In 1807, the founder’s son, Armand-Gustave Houbigant, joined the firm, ensuring the continuation of the family’s commitment to crafting exceptional fragrances. Over the following decades, the company’s reputation blossomed internationally: in 1829, it was appointed perfumer to Princess Adelaide d’Orléans, mother of King Louis-Philippe, and by 1838 it had earned the prestigious license as perfumer to Queen Victoria of England. The house’s royal patronage expanded further in 1857 with Empress Eugénie of France and, later in 1890, when Tsar Alexander III named Houbigant perfumer to the Imperial Court of Russia.
The late 19th and early 20th centuries saw the arrival of influential perfumers like Paul Parquet, who became joint owner in 1880 and revolutionized the industry by creating Fougère Royale in 1882—the first perfume built around a synthetic note, establishing a new fragrance family. In 1912, perfumer Robert Bienaimé joined Houbigant, introducing iconic fragrances such as Quelques Fleurs before founding his own perfume house in 1935. Royal appointments continued into the 20th century with Queen Marie of Romania in 1922 and Queen Victoria of Spain in 1923, cementing Houbigant’s stature as a truly international luxury brand.
Through the mid-20th century, master perfumers Paul Schving and Marcel Billot contributed to the house’s creative output, maintaining its tradition of elegance. The latter half of the century saw relaunches of classic scents such as Quelques Fleurs in the 1980s, and new launches like Duc de Vervins in 1985. Despite these efforts, financial difficulties culminated in bankruptcy in 1993, followed by acquisition by Renaissance Cosmetics in 1994. After Renaissance’s Chapter 11 filing in 1999, Houbigant was acquired by New Dana Perfumes (later Dana Classic Fragrances), which continued producing the brand’s signature fragrances, including Quelques Fleurs Royale launched in 1998.
At the heart of this remarkable record is the enduring influence of Jean-François Houbigant himself. His commitment to never compromise on quality remains a cornerstone of the house’s philosophy to this day. Behind the scenes, a modern laboratory equipped without regard to expense continues the rigorous pursuit of perfection, blending traditional craftsmanship with scientific precision. The house’s reputation has been built steadily over the centuries by delivering consistently dependable products, proving that true prestige is earned through quality, not bought through flashy advertising.
Houbigant’s story is a lesson for modern business: lasting success is rooted in uncompromising quality. Its name is indelibly linked in the minds of customers worldwide with reliability and elegance, a testament to a foundation that no competition can easily shake. This legacy, built on dedication to excellence, continues to define Houbigant as a beacon of timeless perfumery.
The Beginning:
At the time of Jean-François’ childhood, his parents were in the service of the Duke and Duchess of Charost, residing at their Parisian hôtel particulier at what is now 39 Rue du Faubourg Saint-Honoré. The household was an elegant one, intimately tied to court circles. The young Duke, Armand II Joseph de Béthune-Chârost, had inherited his title and fortune as a child following the death of his grandfather, and by the time Jean-François was seven years old, the Duke had married Louise Edmée Martel de Fontaine-Bolbec, a fourteen-year-old heiress whose family owned no fewer than three castles across France—Beaumesnil in Normandy, Chamilly in Burgundy, and Gacougnolle in Poitou.
The young Duchess, Edmée Martel, was said to be a woman of kindness and discernment. Taking notice of the bright young Jean-François, she extended him a rare and life-altering opportunity: an education. In an age when few children of servants could hope for more than a life in service, this gift laid the foundation for a future far beyond his station. He was not only sent to school—receiving a proper education—but also given a small financial nest egg to help launch his career. He continued to accompany his mother as she worked within the Charost household, soaking in the refined world of the Faubourg Saint-Honoré, the very heart of fashionable Parisian society.
It was within these elegant halls, surrounded by the sumptuous scents and cosmetics used by the nobility, that Jean-François first became fascinated with perfume. He had access, even if peripherally, to the luxuries that scented the daily lives of the aristocracy—perfumed gloves, scented powders, waters, and oils. Inspiration came from more than just observation; proximity to a certain social network also helped pave his way. A relative of the duchess—Count Charles Martel—resided on Rue Saint-Honoré, conveniently near the workshop of a perfumer named Deschamps. It was to Deschamps’ atelier that Jean-François was apprenticed at the age of twenty.
Under the guidance of Deschamps, who would later become his father-in-law, Jean-François learned the secrets of the perfumer’s craft and eventually earned the title of master perfumer. With skill, ambition, and the support of those who had once employed his parents, Houbigant opened his own perfumery shop. His humble origins, combined with his education, apprenticeship, and early exposure to noble society, allowed him to cross the threshold from servant’s son to perfumer of distinction—laying the first stones of a house that would endure for centuries.
Jean-Francois Houbigant
During the reign of Louis XV, the French royal court became so enamored with fragrance that it earned the evocative title la cour parfumée—"the perfumed court." Scents were not merely decorative; they were ritualized, with a different perfume designated for each day of the week. Perfume permeated every aspect of court life, not just to delight the senses, but to mask the pervasive stench of unwashed bodies and the unsanitary streets of Paris. Fragrance was a necessity disguised as luxury. Powdered wigs, perfumed gloves, and scented fans were the norm among the nobility, and cosmetics such as rouges and facial waters were adopted with enthusiasm, influenced in part by Italian traditions. The king’s celebrated mistress, Madame de Pompadour, was famously devoted to perfumery; her bills alone stand as proof of her preoccupation. Among her favorites were Eau de Portugal, a citrus-based cologne, and Huile de Vénus, a beauty oil. To maintain her complexion, she turned to Eau Admirable, a popular facial wash of the time.
Into this rarefied atmosphere of olfactory elegance stepped Jean-François Houbigant, who saw a golden opportunity to appeal to the refined tastes of this noble clientele. By situating his business in the fashionable district of the Faubourg Saint-Honoré during the latter half of the 18th century, Houbigant demonstrated a keen understanding of both social trends and strategic placement. At the time, the Faubourg was undergoing a transformation—it was a burgeoning area where Paris’s elite were building new residences, erecting mansions, and opening stylish shops and cafés. This corner of the city, once peripheral, had become a magnet for the elegant and ambitious. Houbigant’s decision to establish himself there showed that he not only possessed the skills of a perfumer, but the instincts of a businessman.
As a member of the maîtres gantiers-parfumeurs, a guild of merchants licensed to create and sell perfumes, gloves, powders, soaps, scented waters, and other toiletries, Houbigant entered a highly regulated profession. The guild had deep historical roots, with statutes dating back to 1190 under Philippe II, also known as Philippe-Auguste. These regulations were later reaffirmed by Louis XIV in 1656. To become a perfumer under the guild's system required a lengthy apprenticeship—four years of study followed by three years of hands-on training. Certification came at a significant cost: patents for licensing began at 50 pounds, while full certification could cost 550 pounds. Jean-François had fulfilled these rigorous requirements and was now ready to launch his enterprise.
In 1774, at just 23 years old, Jean-François Houbigant opened his first shop at 19 rue du Faubourg Saint-Honoré, in a building that dated back to 1730. The premises were part of a residential building owned by the Vignon family, wine merchants who likely shared Houbigant’s entrepreneurial spirit. His boutique stood in good company, surrounded by properties such as the Hôtel d’Évreux (which would later become the Élysée Palace), the Hôtel de Beauvau, and the Hôtel Edmond de Rothschild. The location was not just fashionable—it was prestigious.
To signal his offerings and attract his desired clientele, Houbigant adopted the elegant shop name À la Corbeille de Fleurs—“At the Flower Basket.” His business card, so to speak, described him as a "perfume merchant, glove manufacturer, and creator of powders, ointments, and the highest-quality rouge," who also crafted wedding and christening baskets to order. His inventory reflected both necessity and indulgence: toilet waters, scented gloves, floral extracts, fans, wig powders, face powders, rouges, and perfumed pastilles for burning.
Among his earliest and most devoted patrons was the Duchesse de Charost, his old friend and benefactress from his youth. For her, he created pommade à la Duchesse, a fragrant pomade that would become one of his first bespoke products. Soon, other celebrated women of the time, including Madame du Barry—the king’s later mistress—and the famously beautiful and intellectual Ninon de l’Enclos, became admirers of Houbigant’s refined and luxurious offerings. With grace, intelligence, and remarkable foresight, Jean-François Houbigant transformed himself from the child of servants into a perfumer of the nobility, laying the foundation for a brand that would flourish for centuries.
From the very beginning, Jean-François Houbigant set a guiding principle for his perfumery—one that the House of Houbigant still upholds centuries later: let nothing stand in the way of prestige. He understood that excellence in quality, not merely charm or social connections, would elevate his name. With this in mind, he opened his modest shop in the most fashionable quarter of Paris, putting all his resources and aspirations on the line. His decision was not without risk. Situated in the rapidly developing and aristocrat-favored Faubourg Saint-Honoré, his boutique stood among the grand hôtels particuliers and opulent new businesses that catered to the discerning elite. Success here would be hard-won but potentially spectacular.
That gamble, grounded in impeccable craftsmanship and luxurious offerings, soon began to pay off. Houbigant gained a firm footing among the noble society of the day. His name circulated quietly but steadily in the salons and drawing rooms of Paris, not through mass advertisement or flamboyant displays, but through the subtle currency of trust, refinement, and word of mouth. His perfumes, gloves, and scented products won favor with women of taste, women of influence—patrons who valued elegance backed by genuine quality.
Among the treasures preserved in the archives of the House of Houbigant is an extraordinary relic of its earliest years: a hand-written ledger dating back to 1777, a time when powdered wigs, silken gowns, and courtly manners still defined the rhythm of elite life in Paris. The ledger is more than a simple record of sales—it is a document of cultural and historical significance, a silent witness to the tastes, routines, and personal vanities of France’s most illustrious figures.
