early 1940s. By then, the line had expanded with varying sizes: purse sprays from $1.00, a Modèle Réduit at $5.00 to $40.00, and the classic Modèle Original priced as high as $80.00. These escalating price tiers reflect both inflation and Houbigant’s commitment to offering this perfume in a wide range of formats, from accessible to haute luxury.
Together, these fragments from print culture form a portrait of Au Matin as not just a perfume, but a mood, a gift, and a statement. It was marketed to women who appreciated the poetic and symbolic—a scent for those who found joy in the morning light, the soft unfurling of petals, and the promise of a new day.
Though exact discontinuation records remain elusive, Au Matin appears to have had a long and successful life on the market. It was still being advertised and sold as late as 1950, indicating its lasting appeal across several decades. By this time, its presentation had evolved to include various bottle formats and sizes, from purse sprays to the luxurious Modèle Original and Grand Flacon versions, demonstrating Houbigant’s ongoing investment in the fragrance and its continued popularity among consumers.
The eventual discontinuation date remains undocumented, but the perfume likely faded from circulation in the 1950s or early 1960s, as the house of Houbigant entered a period of transition and shifting market tastes began to favor newer, more modern compositions. Despite its quiet exit, Au Matin retains a special place in the history of early 20th-century perfumery—as a fragrance that beautifully embodied the optimism and refined femininity of its era.
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