Coeur-Joie by Nina Ricci c1946

Launched in 1946, Coeur-Joie by Nina Ricci encapsulates the hope and beauty of the post-war era. The name "Coeur-Joie," French for "Heart of Joy," reflects the perfume's uplifting spirit and romantic essence. Pronounced kur-zhwah, the name evokes images of lightness, happiness, and emotional renewal, perfectly suited for a fragrance intended to inspire and delight. Its poetic name speaks to an audience yearning for love, optimism, and beauty in a world recovering from the shadows of World War II.

The late 1940s, known as the dawn of the post-war period, marked a time of rebuilding, both materially and emotionally. Women were redefining their roles in society, embracing femininity and glamour after the austere years of the war. The "New Look" by Christian Dior had just debuted in 1947, revolutionizing fashion with its cinched waists, full skirts, and an emphasis on elegance and luxury. This was a time when perfume was not just an accessory but a statement—a symbol of a return to beauty, sophistication, and self-expression. For women of the time, a fragrance called "Heart of Joy" would have resonated deeply, promising an intimate escape to a world of romance and hope.

Coeur-Joie, created by Germaine Cellier, was a lush, powdery aldehydic floral fragrance designed to evoke the feeling of walking into an elegant, flower-filled hothouse. Its delicate composition combined the brightness of green florals with the softness of violets and jasmine, creating a romantic aura that felt modern yet timeless. The subtle warmth of the woodsy base grounded the fragrance, adding depth and sophistication. It was described as delicate and romantic—a blend of green freshness with just a whisper of violet and jasmine, layered over a powdery, sensuous base. In essence, "Coeur-Joie" captured a tender, feminine joy, offering women a luxurious and refined olfactory experience.

Fille d'Eve by Nina Ricci c1950

Fille d’Eve by Nina Ricci, launched in 1950 and introduced to the U.S. market by 1952, was a fragrance that carried with it a rich symbolism drawn from both biblical and mythological imagery. The name "Fille d’Eve" translates from French to "Daughter of Eve" (pronounced "Fee-ye d’Ev"), referring to the first woman in the Bible, Eve, and by extension, all women who followed her. Eve is often seen as the mother of humanity, and the notion of a “daughter of Eve” evokes a sense of innocence, purity, and perhaps a touch of temptation—the themes of womanhood as both nurturing and enigmatic. The name implies a connection to feminine archetypes—the original woman whose beauty, complexity, and essence are celebrated.

In the context of the early 1950s, a time marked by the post-war recovery, elegance, and femininity were central to the cultural atmosphere. The world was still transitioning from the austerity of wartime, and the fashion industry was beginning to embrace the opulence and softness that defined the post-war era. Women were encouraged to embrace their feminine sides, with hourglass silhouettes, luxurious fabrics, and delicate adornments becoming increasingly popular. The fragrance world mirrored this return to elegance with a shift away from the heavier, more austere perfumes of the 1940s to lighter, floral and fruity compositions that still carried a sense of depth and sophistication.

As for how women of the time would relate to a perfume named "Fille d’Eve," it would resonate with the feminine ideals of the day. The idea of a perfume named after Eve’s daughter would be a celebration of womanhood, invoking notions of natural beauty, charm, and sensuality. Women of the time would likely see this perfume as a way to embrace their own femininity, drawing on the age-old associations of Eve as a symbol of creation, allure, and feminine power. The fragrance’s aromatic green fruity floral chypre composition, with its notes of peach, jasmine, and rosemary, would evoke feelings of freshness and elegance, aligning with the era’s appreciation for light but complex floral bouquets.

Where Should I Apply Perfume?

As a general rule, fragrance should be applied to pulse points. This is where the blood vessels are closest to the skin giving off more heat and acting like mini fragrance pumps.

Pulse points are the wrist, crook of the arm and back of the knee, and the base of the throat. Also, for long lasting fragrance spray at the ankles, it allows the fragrance to blossom up. For a sexy twist, apply perfume to your cleavage or spray perfume on your nude body before dressing. The nape of the neck, is a very romantic area, whenever your hair moves it might swish the perfume around, nice little subtle trail of perfumed loveliness.

Apply perfume right after you take a shower or bath. Your pores are more open then and will more easily soak up the scent. Some people say that rubbing the wrists together will crush the scent, I tried this with different perfumes over the course of two weeks, just to see if its true, it seemed to me that the friction of rubbing the wrists together actually heated up the fragrances and made them seem more potent.