On the flyleaf of this venerable book appears a touchingly humble inscription, a detail wholly out of step with modern commercial practices. Penned by Jean-François Houbigant himself, it is a quiet prayer for prosperity: “In the name of the Father, the Son, and the Holy Spirit.” It sets a reverent tone, underscoring the perfumer’s devout hope for success in a venture launched not only with ambition, but with deep personal faith.
Flipping through its pages is like drawing back the curtain on the private lives of the powerful. Names of nobility are recorded repeatedly—princes, marquises, and duchesses, each with their own preference for violet water, scented gloves, or fine powders. Purchases by chamberlains acting on behalf of Napoleon and Josephine appear with dignified regularity, giving an intimate sense of the Emperor’s courtly toilette and his Empress’s refined taste.
Yet not all entries are neatly squared away. Some accounts linger unresolved, their final balance left unpaid. One such name appears persistently, his unpaid debt casting a faint shadow over the otherwise stately procession of entries. The question lingers: was it an oversight, a lost invoice—or was the balance of his life, like so many of the era, settled by the blade of the guillotine? In the volatile aftermath of the Revolution, such mysteries were common.
Poignantly, the name of the Comtesse de Matignon appears among the more tragic entries. Acting on behalf of Marie Antoinette, she purchased perfumes and powders—part of the queen’s carefully assembled toilette—for that doomed escape from the Tuileries to Varennes. These bottles and scented sachets, meant to accompany the queen into exile and eventual restoration, instead became part of a final act. The perfumed elegance of Versailles would not be reconstructed, but instead gave way to the cold, irrevocable finality of the scaffold.
This ledger, in its quiet ink and fragile paper, becomes a profound narrative device. It tells a story not only of commerce, but of lives lived in luxury and ended in revolution—of a perfumer whose art touched history, and of the enduring power of scent to mark time, memory, and fate.
Between 1777 and 1782, Jean-François Houbigant’s carefully maintained ledger tells the story of a growing enterprise built on elegance, reputation, and exceptional craftsmanship. From the modest beginnings of his boutique, À la Corbeille de Fleurs, Houbigant quickly attracted a steady and loyal clientele drawn from the upper ranks of society. His earliest supporter, the Duchesse de Charost, remained a faithful patron, but she was soon joined by a notable and discerning group of aristocrats. Among them were Chevalier Jean de Manville, the Viscountess of Saint-Hermine, the Marquis de La Rochelambert, the Viscount of Choiseul, the Marquise d’Erneville, Père d’Osmond, the Comtesse de Matignon, and one of his most devoted clients—the Duchesse de Maufrigneuse. The duchess was especially fond of Houbigant’s exquisitely scented gloves and perfumed fans, purchasing them in large quantities that revealed both her personal indulgence and her confidence in his wares.
Houbigant’s reputation endured and expanded into the 19th century, securing his name in the cultural consciousness of the era. By the time of Balzac, the shop at 19 rue du Faubourg Saint-Honoré was well known—not only in society, but in literature. In Paris à l'époque de Balzac et dans la "Comédie humaine" (1992), the writer recounts the presence of the Houbigant boutique, then operating in partnership with Félix Chardin. According to the traveler and writer Lady Morgan, the shop carried a scent called Arabie épicée—“spiced Arabia”—which may have reflected the period’s fascination with the exotic and the luxurious. The store’s specialties included perfumed handkerchiefs, gloves, and artfully decorated fans, all of which enchanted the Duchesse de Maufrigneuse, who, as Lady Morgan colorfully put it, "buys a lot, rule me hard." Honoré de Balzac himself, an astute chronicler of Parisian life, took note of the perfumer’s presence in his literary world—proof of Houbigant’s deep-rooted place in the social fabric of the time.
Houbigant’s personal life was as thoughtfully constructed as his business. In June 1781, having firmly established his name, he married Nicole Adélaïde Deschamps, the daughter of his former mentor and employer, the perfumer Deschamps. Their union was both romantic and practical—a marriage that merged professional ties with personal devotion. The couple waited nearly a decade before having their only child, a son named Armand-Gustave, born in 1790. The child’s name paid homage to Armand Joseph de Béthune, Duke of Charost, whose early support had helped pave the way for Houbigant’s success. Nicole’s family continued to remain close by: her brother opened a confectionery shop directly across the street, assisted by his own son, Dijon—creating a small but vibrant family circle along the fashionable Faubourg Saint-Honoré.
These details—client ledgers filled with aristocratic names, the literary nods of Balzac, and a family anchored in mutual trade—reveal how Houbigant’s perfumery was never just a business. It was a reflection of a life devoted to refinement, strategy, and an unwavering pursuit of prestige.
Portrait of Madam Houbigant (born Nicole Deschamps) by Merry Joseph Blondel. Abt 1807.
But L’Eau d’Houbigant was more than a fragrance—it was a beauty treatment, a sensory and skincare ritual in one. In an era when perfumed waters were often used to mask odors or invigorate the skin, Houbigant emphasized its rejuvenating effects. The marketing language for the perfume was poetic and sensuous: “It is to the beauty of the face all that the morning dew is to flowers.” This evocative phrase positioned the scent as essential to a woman’s toilette, as gentle and beneficial as nature’s own remedy. Its application was said to refresh and stimulate the skin, leaving it exquisitely smooth and imparting a velvety, delicate appearance.
The benefits extended beyond the face. When used in the bath, L’Eau d’Houbigant was claimed to restore the body’s strength and “stimulate vital energy,” aligning it with the 18th-century fascination with balance, vitality, and health. Such promises elevated the perfume from a simple luxury to a wellness product—part of the daily regimen of the elegant and health-conscious woman. In this way, Houbigant demonstrated not only his artistry in perfumery, but also his early grasp of branding and consumer appeal. L’Eau d’Houbigant was a fragrance that captured the ideals of the age: beauty, refinement, and vitality, bottled in a delicate floral composition.
Among Jean-François Houbigant’s most illustrious clients was none other than Queen Marie Antoinette, the wife of King Louis XVI. As official perfumer to the Queen and her court, Houbigant supplied the royal household with an array of luxurious goods—delicately scented gloves, finely milled face powders, and his refined toilet waters. These fragrant offerings were not merely cosmetic; they were an integral part of court life, where elegance, sophistication, and personal scent were powerful social currencies. Being chosen as a supplier to the Queen was the ultimate mark of distinction for any artisan, and it firmly established Houbigant’s standing at the pinnacle of 18th-century French perfumery.
One enduring anecdote, passed down through the House of Houbigant, though never definitively verified, recounts the Queen’s dramatic departure from Paris during the early days of the Revolution. Before fleeing the Tuileries Palace, it is said that Marie Antoinette hurried to have her perfume bottles refilled with Eau de Mousseline and Eau de Millefleurs, two floral-infused creations attributed to Houbigant. The story takes on a particularly romantic—and tragic—turn with the claim that during her attempted escape to Varennes, she was recognized not by her face, but by her fragrance. The distinctive scent, said to be one that only royalty could afford, supposedly betrayed her identity to revolutionaries. While this account remains part legend, it reveals just how deeply Houbigant’s perfumes were associated with refinement, exclusivity, and the monarchy itself.
Further evidence of Houbigant's connection to the Queen appears in Le Bulletin de l’art ancien et moderne (1905), which describes a soft-paste porcelain cup said to have belonged to Marie Antoinette. The vessel, sealed with ancient silk, was reported to contain a potpourri crafted especially for the Queen—prepared according to a formula granted by Houbigant in his role as Court Perfumer. This relic, if authentic, stands as a tangible remnant of the bond between the perfumer and the doomed sovereign.
There is yet another telling episode in their association. Houbigant is said to have sent two perfumes as gifts to the Queen—one bearing her own name, Marie Antoinette, and another honoring her mother, Maria Theresa, the Empress of Austria. While such tributes would have flattered most, Marie Antoinette reportedly found them too overt in their flattery. Unwilling to be the object of such public homage, she declined the offerings. Still, the gesture speaks to Houbigant’s ambition and awareness of the power of names and personal identity in fragrance. Even when rebuffed, the attempt demonstrates how entwined his house had become with the glittering, fading world of the ancien régime.
A visit to Jean-François Houbigant’s shop in the late 18th century was not merely a shopping errand—it was a sensorial experience, a reflection of taste, refinement, and the growing culture of personal grooming among the fashionable elite. The shelves of À la Corbeille de Fleurs, located at 19 rue du Faubourg Saint-Honoré, were laden with an extraordinary range of goods that blended luxury, practicality, and exotic appeal. His offerings went well beyond simple perfumes, creating a one-stop destination for the elegant Parisian or well-born traveler seeking indulgence or refinement in their daily toilette.
Among the signature scents for which Houbigant became known were Eau de Chypre, Eau de Millefleurs, and Eau de Mousseline—perfumes that showcased a mastery of floral composition. These toilet waters, delicate yet distinctive, were crafted entirely from floral essences and could be used to perfume the body, gloves, or linens. Alongside these sat Houbigant’s famed dog-skin gloves—not truly made from dogs, but from the soft hides of Cape sheep. These gloves came in a variety of styles and sizes for men, women, and children: everyday gloves, richly colored winter gloves, gloves designed for larger hands, and even fur-lined versions. They were often perfumed, merging utility with elegance.
The shop was also renowned for its wide variety of powders. White, flower-based powders were made with ingredients like orange blossom, tuberose, frangipani, and Spanish flowers, used both to scent and beautify. Brown powders came in fashionable styles known as Maréchal, Sultane, and British. There were also colored, unscented powders created to degrease the hair and reduce perspiration—essential during an age when hygiene was still evolving.
