Mon Image was introduced in 1933 by the celebrated Parisian couturier Lucien Lelong, a designer known for his refined, feminine couture and for his role in shaping Parisian elegance between the two World Wars. Lelong’s perfumes were conceived as natural extensions of his fashion aesthetic—scents that would complement a woman’s presence as gracefully as a beautifully tailored gown. The name “Mon Image” comes from the French language and translates literally to “My Image.” Pronounced as “mohn ee-MAHZH,” the phrase carries a deeply personal meaning. It suggests a perfume that mirrors the wearer’s identity, personality, and mood—almost like a fragrant reflection. Lelong himself described the concept succinctly as “a reflection of yourself in fragrance,” implying that the perfume was meant to enhance a woman’s natural charm rather than overwhelm it.
The name evokes elegant and intimate imagery: a woman standing before a mirror, preparing to step out into the evening, her perfume completing the image she presents to the world. It suggests self-expression, confidence, and individuality. In the language of fragrance, Mon Image implies a scent that becomes part of the wearer’s personal aura—something that quietly defines her presence. Emotionally, the name carries a subtle romanticism typical of French culture, hinting that fragrance is not merely adornment but a way of revealing one’s inner character.
The perfume was launched during the early 1930s, a period shaped by both cultural sophistication and economic challenge. The world was in the midst of the Great Depression, yet Paris remained the undisputed center of luxury fashion and perfumery. Despite financial uncertainty, couture houses continued to produce exquisite creations for an international clientele seeking beauty and escapism. Fashion during this era favored slim silhouettes, fluid fabrics, and understated glamour, moving away from the exuberant ornamentation of the 1920s toward a more refined and elegant aesthetic. Designers such as Madeleine Vionnet and Coco Chanel were redefining femininity with graceful draping and modern simplicity. Perfumery reflected this sophistication through rich floral bouquets, spicy notes, and warm bases that projected elegance and confidence.
image created by Grace Hummel/Cleopatra's Boudoir.
Within this context, a perfume called Mon Image would have resonated strongly with women of the period. The concept of fragrance as a personal signature was becoming increasingly important in the early twentieth century. A woman might wear a scent that expressed her style in the same way her clothing did. The name suggested that the perfume was not simply decorative but integral to a woman’s identity, reinforcing the idea that scent was part of the image she presented to society. For fashionable women of the 1930s, wearing Mon Image might have felt like wearing a couture accessory—something uniquely their own.
The fragrance itself was described as a spicy floral, notable for its piquant character and crisp carnation note. Carnation was a particularly fashionable floral ingredient in early twentieth-century perfumery because of its spicy, clove-like facets. Its scent naturally contains eugenol, the same aromatic molecule found in cloves, which gives carnation its lively, peppery warmth. In Mon Image, this carnation nuance likely formed the sparkling floral top, lending the perfume a vibrant, slightly sharp elegance before settling into warmer tones. Beneath the floral brightness lay a foundation of sandalwood, whose creamy, velvety woodiness softened the spicy edge and gave the fragrance a smooth, lasting warmth.
The structure of Mon Image may have relied heavily on a perfumery base known as Melysflor, created by the fragrance house Firmenich. Melysflor belonged to a family of compositions known as “mellis accords,” similar to Melittis, a base developed by Givaudan. These accords were designed to produce a complex floral-spicy effect in a single blended base. Melysflor combined materials such as benzyl salicylate, which contributes a sweet, slightly balsamic floral warmth; patchouli, adding earthy depth; and eugenol, providing the spicy clove facet that reinforces the carnation theme. The accord also incorporated lily of the valley notes, traditionally created through the aromatic molecule hydroxycitronellal, which lends a fresh, dewy floral brightness. Additional nuances of cinnamon, woody notes, and coumarin—a crystalline compound derived from tonka beans—gave the base its smooth sweetness reminiscent of vanilla and freshly cut hay.
This versatile base was widely admired by perfumers and appeared in several notable fragrances of the era, including Jean Patou's Moment Supreme, Corday's Voyage à Paris, Elizabeth Arden's Blue Grass, and Dana's Tabu. Its presence in Mon Image would have given the perfume a richly layered character—spicy, floral, and softly woody all at once.
In the context of fragrances available in 1933, Mon Image was not radically unconventional, but it was certainly aligned with the refined, elegant style of the era. Many perfumes of the early 1930s favored sophisticated floral structures enriched with spice and warm bases. What distinguished Mon Image was its concept and balance: the piquant carnation note gave the fragrance personality, while the mellis accord created a smooth, harmonious backdrop. The result was a perfume that embodied the understated glamour of its time—elegant, expressive, and perfectly suited to the modern woman of the 1930s who wished her fragrance to reflect her own image.
Fragrance Composition:
So what does it smell like? Mon Image is classified as a spicy floral fragrance for women, it was described as "piquant" and had a noticeable tang of crisp carnation. A hint of carnation here to give a top floral note against a background of sandalwood.