I have read though that the perfume can react not so nicely to the first layer of skin...and give off a smell that isn't pleasant. Others say that to spray the perfume in the air and then walk into it, I have done this before, and it seems that it lets you control the amount of fragrance that is applied to your skin, rather than spraying directly onto the skin, this works best with heavier perfumes.

I spray perfumes on my clothes when I want to make the scent last longer, I won't spray perfume on fragile fabrics like silks or lace. You can spray your coat with perfume. Also an old tip is to apply pure parfum extrait to your furs. Doing this is up to your own discretion.

Do not apply perfume after you put your jewelry on, take it off first, then apply the perfume. The chemicals in perfume can leave stains or have chemical reactions to the metals, Pearls are especially susceptible to damage from perfume since it destroys their lustre.

Coco Chanel always said to apply perfume where you want to be kissed. I read an old perfume guide from the 1930s and it mentioned that you can apply perfume to your fingertips and eyebrows. Also apply perfume to a cotton ball and tuck it into your brassiere. Apply perfume to your hankies or gloves.

Jeanne Lanvin of Lanvin Perfumes suggested that you should apply perfume wherever your clothes cover your body, that way it will seem if it is coming from within and blend with the natural oils of your skin to make a truly individual fragrance. She also says the best time to apply perfume is 15 or 20 minutes before you are about to go out, that way the perfume has time to "set".

A 1924 ad for Ann Haviland perfumes suggests:

#1. to apply perfume to your eyebrows as the short hairs of the eyebrows retain the perfume longer than the skin since evaporation takes place more slowly.Besides, this is an ideal two-some,the girl usually comes up to a man's chin, not far below his nose.

#2. One little known method of applying perfume is to saturate a piece of cotton with your chosen scent, place it under the shoulder strap of your slip. Body heat releases an aura about you.

#3. A glamorous method of using perfume is to spray it on the hem of your evening gown, then as you walk or dance, the fragrance is wafted into the air around you. This is the best way to do it.

#4. Another pointer is to apply perfume to the inside of your gloves, while your gloves are on, the warmth of your hands attract the perfume which will cling to the fingers.

L'Air du Temps by Nina Ricci c1948

L'Air du Temps by Nina Ricci, launched in 1948, emerged during a period of profound transition and renewal following World War II. This era was marked by a desire for fresh starts and a return to elegance after the harsh years of wartime austerity. The fragrance landscape of the late 1940s was characterized by a blend of traditional sophistication and new, innovative styles. Perfumes of the time often featured complex floral compositions that reflected a renewed sense of femininity and luxury.

In this context, L'Air du Temps stood out as a quintessential example of the era's evolving trends. While it adhered to the popular floral genre, its delicate floral blend with spicy overtones offered a sophisticated twist that set it apart from other fragrances of the time. The perfume’s intense femininity and its intricate balance of floral and spicy notes catered to women who were eager to re-embrace their femininity and enjoy a touch of romance and luxury.

Nina Ricci's choice of the name "L'Air du Temps" translates to "The Spirit of the Times" or "The Air of the Times" in English. This name reflects a desire to capture the essence of the post-war period—a time when people were longing for a sense of normalcy, renewal, and beauty after the turmoil of the war years. The phrase suggests a fragrance that embodies the spirit and elegance of the contemporary moment, resonating with the cultural shift towards refinement and grace.

Women of the late 1940s, having contributed to the war effort in various capacities, were now seeking ways to reconnect with their pre-war femininity and embrace a more romantic, sophisticated lifestyle. A perfume named "L'Air du Temps" would have appealed to their desire for a fresh start and a return to elegance. The fragrance, with its delicate floral notes and subtle spicy undertones, would evoke feelings of sophistication and timeless beauty, aligning perfectly with the era's aspirations.

The name "L'Air du Temps" evokes a sense of nostalgia and aspiration, conjuring images of a serene and graceful post-war society. It captures the desire to move beyond the hardships of the past and embrace a future filled with elegance and charm. Women responding to this perfume would likely associate it with a romanticized vision of their lives and the broader cultural moment—a breath of fresh air and a symbol of their return to femininity and sophistication.

Overall, L'Air du Temps represented more than just a fragrance; it was a reflection of a cultural and emotional rebirth. Its name and composition offered a poignant reminder of the era's collective longing for beauty, grace, and a renewed sense of self.