Houbigant’s range of ointments and skin creams was equally diverse and innovative, combining natural and sometimes unusual ingredients. These included rose, heliotrope, and acacia-based creams, as well as more exotic concoctions made with beef marrow and hazelnut oil or even snail extracts, all designed to soothe, soften, and beautify the skin. His quintessences—highly concentrated aromatic oils—were composed from neroli, myrtle, lavender, and musk. Likewise, his scented waters included blends like sweet water, cassia, cithara (a citrusy aromatic), cedar, distilled vinegar, and essence of melissa, all designed for refreshment, health, or ritual use.
The soap offerings were extensive, ranging from simply made varieties to perfumed bars scented with Turkish rose, fine amber, neroli, carnations, and medicinal herbs. But Houbigant’s expertise extended beyond perfumery into delicacies and imported luxury. He sold pâtes de fruits and marzipan-style confections made with honey, orange blossom, and Spanish jasmine. There were also breath-freshening lozenges that doubled as sore-throat remedies.
Houbigant’s boutique catered to every refined need. One could find Belgian ribbons from Bruges, soft sponges, toothbrushes, perfume flasks, and fragrant potpourri from Montpellier. Sachets filled with iris flowers imported from Florence were sold for scenting drawers and wardrobes. For powdering rituals, he offered swan-down tassels from Holland, powder masks, and even depilatory waxes for removing unwanted hair.
Jean-François Houbigant’s shop was not merely a perfumery—it was a curated emporium of beauty, hygiene, and refinement, where the modern culture of self-care and luxury first found its footing. Every item, whether imported or prepared in-house, reflected the founder’s unwavering commitment to quality, variety, and the daily ritual of elegance.
Despite the upheaval of the French Revolution, the world of perfumes and cosmetics proved surprisingly resilient. While powdered wigs, aristocratic airs, and excessive luxury fell out of political favor, the desire for scent and personal care products did not disappear. Manufacturing of perfumes, powders, and ointments quietly continued, even if the branding occasionally shifted to reflect the volatile times. In some cases, perfumers adapted with dark wit and topical flair—products were marketed under provocative names such as elixirs à la guillotine, a satirical nod to the political terror that gripped France. These tongue-in-cheek references allowed sellers to signal their alignment with revolutionary sentiments while still appealing to the human desire for beauty, hygiene, and a sense of normalcy amid chaos.
The House of Houbigant, having already become a trusted name in perfumery under the ancien régime, managed to navigate the revolutionary era with care and adaptability. Though the royal court—once a cornerstone of Houbigant’s elite clientele—had vanished in blood and exile, the company was not swept away with it. Instead, Jean-François Houbigant adjusted his focus to suit the tastes and needs of a changed society. His products, which had once served queens, marquises, and duchesses, now found new homes with the emerging bourgeoisie and the influential figures of the Republic.
By offering a broad range of goods—from humble soaps and powders to luxurious scented gloves and toilet waters—Houbigant retained a wide appeal. His boutique on the rue du Faubourg Saint-Honoré remained a place of indulgence and utility. In a period where so much of Parisian life was upended, perfume remained one of the few personal luxuries that could still be enjoyed without consequence. It was subtle, intimate, and comforting—a way to retain elegance without appearing counter-revolutionary. The House of Houbigant’s ability to adapt its image and product range during this turbulent era was a testament to Jean-François’s foresight and the enduring appeal of his craft. Through revolution and regime change, the brand not only survived, but laid the groundwork for its continued presence in the centuries to follow.
One of the most compelling visual artifacts from the early history of the House of Houbigant is a trade card attributed to the partnership of Houbigant-Chardin, perfumers and chemists (parfumerie et chimiste), dated to around 1790. This card—preserved in photographic form by the Waddesdon Collection—is an exquisite example of late 18th-century commercial design, blending neoclassical imagery with practical marketing function. It represents not only the branding acumen of Jean-François Houbigant and his then-partner Félix Chardin, but also the evolving sophistication of perfumery as a profession deeply intertwined with both artistry and science.
The trade card is etched and stipple-engraved, a technique that allows for soft, finely textured shading, lending a refined elegance to the image. At its center is a blank lambrequin—a decorative cartouche resembling a flowing banner or drapery—intended to hold printed or handwritten text, such as business information or product details. This empty field suggests that the card was produced as a template, possibly used for multiple editions or customized for specific uses.
Surrounding the lambrequin is a tableau of assorted goods, carefully arranged to showcase the offerings of the shop—likely vials, pots, and packets representing perfumes, powders, and ointments. These are not merely decorative; they communicate the variety and abundance one could expect when visiting the boutique. Interwoven with these articles are mythological figures that allude to the realm of medicine, signaling that Houbigant and Chardin's expertise extended beyond luxury goods into the more serious and scientific realm of chemist-perfumers. In this era, perfumers often overlapped with pharmacists and apothecaries, especially as cosmetics and toiletries were promoted for their healthful properties—refreshing the skin, purifying the air, and restoring vitality.
The image is framed by a delicate, thin rule, giving it the appearance of a refined miniature engraving rather than a bold advertisement. This subtle elegance was intentional, designed to appeal to the refined tastes of their clientele, who would have appreciated classical symbolism and well-executed design. The card itself is annotated with an identification and approximate date—circa 1790—placing it just before the height of the French Revolution, when the House of Houbigant had already achieved widespread recognition among the nobility and was beginning to navigate the transition into a more democratized clientele.
This trade card stands as a rare and evocative document from Houbigant’s early years—a perfect intersection of art, marketing, and history. It reveals how, even in its visual language, the brand upheld the principles that Jean-François Houbigant had always championed: refinement, quality, and the marriage of beauty with function.
As the 19th century dawned, the House of Houbigant stood not only as a fixture of Parisian elegance but as a perfume house fully entrenched in the highest echelons of European society. The prestige Jean-François Houbigant had built in the final decades of the ancien régime had not waned with the fall of the monarchy—in fact, his reputation only expanded. By the early 1800s, his client base extended deep into the French court and beyond, touching nearly every notable figure in the political, artistic, and aristocratic circles of the time. His perfumes and preparations were sought after by those who defined taste and fashion, and his shop had become a required stop for members of the elite.
The house of Houbigant has long held a unique position in French society, serving both Royalty and commoners alike. A remarkable document dated the 14th Ventôse, Year IX of the French Republican calendar — corresponding to March 4, 1801 — offers a fascinating glimpse into the scope of Houbigant’s trade at the time. Identified as operating under the sign of the Basket of Flowers, Houbigant is officially recorded as engaged in the manufacture of gloves, powders, pomades, perfumes, and a product called Rouge Végétal, which he had reportedly brought to a high state of refinement. The mention of Rouge Végétal — a plant-based rouge — underscores both the innovation and the sophistication of Houbigant’s offerings. During a period when cosmetics often contained toxic ingredients, a naturally derived rouge would have appealed to both fashion and health-conscious clientele. It also reflects the maison’s deep involvement in the beautification rituals of its day, not merely through fragrance, but also through personal adornment.
One particularly charming detail in the record is the reference to Houbigant furnishing literal "baskets of flowers" for baptisms and marriages — a service rendered in "great variety." This image of fresh-cut flowers being offered alongside bottled perfumes in the same establishment is not only poetic but deeply resonant with the ideals of beauty, ceremony, and ephemeral luxury. It speaks to a time when scent and flora were intertwined in both daily life and life’s most meaningful events. Equally intriguing is the inclusion of gloves among the items for sale. In earlier centuries, perfumed gloves were considered both a luxury and a necessity, especially in an era when personal cleanliness was limited. Gloves were often scented as a way to mask unpleasant odors and as a symbol of refined status. Their presence on Houbigant’s inventory list serves as a poignant relic of a bygone era when such items were integral to fashionable society. Together, these details form a portrait of a house that was more than a perfumery—it was a purveyor of sensory experience, catering to every nuance of elegance from the tactile to the olfactory.
One of the most remarkable historical records preserved by the House of Houbigant is an old ledger, securely stored in one of the company’s safes, dating to the time of Napoleon III. This massive volume, a relic of perfume history, contains the names of individuals who shaped 19th-century Europe and the wider world. Its pages list the heads and princes of nearly every royal house, alongside celebrated figures in literature, finance, and diplomacy. Names such as Honoré de Balzac, Charles-Maurice de Talleyrand, and the Rothschilds appear in its entries, bearing testimony to the broad cultural reach and influence of the perfumery. Of particular fascination is a page bearing an account for Emperor Napoleon himself—an entry that abruptly ends on the day he fled Paris, just before war was declared between France and Germany.
This compelling information was publicized in an advertising brochure issued by the House of Houbigant during its later tenure at 7, Place Vendôme—one of the most fashionable and prestigious addresses in Paris. The brochure highlights the perfume house’s rich legacy of serving imperial and fashionable clients. Among them were Joséphine de Beauharnais and Madame Tallien Cacharel, both central figures of the Directoire era. These women, along with Fortunée Hamelin and Juliette Récamier, were known as the Merveilleuses—icons of post-revolutionary elegance and extravagance who helped revive a culture of luxury in the years following the Terror. For them, Houbigant provided rose creams, Cythera ointments, and soaps evocatively named Savons des Sultanes, designed to evoke Eastern sensuality and exotic refinement.
Madame Juliette Récamier, famed for her beauty, grace, and the literary salon she hosted, was honored with a bespoke scent by the house: Parfum Récamier. Created expressly for her, the fragrance reflected her reputation for taste and elegance. She remained a loyal client until her death in 1849. Likewise, Joséphine—long before becoming Empress of the French—was already a regular visitor to Houbigant’s shop. She had belonged to a fashionable group known as Les Muscadins, a name derived from their obsession with musk, which was Joséphine’s favorite essence. Her association with Houbigant, even in her youthful years, positioned the brand at the very heart of the social and cultural life of Napoleonic France.
This seamless continuation of prestige—from the ancien régime, through the Revolution, into the Napoleonic Empire and beyond—speaks to the remarkable adaptability and allure of the House of Houbigant. Whether serving queens, empresses, courtiers, or celebrated literary figures, Houbigant remained a symbol of refinement, craftsmanship, and timeless elegance.
Houbigant Chardin:
On October 22, 1807, Jean-François Houbigant passed away at the age of 55, leaving behind a flourishing business that was both well-established and poised for continued success. His widow, Nicole Adélaïde, and their son, Armand-Gustave, inherited the family legacy. It was Armand-Gustave who took the reins of the perfumery after his father’s death, quickly building on the foundation laid by Jean-François. During his tenure, he expanded and strengthened the company, ensuring that the House of Houbigant remained a respected name in Parisian perfumery. However, within just four years, Armand-Gustave unexpectedly decided to retire from the family business, leaving many to wonder about the reasons behind his departure.Though the precise cause of Armand-Gustave’s withdrawal from perfumery remains unknown, his life after the trade was marked by intellectual and civic distinction. He became a scholar and counted the celebrated French writer Stendhal among his friends. Additionally, Armand-Gustave served as the general counsel of the Oise department, where he gained a reputation as one of its most prominent and respected figures. His departure from perfumery suggests a man who sought a different path, favoring academic and public service over the commercial world.
Faced with the need to preserve the continuity of her late husband’s business—and constrained by the statutes governing the perfumer’s profession—Nicole Adélaïde had little choice but to marry François Maguy (also recorded as Magny), the attorney and chief clerk of the shop. Maguy, born in 1765 in Haute-Saône, was known for his thriftiness; anecdotes recall that he would send his worn clothing to his sister in Lure so they could be repurposed by his nephew. This pragmatic nature likely influenced how he managed the perfumery.
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| Houbigant bill of sale to Napoleon I dated 17 May 1815 |
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| Pommadier with Houbigant-Maguy name, c1815. |
During the brief period that Maguy owned the business, it was officially known as Houbigant-Maguy. However, his tenure was short-lived. By 1818, Maguy transferred ownership to Félix Chardin, a distinguished perfumer who would later be appointed personal perfumer to Napoleon III. Historical almanacs indicate that around 1815, the name Maguy-Houbigant gave way to Chardin, marking the beginning of a new era. Chardin, who already had established a family dynasty in perfumery, brought fresh expertise and leadership to the venerable House of Houbigant, ensuring its survival and growth well into the 19th century.
This formal patent, personally signed and sealed by Mademoiselle d’Orléans, authorized Houbigant not only to adorn his storefront with the arms but also to claim this prestigious title publicly. It permitted him to use the royal association in all social assemblies, official gatherings, and legal affairs, both public and private. Such recognition was more than ceremonial; it conferred significant honor and advantages upon Houbigant, elevating his status to that of a court-appointed perfumer with the rights and privileges enjoyed by the most distinguished artisans and merchants of the day.
This royal endorsement symbolized the culmination of decades of dedication, craftsmanship, and social finesse. It publicly declared that Houbigant’s work was not only admired by the aristocracy but officially sanctioned by royalty itself. The patent and the right to bear the royal arms became a lasting testament to the House of Houbigant’s role as a premier perfumery, firmly intertwined with the legacy of France’s royal and noble heritage.
The Chardins shared the vibrant and competitive landscape of early French perfumery with other celebrated houses, such as Jean Artaud of rue Saint-Denis (who also maintained a house in Grasse), Jean Chouillou of place Baudoyer, Fargeon, who was Marie Antoinette’s personal perfumer and located on rue du Roule, Hadancourt of Pont Saint-Michel, Joannis of place de l’École (active until at least 1815), Logier of rue Bourg l’Abbé, and Prévôt of rue de l’Arbre-Sec. This thriving community of artisans underscored Paris’s status as the global center of perfume innovation and luxury.
Throughout the 19th century, multiple branches of the Chardin family ran perfumeries across Paris, each with its own distinct identity and clientele. Gervais-Chardin remained at 248 rue Saint-Martin and 15 boulevard des Italiens from around 1790 to 1834, tracing roots back to approximately 1786. Jean-Théodore Chardin operated from 19 rue du Faubourg Saint-Honoré around 1820, the very address famously associated with Houbigant. Other family members included Chardin-Gamard at 10 and 12 rue de Bac (circa 1855), Charles-Edme Chardin-Hadancourt managing shops at 3 and 5 rue Saint-André-des-Arcs between 1809 and 1852, and Chardin Jeune at 103 rue des Neuve-des-Petits-Champs and 21 Montagne de la Cour by the 1860s. Another branch, C. Chardin, had a shop at 11 rue d’Enghien with a factory in La Villette at 126 rue de Flandres around 1855.
A notable development in the early 19th century was the apparent merger of a Chardin family member with the Hadancourt perfumery by 1809. This combined enterprise retained the original Hadancourt location at Pont Saint-Michel as well as the shop on rue Saint-André-des-Arcs. By the 1880s, the Chardin-Hadancourt firm operated a bureau and factory at Asnières and a depot on boulevard Sébastopol. Despite producing more affordable perfumes aimed at the lower and middle classes—often lacking the luxurious packaging and accessories that appealed to wealthier clients—Chardin-Hadancourt enjoyed steady profits and won several awards, including three silver medals at Parisian expositions and a Progress medal at a Viennese exhibition. This pragmatic approach contrasted sharply with the Houbigant-Chardin partnership, which targeted high-end clientele with exclusive and opulent products.
Among the products released by the family in the mid-19th century was Bouquet de la Jungfrau, launched by Chardin Jeune in 1864, alongside Violaceti, a refreshing scented drop infused with Neapolitan violets. Throughout this period, the perfumery remained firmly in the hands of skilled artisans, committed to both tradition and innovation.
By this time, the Houbigant business was sometimes known as Houbigant-Chardin in certain publications and advertisements, underscoring the close professional ties between the two families. Successive generations of the Houbigant family were diligent in preserving the legacy and values established by their founder. The perfumery continued to operate from the same prestigious address at 19 rue du Faubourg Saint-Honoré, where the courtyard housed expert staff and technicians such as Lambin and Hubault—key figures responsible for maintaining the quality and craftsmanship that made the house renowned. Together, the histories of Houbigant and the Chardins paint a rich portrait of the evolving world of French perfumery, marked by tradition, artistry, and adaptation across a century of cultural change.
Houbigant fragrances enjoyed a remarkable journey beyond Paris, even accompanying Napoleon Bonaparte during his military campaigns across Europe. Napoleon was known to favor scented toiletries, often drenching himself in Eau de Toilette to maintain freshness and morale. On May 17, 1815, with only three months to raise an army during his final campaign, he placed an order for perfumed gloves and other personal care items from his supplier “Houbigant-Maguy, Marchand Parfumeur, Grande rue du Faubourg Saint-Honoré.” This bill of sale remains a treasured artifact within the perfumer’s historic collection, a tangible link to one of history’s most famous figures.
Victor Masson’s Memories of Saint-Helena further highlights the close connection between Houbigant and the imperial family, noting that Josephine, Napoleon’s devoted wife, was a loyal patron. As her husband lay dying in exile, she burned two of Houbigant’s perfumed pastilles in a cassolette by his bedside, infusing the room with the comforting fragrance of their favorite scents.
Early clientele in the post-Napoleonic era included notable figures such as Madame de Crillon in 1816, Madame Dorville in 1823, Madame Wayett in 1825, and Mademoiselle Adelaide in 1827—each contributing to the growing prestige of the perfumery.
Following commercial success, Jean-Théodore Chardin retired and, leveraging his connections in the Faubourg Saint-Honoré, arranged the marriage of his niece to the haberdasher Henry à la Pensée, proprietor of the celebrated shop “À la Pensée” at number 5 on the same street. This alliance ensured that the family’s influence and legacy continued through the next generation.
In 1829, ownership of the perfumery passed to Charles Nicolas Gabillot, who married Antoinette Clémentine Chardin that same year. Their daughter, Marie Adélaïde, would go on to become Princess Eugénie Adélaïde Louise d’Orléans. On May 8, 1829, Mademoiselle Eugénie appointed Monsieur Chardin as her personal perfumer, granting him the privilege to display the Royal Arms above his shop. Just months later, by August 1829, she extended the same honor to Charles Nicolas Gabillot, the new owner, marking the House of Houbigant’s official recognition by French royalty.
Under Gabillot’s leadership, the perfumery flourished. On January 10, 1838, at just 33 years old, he was named perfumer to Her Majesty the Queen of England—Queen Victoria herself. To commemorate this prestigious appointment, Gabillot created the Windsor Soap and an almond paste delicately scented with tuberose, both celebrated products that further enhanced the brand’s reputation. Before formal royal warrants were even issued, Queen Victoria had effectively confirmed Houbigant as her perfumer, underscoring the company’s international prestige. Gabillot’s success also allowed him to acquire the grand property at number 3, complete with a carriage porch entrance, further entrenching Houbigant’s standing on the Rue du Faubourg Saint-Honoré.
The contemporary travel writer Lady Morgan captured the essence of the perfumery’s allure in her 1830 volume France in 1829-30:
“No one should leave Paris without visiting that spicy Araby of sweet odours—the Magazin of the Sieur Félix Houbigant-Chardin in the Rue Saint-Honoré. I passed an hour there this morning in an atmosphere that penetrated to the very imagination and sent me home with ideas as musquée as my person. There is a philosophy in odours if one knew how to extract it; attars and essences apply to the mind with considerable influence through the most susceptible but capricious of the senses.”
Thus, by the early 19th century, Maison Houbigant-Chardin had become not only a symbol of refined taste but also an essential destination for those seeking the intoxicating power of scent to elevate both mind and spirit.
On the left: a circa 1840 invoice
Charles Nicolas Gabillot’s partnership with Pierre Lemoine marked a notable diversification in his business ventures. Around 1832, the two men operated an eau de vie distillery and grocery store under the combined name “Lemoine-Gabillot,” reflecting their joint enterprise. This connection was also strengthened by family ties: Pierre Lemoine’s son, Guillaume Pierre Lemoine, had married Gabillot’s daughter, Marie Adélaïde, in 1822, intertwining their personal and professional lives.
A fascinating document from Der Ungar, a Hungarian-language journal published in 1844, offers a rare and richly detailed glimpse into the international operations of Houbigant Chardin, one of France's most esteemed perfumers of the 19th century. At the time, the house was known not only for its perfumes but also for its production of luxurious cosmetic and accessory items, including vegetable rouge gloves, “Sultanas” (possibly a reference to a cosmetic item or scented sachet), and decorative fans—objects that bridged the worlds of fashion and fragrance. The document is a formal commercial declaration, signed by Houbigant Chardin himself, certifying that he had entered into an exclusive agreement with Monsieur M. Lueff during the latter’s visit to Paris. As part of this agreement, Lueff was granted the sole right to sell Houbigant products in Pesth (present-day Budapest). This exclusivity was emphasized with the note that Houbigant maintained no retail depots in Paris itself, making the “Minerva” shop in Pesth the only authorized source for obtaining his products in their “unadulterated purity.” This phrasing reflects the house’s strict quality control, a point of pride for Houbigant, and a hallmark of the luxury perfume trade at the time.
What makes this document exceptional is not just its content, but the extraordinary number of official verifications it includes. The signature of Houbigant Chardin was first legalized at the Paris mayor’s office on February 9, 1842, by Deputy Mayor D. Muron. It was then further certified by Comte de Rambuteau, Prefect of the Seine and a Peer of France, the following day. The French Minister of Foreign Affairs, none other than François Guizot, later confirmed the authenticity of Rambuteau’s signature in September of that year. And finally, the Austrian Embassy in Paris authenticated the entire chain of verifications on February 16, 1842, under the signature of Baron d'Humières. This elaborate bureaucratic trail was necessary for cross-border trade, especially when dealing with high-value luxury goods that were susceptible to counterfeit or unauthorized distribution. It also underscores the prestige of Houbigant Chardin, whose name carried such weight that legal protections were required to safeguard its use and representation abroad. At its heart, this document speaks to the early globalization of perfumery and the meticulous measures that elite houses like Houbigant took to protect their brand integrity, maintain product authenticity, and preserve their reputation in burgeoning international markets. It also reflects the luxury consumer landscape of the time—one built on trust, formality, and a firm belief in the superior artistry of French goods.
In an 1848 issue of the Königlich privilegirte Berlinische Zeitung von Staats, an elegant advertisement for “Perfumery and Luxury Articles” offers a revealing glimpse into the prestige and international reputation of the House of Houbigant, then styled as Houbigant Chardin. The ad announced the availability of Houbigant’s Eau de Toilette and specialty lavender waters in both Paris and London—at 19 Rue du Faubourg Saint-Honoré, a location already synonymous with refinement, and at 216 Regent Street, a prominent address in the heart of fashionable London. Crucially, the house is identified as “Parfumeur de Sa Majesté la Reine d'Angleterre”—Perfumer to Her Majesty the Queen of England—a distinction that instantly established Houbigant's elite status across European courts and luxury markets. This Eau de Toilette was promoted as superior to Eau de Cologne and all other scented waters, not merely for its fragrance but also for its strength, refinement, agreeable scent, and effectiveness—a clear statement of its superiority over the widely popular (and often more utilitarian) Cologne waters of the day. The text humbly declines to list all of the product’s virtues, saying that doing so would be too lengthy—a rhetorical flourish that further hints at the product’s luxurious complexity.
Among the offerings are two variations of lavender water, a popular but often undervalued staple of the 19th-century toilette. The first is “Eau de Lavande Royale Double et Ambrée”, or Royal Double Amber Lavender Water, priced at 1 Thaler and 15 Silbergroschen. The addition of amber not only suggests richness and lasting warmth but also indicates a shift toward more sensual, enveloping compositions. The "Double" designation implies a highly concentrated formula, likely distilled to produce greater olfactory presence and longer wear. The second item, “Eau de Lavande Double Spiritueuse”, sold for 1 Thaler and 10 Silbergroschen, appears to be a version with a higher content of alcohol, which would have improved both evaporation and projection, making it an effective daily luxury suited to warmer climates or more active routines.
At these price points—substantial sums for the mid-19th century—these were clearly luxury goods, targeted to the upper classes and likely sold in apothecaries, department stores, or perfumer’s boutiques catering to a refined clientele. In a period marked by industrial growth and imperial expansion, Houbigant positioned itself not only as a heritage brand rooted in aristocratic patronage, but also as an innovator in fine fragrance, blending technical expertise with courtly elegance. This rare printed advertisement captures a moment when the prestige of French perfumery was solidifying into global renown, and Houbigant stood at the very heart of that ascent—offering not just perfume, but the promise of royal refinement, olfactory superiority, and cosmopolitan sophistication.
Houbigant-Chardin’s excellence was formally recognized at the 1851 Exhibition of the Works of Industry of All Nations, where the company received a prize medal for its scented gloves—an honor that highlighted the house’s commitment to craftsmanship and quality. In 1860, Pierre Gabillot took on Monsieur Domage (also recorded as Dommange) as a partner. Together, they maintained the prestigious name “Houbigant-Chardin” under the business title “P. Gabillot et Domage, Successeurs” until 1879. During this period, in 1870, Emperor Napoleon III appointed Houbigant as his official royal perfumer, a testament to the house’s enduring prestige and influence at the highest levels of power.
Javal & Parquet:
In 1881, the House of Houbigant entered a new and innovative chapter with the acquisition by Alfred Javal and Paul-Marie Parquet, a pioneering perfumer celebrated for his groundbreaking use of synthetic materials. Between 1879 and 1882, only Paul Parquet’s name appeared as the owner of the perfumery, though Javal soon became a co-owner. The company had grown so extensively—establishing branches worldwide, especially in New York—that by 1880, production moved out of the original boutique at 19 rue du Faubourg Saint-Honoré to large, purpose-built laboratories in Neuilly-sur-Seine. These modern facilities, located at 141 Avenue du Roule, reflected the brand’s industrial expansion and scientific approach to perfume creation. Alfred Javal eventually purchased the entire building in 1892, underscoring his commitment to the company’s growth. However, after World War II, the Neuilly-sur-Seine plant was abandoned as manufacturing evolved.
On the left: Alfred Javal....On the right: Paul Parquet.
In an 1889 issue of La Nouvelle Revue, the enduring prestige of the House of Houbigant is elegantly affirmed, not only as a creator of perfumes but as an essential part of the refined toilette of fashionable women. The article opens with a timeless observation: perfume remains, as ever, an indispensable accessory to the toilette of every elegant woman. In a world where appearance, grace, and sensorial allure were paramount, fragrance played a role as important as lace or fine embroidery.
At the time, Houbigant’s “Impérial Russe” and “Violette San Remo” were the scents of choice for perfuming the delicate, often extravagantly embroidered handkerchiefs carried by society women. These were not merely functional items, but personal accessories, luxuriously adorned and intimately scented. The handkerchief, infused with fragrance, became a discreet but potent symbol of refinement and femininity. Impérial Russe, likely a deep, musky, or spicy oriental-style fragrance, would have lent a sense of opulence and gravitas, while Violette San Remo—evoking the coastal gardens of Italy—was surely light, floral, and fresh, a romantic violet scent suited to daywear or more youthful elegance.
The author then shifts tone, remarking on the historical significance of Houbigant in the very year—1889—when France was commemorating the centennial of the Revolution. In this context of patriotic celebration and national reflection, it was worth noting that Houbigant's origins predated the French Revolution itself, having been founded in 1775. The house, remarkably, still held ledgers dating from that founding year, inscribed with the names of prominent members of modern aristocracy—a testament to its long-standing connection with elite society across centuries and regimes.
Also noted were two other popular offerings of the time: Houbigant’s “Ophelia” face powder and their eau de toilette known simply as “Eau d’Houbigant.” These were staples in many ladies’ boudoirs, praised for their delicate fragrance and fine quality. Ophelia powder may have been inspired by Shakespeare’s romantic tragic heroine—suggesting a soft, possibly floral-scented powder ideal for pale, porcelain-like skin. Meanwhile, Eau d’Houbigant likely served as a signature house scent—elegant, fresh, and versatile, used to refresh the skin or linens, or to lightly scent the air in one’s dressing room.
Altogether, this passage not only captures the popularity of specific Houbigant fragrances in 1889, but it also places the house within a broader cultural and historical context—as a fixture of French elegance that had survived the fall of the monarchy, the upheaval of revolution, and the changes of modern life, while continuing to perfume the world of society’s most refined women.
Houbigant’s presence at major exhibitions was consistent, showcasing a wide range of products from exclusive luxury perfumes to more affordable offerings. In 1903, the perfume Les Violettes was launched with a bottle designed by the famed glassmaker Émile Gallé, whose mastery of form and decoration was celebrated across France. Violet fragrances enjoyed particular popularity at the turn of the century, prompting Paul Parquet in 1906 to create Violette Pourpre, further cementing Houbigant’s reputation for expertly capturing the era’s favorite scents. The following year, French comedian Ernest Coquelin expressed his appreciation in a letter to Alfred Javal after receiving a gift of perfume, although the exact fragrance sent remains unknown today.
Houbigant show room at the Universal and International Exhibition of Liege 1905. Exposition universelle et internationale de Liège 1905. Paris: Comité français des expositions à l’étranger, 1906
The international reach of Houbigant was underscored by the activities of Fernand Javal, son of the company proprietor, who traveled to Los Angeles in 1907 to explore business opportunities and potentially establish a branch of the renowned Parisian perfumery in the growing American market. This expansion reflected the brand’s growing global footprint and ambition.
Recognition of the company’s innovation and contributions came in the form of honors such as Paul Parquet’s knighthood in the Legion of Honour in 1908, awarded for his services related to the Milan exhibition. That same year, Chemist & Druggist magazine noted Houbigant’s striking display at a London exhibition, held at the company’s historic address, 19 rue du Faubourg Saint-Honoré. The display featured an array of products including soaps and perfumes, with particular praise given to the stylish packaging of Mes Délices perfume and the Royal Houbigant soaps, which were attractively boxed in sets of three and wrapped in delicately designed pale blue paper. These presentations underscored the brand’s ongoing commitment to both quality and artistic refinement, reinforcing its position as a leader in the world of perfumery well into the 20th century.
In 1909, a significant new talent joined the House of Houbigant: Robert Bienaime, who became the assistant and protégé of the legendary Paul Parquet. Bienaime’s most celebrated creation was Quelques Fleurs, often regarded as the first true multi-floral perfume. This fragrance marked a pivotal moment in perfumery by combining several floral notes in harmony, setting a precedent that inspired countless floral compositions thereafter. Just two years later, in 1911, Parquet created La Rose France, named after the popular rose variety of the time, further cementing his reputation for capturing the essence of nature in scent.
In 1912, the Houbigant company was said to have located its manufacturing works in accordance with Parisian regulations — outside the city’s fortifications, yet conveniently situated at Neuilly-sur-Seine. This location allowed the factory to remain close enough to the capital to facilitate efficient daily distribution, while also adhering to urban planning guidelines that required certain types of industry to operate beyond the central city limits.
The facility itself was described as being thoughtfully designed with the well-being of its workers in mind, an indication of Houbigant’s modern and progressive approach to industrial operations. The factory was outfitted with the latest machinery, reflecting a commitment not only to innovation but also to the consistency and efficiency of production. Each day, it sent its carefully crafted perfumes and related goods into the heart of Paris, ensuring that the maison's boutiques and retailers remained fully stocked with fresh products.
Perhaps most impressive was the company’s emphasis on scientific research. Within its dedicated laboratories, some of the finest scientific minds were said to be engaged in upholding Houbigant’s renowned standards of quality. These researchers worked in secrecy, not only to maintain the existing excellence of the brand but also to develop new creations that would represent the next triumph of perfumery. This quiet but focused pursuit of innovation spoke to the house’s fusion of art and science — where creativity was supported by method, and where future masterpieces were already in the making, just beyond public view.
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| Houbigant factory at Neuilly c1910 |
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| Workers preparing Houbigant products inside factory, c1910 |
Paul Parquet, the visionary perfumer who revolutionized the industry with his innovative use of synthetics and groundbreaking fragrances like Fougère Royale, passed away in 1916. His death marked the end of an era defined by creativity and pioneering spirit. Just a few years earlier, in 1912, Alfred Javal, the influential co-owner who had steered Houbigant into global prominence and industrial modernization, also died. Together, these two men had shaped the identity and prestige of the House of Houbigant during a period of remarkable growth and innovation.
After their passing, the legacy and operations of Houbigant were entrusted to Alfred Javal’s son, Fernand Javal. With dedication and a steady hand, Fernand continued to build upon the foundations laid by his father and Parquet, maintaining the brand’s reputation for quality and elegance through the mid-20th century. Under his stewardship, Houbigant sustained its status as a respected and influential name in perfumery, even as the industry evolved rapidly around it.
This continuity lasted until the 1980s, when, after more than two centuries of distinguished history, the business was eventually liquidated. Though the original House of Houbigant ceased operations, the impact of its founders—especially the creative genius of Parquet and the business acumen of the Javals—remains etched in the history of fragrance, leaving a lasting legacy that continues to influence perfumers to this day.
The American Perfumer & Essential Oil Review of 1922 highlights Schving’s impressive background and his contributions to Houbigant. A graduate of the prestigious École de Physique et Chimie Industrielle in Paris, Schving had been deeply involved in chemical research during World War I. Alongside his colleague M. Kling, he worked in government laboratories on the production of lethal gases, where his discoveries contributed to the Allied war effort. Prior to the war, he gained valuable experience with the Société Anonyme des Établissements Justin Dupont, particularly in the area of synthetic raw materials. Shortly after the armistice, he joined Houbigant’s team, where his talents flourished.
Following Schving’s unexpected death, several other perfumers joined Houbigant to carry forward the company’s legacy. Notable among these were Paul Leroux, Raymond Kling, André Copaux, Degont Desplanques, and Marcel Billot, along with several less prominent names. Together, they helped sustain the creativity and innovation that had long defined the House of Houbigant, ensuring that the brand remained a respected name in the evolving world of perfumery despite the loss of such a pivotal figure.
Robert Bienaime
In 1922, The American Perfumer & Essential Oil Review reported on the travels of Robert Bienaime, a key figure in the House of Houbigant and partner in the firm Javal & Bienaime. Bienaime had been visiting the United States but was compelled to shorten his stay due to the illness of his business partner. He sailed back to France aboard the Savoie on June 18, underscoring the close international ties that Houbigant maintained during this era.
That same year, the American branch of Houbigant took a significant step in its development. Previously operating through an exclusive agency in New York, the company officially established Houbigant, Inc. to directly manage its American business. To support this expansion, they retained the services of N. W. Ayer & Son, a prominent advertising agency, to promote the brand across the United States. This move reflected Houbigant’s ambition to strengthen its presence and brand recognition in the competitive American market, ensuring that its elegant French perfumes would reach a wider audience with carefully crafted marketing strategies.
In 1922, The American Perfumer & Essential Oil Review announced a major milestone for the House of Houbigant’s American operations. On August 1, the company would take possession of the entire building at 16 West 49th Street in New York City to serve as its dedicated headquarters for the United States. This new location would handle the distribution of Houbigant’s renowned perfumes, extracts, toilet requisites, and more, marking a significant expansion of the brand’s presence in the American market.
For many years, the firm Park & Tilford had acted as the exclusive agents for Houbigant in the United States, successfully representing the prestigious French perfume house. However, as demand for Houbigant products grew steadily year after year, the decision was made to form a separate, distinct corporation—Houbigant, Inc.—to oversee and manage the sole distribution of Houbigant products across the country.
At the helm of this new venture was Charles S. Welch, elected as vice president and general manager of Houbigant, Inc. Welch brought an impressive wealth of experience to the role. He began his career in Rochester as a drug clerk before spending many years with Wm. B. Riker & Son Co., a well-known retail druggist in New York. In 1910, Welch joined the Park & Tilford organization, serving as general manager of the druggist sundries division, a sector in which Houbigant was a major player. His extensive knowledge of perfumes, toiletries, and druggist sundries, combined with his exceptional business acumen, made him one of the best-known and most respected executives in the trade. His appointment as the American representative of Houbigant was a testament to his qualifications and the company’s commitment to solidifying its foothold in the competitive U.S. market.
In 1922, the House of Houbigant undertook a strategic expansion by acquiring Parfums Cheramy, a well-established perfume company renowned for its popular fragrance April Showers. This acquisition allowed Houbigant to broaden its portfolio and deepen its presence in the competitive perfume market. April Showers, with its delicate, fresh scent evoking the gentle rains and blooming flowers of spring, was a beloved classic that complemented Houbigant’s own elegant and innovative offerings.
By bringing Parfums Cheramy under its umbrella, Houbigant not only gained access to a wider customer base but also enhanced its product diversity, offering fragrances that appealed to varying tastes and occasions. This move reflected the brand’s ambition to maintain leadership in the evolving industry, blending its rich heritage with new commercial opportunities. The acquisition of Cheramy marked another chapter in Houbigant’s continuous growth and adaptation, reinforcing its reputation as a house that valued both tradition and innovation.
In 1922, Drug Trade Weekly published an insightful report featuring Fernand Javal of the House of Houbigant, who offered a candid assessment of the perfume industry’s slow recovery in the aftermath of global upheaval. Javal observed that the revival of luxury goods such as perfumes, rouge, powder, and cosmetics was just beginning and proceeded cautiously. He explained that sales of these finer products serve as a reliable barometer of overall business conditions—when hard times strike, consumers cut back first on luxuries, and only when prosperity returns do they once again indulge in such items.
Javal highlighted an intriguing dynamic in some countries suffering severe economic instability and currency depreciation. There, a paradoxical demand for high-end perfumes emerged as people sought to invest in goods that could hold their value, much like jewelry, rather than risk losing wealth in devalued cash. This phenomenon underscored perfumes not just as indulgences but as symbols of lasting worth amid uncertainty.
The global reach of Houbigant’s business was evident, with markets spanning North and South America, Japan, France, and smaller nations showing tentative signs of revival. Javal noted that consumers, having grown accustomed to higher-quality goods during the wartime prosperity, continued to demand superior perfumes and refined tastes even as economies struggled to stabilize.
A particularly poignant observation came from Javal’s reflections on Russia. Before the revolution, the country had been a thriving market for fine perfumes, but the upheaval had decimated this demand. Remarkably, a new class of consumers was beginning to emerge, embracing the same tastes and desires for luxury as their predecessors. Javal admitted the origins of this replacement social group were unclear, but their rise symbolized resilience and continuity—an echo of enduring human affinity for beauty and refinement, even in the face of profound change.
Jean-Jacques Vignault, who later became president of Coty, Inc., recounted a telling episode in the company’s in-house publication, Coty Review. In 1922, François Coty invited Fernand Javal, proprietor of the venerable House of Houbigant, to dine at the Château de Longchamp. During the meal, Coty proposed a bold idea: “Between us, we have cornered almost the entire perfume market. Why not combine our production while maintaining our individual brand identity and distribution networks?”
The suggestion was met with fierce resistance. Fernand Javal, fiercely proud of Houbigant’s long-standing heritage and independence, was incensed by the proposition. Without hesitation, he stormed out of Coty’s château, unwilling to entertain any notion of merging with the rapidly expanding Coty empire.
This encounter highlighted the contrasting approaches of two perfume giants. Houbigant, with its centuries-old legacy as official suppliers to European royal courts, valued tradition, prestige, and autonomy. Meanwhile, Coty, known for his aggressive business tactics, sought to dominate the market by absorbing or controlling anything he admired. Javal’s reaction underscored the deep-rooted pride and fierce protectiveness that surrounded the House of Houbigant, a company determined to preserve its illustrious identity against the tides of modern corporate consolidation.
In early 1922, Fernand Javal, head of the House of Houbigant in Paris, returned to France from a business trip to New York with a notably optimistic outlook. Speaking just before his departure aboard the Berengaria on January 30, Javal shared his confidence in the stability of Franco-American financial relations amid the tense political backdrop of France’s occupation of the Ruhr. He acknowledged hearing many conflicting opinions during his visit but emphasized that his conversations with American bankers had given him reassurance. These bankers viewed France’s action as a prudent, business-driven solution to a difficult financial situation—comparable to everyday commercial disputes faced by American businessmen. He illustrated this by likening the Ruhr occupation to a creditor seeking legal recourse when a debtor refuses payment and attempts to safeguard assets by moving them abroad. According to Javal, the American bankers he spoke with related to this logic and saw such measures as necessary and justified.
From his correspondence in Paris, dated as recently as January 19, Javal reported no disruption to normal business activity in the city despite the political tensions. The perfume factories were operating at full capacity, and orders continued to flow steadily regardless of the regional turmoil or the slow season. Javal explained that his visit to the United States was motivated by plans to expand production in France and improve transportation logistics to meet the growing demand for Houbigant products in America. His positive assessment underscored the resilience of the luxury goods market and the importance of transatlantic cooperation during uncertain times, reflecting a spirit of determination and foresight in the face of geopolitical challenges.
In the early 1920s, the House of Houbigant reaffirmed its esteemed status among European royalty by securing prestigious appointments as official perfumer to two reigning queens. In 1922, Houbigant was named parfumeur to Queen Marie of Romania, a beloved and influential monarch known for her cultural patronage and modernizing efforts in her country. The following year, in 1923, the company was similarly honored by Queen Victoria Eugenie of Spain, the consort of King Alfonso XIII, who was admired for her elegance and dedication to charitable causes. These royal endorsements not only reinforced Houbigant’s reputation for exquisite craftsmanship and luxury but also strengthened its international prestige during a period of renewal and expansion.
In 1924, The Pharmaceutical Era highlighted the illustrious heritage and enduring prestige of the House of Houbigant, tracing its legacy back to the eighteenth century. The article emphasized that Houbigant’s name had long been synonymous with the “ancient in perfumery,” carrying the weight of rich history and cherished traditions. The company possessed an impressive collection of archival treasures—ledgers, perfume containers, vanity sets, and toilet accessories—that together told an unwritten story of French cultural and aristocratic life. Among these priceless records were documents confirming Houbigant’s distinguished role as perfumer to Marie Antoinette herself, as well as later honors bestowed upon Jean-François Houbigant’s son, who served as official perfumer to Napoleon and his illustrious court.
At the helm of Houbigant’s American operations was Pierre Bassaler, who served as vice president of Houbigant, Inc. and general manager of its U.S. branch. His leadership helped to sustain and grow the brand’s presence in a highly competitive market, bridging the storied past of this venerable house with its ambitious future as a global leader in fine perfumery.
c1924
Following the death of Paul Parquet in 1921, a significant shift occurred in the leadership of the House of Houbigant. Robert Bienaimé, a gifted perfumer and longtime collaborator, stepped up to become co-partner alongside Fernand Javal, the son of the late Alfred Javal who had been instrumental in expanding the company’s global reach. This partnership marked a new chapter for Houbigant, blending the creative genius of Bienaimé with the business acumen and legacy of the Javal family.
During this transitional period, the company briefly adopted the combined name “Javal,” reflecting the prominent role of Fernand Javal in steering the firm’s direction. Soon after, the firm was rebranded as “Bienaimé Houbigant,” signaling the recognition of Bienaimé’s increasing influence, especially in the artistic and creative aspects of the business. This renaming embodied a fusion of tradition and innovation—honoring the historic Houbigant heritage while embracing fresh talent to carry the brand forward in the evolving world of perfumery.
150 Years of Greatness:
In 1925, the House of Houbigant commemorated an extraordinary milestone: its sesquicentennial anniversary, marking 150 years since Jean-François Houbigant opened his modest shop, À la Corbeille de Fleurs, in 1775 on the Rue du Faubourg Saint-Honoré in Paris. This occasion was more than a celebration of longevity; it was a proud affirmation of the brand’s resilience, prestige, and continued relevance in the evolving world of luxury perfumery. Having survived the tumult of the French Revolution, the upheavals of the Napoleonic Empire, shifting royal courts, and the industrial modernization of the 19th and early 20th centuries, Houbigant’s 150th anniversary served as a moment of reflection on a legacy defined by elegance, refinement, and innovation.
To honor this rare achievement, Houbigant commissioned a beautifully illustrated commemorative booklet titled Histoire d’un Parfumeur – À l’occasion du Cent Cinquantenaire de la Maison Houbigant. The booklet was designed and printed by the esteemed Parisian printer Draeger Frères, known for their luxury publications. It featured a preface by Jean Richepin of the Académie Française, lending literary gravitas to the publication. The visual artistry of the book was entrusted to Paul Sentenac, with charming and evocative illustrations and decorations executed by artist Naudin. Issued in quarto format, the booklet elegantly chronicled the house’s distinguished past, its notable clientele, and the artistic and technical innovations that had come to define Houbigant's identity.
This centenary celebration was not merely retrospective—it also symbolized Houbigant’s aspirations for the future. It reaffirmed its commitment to craftsmanship and luxury at a time when Art Deco was flourishing in Paris and the International Exposition of Modern Industrial and Decorative Arts (also in 1925) was placing French design and creativity at the center of global attention. The booklet, steeped in history and adorned with exquisite visuals, became both a collector’s item and a marketing tool that reinforced the idea of perfume not only as a product but as a cultural artifact—one that encapsulated the spirit, sophistication, and artistry of France itself.
Despite his active involvement in various industrial processes and support for multiple institutions, Bienaimé remained deeply committed to his personal enterprises. His dedication to innovation and quality sustained Parfums Bienaimé and Robel as respected names in the market throughout his lifetime. Robert Bienaimé continued to lead and nurture his companies until his passing in 1961 at the age of 85, leaving behind a legacy of creativity and entrepreneurship that enriched the perfume and cosmetics fields.
Around 1935, amid the economic hardships of the Great Depression, the House of Houbigant made a strategic shift in its approach to packaging and marketing. Conscious of the widespread financial struggles faced by consumers, the company began to phase out its traditionally opulent and intricately designed flacons—those exquisite, often elaborate perfume bottles by Baccarat and Lalique that had long been a hallmark of luxury. Instead, Houbigant moved toward more simplified, cost-effective styles for their fragrance bottles. This change was not just aesthetic but also practical, reflecting the need to adapt to a more restrained market where extravagance was less affordable or desirable.
The Second World War brought severe challenges to the entire perfume industry, and Houbigant was no exception. During the conflict, perfumers faced acute shortages of essential raw materials—many natural ingredients like precious flowers, herbs, and exotic oils became scarce or impossible to obtain due to disrupted trade routes and wartime restrictions. These shortages forced many companies to rely on synthetic substitutes or alternative formulations to continue production. However, Houbigant remained steadfast in its commitment to quality and tradition, refusing to use alcohol or any compromised ingredients in their perfumes. While this principled stance preserved the brand’s integrity, it also drastically limited their output during the war years.
Compounding these difficulties, Houbigant’s factory itself suffered devastating damage when it was bombed during the war. The destruction of its manufacturing facilities dealt a heavy blow to the company’s operations and contributed to its struggle to regain the prominence it had once enjoyed. Yet, even amid such adversity, creative resilience shone through. In 1940, Marcel Billot, one of Houbigant’s talented perfumers, managed to compose Chantilly, a soft, ambery chypre fragrance. Named after the delicate Chantilly lace traditionally worn by royal brides in their veils, the perfume evoked elegance and grace during a time overshadowed by conflict.
Though launched in the early years of the war, Chantilly did not achieve widespread acclaim until the early 1950s, when postwar recovery allowed the perfume to flourish and reach a broader audience. This delayed success highlighted both the challenges of the wartime era and the enduring appeal of Houbigant’s artistry, which ultimately helped the brand to reclaim some of its former prestige despite the long shadows cast by war.
In 1966, George A. Tisserand was appointed chief perfumer of Houbigant, Inc. in New York, succeeding Albert Dahan, who had departed the company. Tisserand brought with him a wealth of experience and technical expertise that positioned him well to lead the creative direction of the storied perfume house during a pivotal era. Prior to joining Houbigant, he had spent nine years with Antoine Chiris Co. in New York, a company renowned for its essential oils and raw materials used in perfumery, where he honed his skills in fragrance creation.
Before his tenure at Antoine Chiris, Tisserand worked for eight years at Colgate-Palmolive Co. in New York as a research perfumer. It was during this time, in 1962, that he is believed to have contributed to the invention of a gas chromatograph equipped with a human sensor specifically designed for perfumers. This innovative technology allowed for more precise analysis and evaluation of fragrance components, revolutionizing how perfumes were formulated by combining scientific instrumentation with the nuanced sensitivity of the human nose. Tisserand’s blend of creative artistry and scientific acumen made him a valuable asset to Houbigant, helping the company navigate the evolving landscape of perfumery in the mid-20th century.
Compounding these difficulties, Houbigant’s factory itself suffered devastating damage when it was bombed during the war. The destruction of its manufacturing facilities dealt a heavy blow to the company’s operations and contributed to its struggle to regain the prominence it had once enjoyed. Yet, even amid such adversity, creative resilience shone through. In 1940, Marcel Billot, one of Houbigant’s talented perfumers, managed to compose Chantilly, a soft, ambery chypre fragrance. Named after the delicate Chantilly lace traditionally worn by royal brides in their veils, the perfume evoked elegance and grace during a time overshadowed by conflict.
Though launched in the early years of the war, Chantilly did not achieve widespread acclaim until the early 1950s, when postwar recovery allowed the perfume to flourish and reach a broader audience. This delayed success highlighted both the challenges of the wartime era and the enduring appeal of Houbigant’s artistry, which ultimately helped the brand to reclaim some of its former prestige despite the long shadows cast by war.
In 1966, George A. Tisserand was appointed chief perfumer of Houbigant, Inc. in New York, succeeding Albert Dahan, who had departed the company. Tisserand brought with him a wealth of experience and technical expertise that positioned him well to lead the creative direction of the storied perfume house during a pivotal era. Prior to joining Houbigant, he had spent nine years with Antoine Chiris Co. in New York, a company renowned for its essential oils and raw materials used in perfumery, where he honed his skills in fragrance creation.
Before his tenure at Antoine Chiris, Tisserand worked for eight years at Colgate-Palmolive Co. in New York as a research perfumer. It was during this time, in 1962, that he is believed to have contributed to the invention of a gas chromatograph equipped with a human sensor specifically designed for perfumers. This innovative technology allowed for more precise analysis and evaluation of fragrance components, revolutionizing how perfumes were formulated by combining scientific instrumentation with the nuanced sensitivity of the human nose. Tisserand’s blend of creative artistry and scientific acumen made him a valuable asset to Houbigant, helping the company navigate the evolving landscape of perfumery in the mid-20th century.
In 1970, Houbigant made a bold effort to restore the prestige of its celebrated Chantilly perfume by launching the Chantilly Collection Royale. This luxurious line featured exquisitely designed bottles and packaging inspired by the brand’s historical heritage. Drawing on iconic designs such as the elegant flacons once used for Parfum d’Argeville and Essence Rare, the collection sought to evoke the timeless sophistication and artistry that had defined Houbigant’s golden era. Through this nod to the past, the company aimed to recapture the allure and status that had once made Chantilly a hallmark of refinement.
In 1973, Michele Perris — already an experienced professional in the world of cosmetics and perfumery — made a meaningful connection that would shape the future of one of France’s oldest and most distinguished fragrance houses. While working with several prominent beauty companies, Perris came into contact with a descendant of the Houbigant family. Initially brought in as a consultant, he gradually developed a strong working relationship and personal friendship with the family over the course of several years. This collaboration planted the seeds for a shared ambition: to revive Houbigant’s presence in the international luxury fragrance market.
By 1981, Michele Perris took the first step toward that goal by founding his own company, with the initial purpose of supporting the distribution of Houbigant perfumes. This marked the beginning of the Perris Group, which would go on to become a global enterprise with diverse interests in perfumes, cosmetics, skincare, pharmaceuticals, and even 3D computer devices. Yet at its core, the company’s division dedicated to perfumery remained focused on craftsmanship, innovation, and quality. The Perris family placed great importance on using the finest raw materials, embracing modern technology, and upholding rigorous quality standards — all in service of restoring Houbigant’s reputation for excellence.
During the 1980s, Houbigant introduced several new women’s fragrances that, while not achieving blockbuster status, reflected the brand’s continuing creative vision. Ciao (1980), a rich floral chypre, launched with a classically elegant profile. It was followed by Raffinée (1982), a warm and opulent floral oriental, and then by Lutèce (1986), a luminous floral oriental that aligned with the romantic tastes of the decade. Though these fragrances are now discontinued, they form a distinct part of the brand’s evolution — balancing heritage with the shifting aesthetics of contemporary perfumery.
A turning point in the story of Houbigant’s revival came in 1987 with the reintroduction of Quelques Fleurs, the house’s most iconic fragrance. According to Brad Mandler, then Vice President of Marketing for Houbigant in New York, both internal family disputes and the disruptions of World War II had pushed the brand — and especially Quelques Fleurs — into a long period of dormancy. In 1934, the surrealist painter and sculptor Enrico Donati had married the last direct descendant of the Houbigant family. Although the marriage later ended in divorce, Donati retained a deep interest in the brand and eventually purchased the company in 1965. It became his passion project to restore Quelques Fleurs to its former glory. After over a decade of meticulous work, Donati released Quelques Fleurs L’Original in 1987, inspired by the original flacon and formula but updated with a refined presentation for modern tastes.
Despite these efforts, Houbigant's fortunes waned during the 1990s. In 1993, after centuries of operation, the company filed for bankruptcy — a major blow to its legacy. In 1994, Houbigant was acquired by Renaissance Cosmetics, the same firm that had purchased Dana, another well-known but struggling perfume brand. However, Renaissance Cosmetics encountered its own financial troubles and filed for Chapter 11 bankruptcy in 1999. Subsequently, the assets of both Houbigant and Dana were acquired by New Dana Perfumes, which later rebranded as Dana Classic Fragrances. Although the name endured, the brand’s identity remained fractured.
Meanwhile, the Perris family, whose relationship with the Houbigant name had continued in the background, took on a deeper role. As the final members of the original Houbigant family stepped away due to health concerns, the Perris family felt a strong moral obligation to preserve the brand’s legacy. Over time, they quietly worked to acquire the rights and trademarks associated with Houbigant. Their long efforts came to fruition in 2005, when they successfully regained full control of the Houbigant name for both fragrance and cosmetic categories.
From that point forward, the Perris family dedicated itself fully to reviving the storied house. Their approach has been marked by a sense of reverence for Houbigant’s heritage, combined with a modern strategy focused on authenticity, craftsmanship, and excellence. Speaking to Forbes magazine in 2010, Gian Luca Perris, Executive Vice President of Houbigant, remarked: “After the recent crisis, there is a cry for authenticity, real quality — not just putting things together in a certain way, putting a nice label on it and selling it for a very expensive price.”
Today, Houbigant fragrances are once again crafted according to the original principles that defined the house’s golden age. The production of its perfumes is handled by LOFT Fashion and Beauty Diffusion, based in Monaco, ensuring close attention to quality and heritage. In the United States, marketing and distribution are managed by Exclusive Fragrances and Cosmetics, allowing the brand to maintain a refined and carefully positioned presence in the luxury market. With this modern revival, Houbigant reclaims its place in perfumery as a house of timeless elegance — one that honors its past while offering a renewed experience for contemporary fragrance lovers.
Throughout its illustrious history, the House of Houbigant earned the distinguished honor of serving as official perfumer to an impressive array of royal clients, cementing its reputation as a purveyor of luxury and elegance fit for the highest echelons of society. This tradition of royal appointments began in 1790 with Marie Antoinette, the last Queen of France before the Revolution, who favored Houbigant’s exquisite fragrances and toiletry products, reflecting her refined tastes and status at court.
In 1805, Houbigant’s prestige was further elevated when Empress Joséphine, wife of Napoleon Bonaparte, appointed the house as her personal perfumer. This endorsement linked the brand with the grandeur and opulence of the Napoleonic era. The legacy of royal favor continued in 1829 when Princess Adélaïde d’Orléans granted Houbigant permission to display her coat of arms, symbolizing the house’s close ties with French nobility.
By 1839, Houbigant had crossed national borders, becoming the perfumer to Queen Victoria of England, whose long and influential reign helped popularize French perfume traditions across the British Empire. This pattern of prestigious clientele extended through the 19th century with appointments by Empress Eugénie of France in 1857, Emperor Napoleon III in 1870, and the Tsar and Tsarina of Russia in 1890, showcasing Houbigant’s pan-European influence.
The 20th century saw the continuation of these royal associations with Queen Victoria of Spain naming Houbigant as her official perfumer in 1922, followed by Queen Marie of Romania in 1923. Each royal endorsement not only testified to the exceptional quality and artistry of Houbigant’s creations but also reinforced the house’s position as a symbol of timeless sophistication and prestige on the international stage.
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