- Top notes: Italian neroli oil, nerol, isoeugenol, phenylacetaldehyde, amyl salicylate, Vietnamese cinnamon, Zanzibar clove oil, lilac, almond, isobutyl phenylacetate, linalool
- Middle notes: hydroxycitronellal, Ceylon cinnamon bark oil, French carnation, benzyl isoeugenol, linalool, natural Grasse rose oil, geranyl formate, ionone, Tunisian orange blossom absolute, Grasse jasmine absolute, Peruvian heliotrope absolute, heliotropin, Grasse rose absolute, Parma violet, ionone, Malabar pepper essence, clary sage oil, Melysflor base
- Base notes: benzyl salicylate, benzyl acetate, terpineol, Bourbon vanilla, vanillin, Maltese labdanum, Java vetiver, ambergris, Tonkin musk, Mysore sandalwood, santalol, Tyrolean oakmoss, Siam benzoin, Venezuelan tonka bean, coumarin, ethyl benzoate
Scent Profile:
Mon Image by Lucien Lelong unfolds as a spicy floral fragrance whose character is defined by a distinctive piquant carnation note—fresh, slightly peppery, and refined—resting upon a warm base of woods, resins, and ambered softness. From the first breath, the fragrance carries the poised elegance typical of early 1930s French perfumery, when perfumes were designed with intricate layers of natural essences supported by emerging aroma molecules that gave them complexity and longevity.
The opening impression sparkles with a bright citrus-floral freshness. Italian neroli oil, distilled from the blossoms of bitter orange trees grown along the Mediterranean coasts of southern Italy, introduces a luminous, honeyed floral brightness with subtle green and citrus nuances. Neroli from this region is particularly prized for its clarity and elegant sweetness. Supporting this natural material is nerol, a floral terpene alcohol found in neroli and rose oils that enhances the orange blossom character with soft rosy sweetness. The scent quickly acquires a piquant sparkle through Vietnamese cinnamon and Zanzibar clove oil, both rich in the aromatic compound eugenol, which gives them their spicy warmth. Zanzibar cloves are considered among the finest in the world, known for their strong, rich aroma produced by the island’s humid tropical climate.
The floral brightness continues through molecules such as phenylacetaldehyde, which smells like fresh hyacinth and honeyed blossoms, and amyl salicylate, a synthetic floral note reminiscent of orchids and sweet blossoms that adds smoothness to the top. A delicate hint of lilac appears as well—an aroma that cannot be extracted naturally from the flower and must be recreated using complex combinations of aroma chemicals. Isobutyl phenylacetate contributes a fruity, floral note often associated with garden blossoms, while linalool, naturally present in many flowers and herbs, adds a fresh lavender-like brightness. A subtle nuance of almond introduces a faint creamy sweetness that rounds the opening notes and prepares the transition toward the heart.
As the fragrance evolves, the carnation theme emerges more distinctly. Carnation possesses a naturally spicy character because its scent contains eugenol, the same compound responsible for clove’s aroma. In this perfume, the carnation is enriched with Ceylon cinnamon bark oil, whose warm, sweet-spicy character differs from the sharper cassia varieties found elsewhere. Hydroxycitronellal, a landmark aroma molecule widely used in classic perfumery, contributes the crystalline freshness of lily of the valley, a flower that cannot yield a natural perfume extract.
A sumptuous floral bouquet develops around this spicy core. Natural Grasse rose oil and Grasse rose absolute provide the luxurious softness of roses grown in the famed fields of Grasse, France, where climate and soil produce a uniquely rich floral aroma. Grasse jasmine absolute deepens the composition with its warm, slightly indolic sweetness—an aroma created in part by the molecule indole, which gives jasmine its sensual character. Tunisian orange blossom absolute adds a luminous sweetness that echoes the neroli in the opening but with richer honeyed depth. Peruvian heliotrope absolute introduces a powdery almond-like warmth, reinforced by heliotropin (piperonal), a molecule responsible for heliotrope’s distinctive marzipan scent.
Powdery elegance appears through Parma violet, recreated through the use of ionones, molecules that produce the characteristic violet aroma—soft, woody, and faintly powdery. Geranyl formate adds rosy-fruity brightness, while Malabar pepper essence introduces a dry, aromatic spice from India’s famed pepper-growing region. A touch of clary sage oil lends herbal warmth with subtle amber-like facets. Much of the heart may have been structured around the Melysflor base, a complex perfumery accord developed by Firmenich. This base blends floral and spicy materials such as benzyl salicylate, patchouli, coumarin, and lily-of-the-valley molecules to create a rich mellis-style floral accord used in several notable perfumes of the period.
As the fragrance settles into its base, the warmth becomes deeper and more sensual. Benzyl salicylate contributes a soft floral-amber note that enhances longevity and smoothness. Benzyl acetate, naturally found in jasmine, provides a sweet, fruity-floral lift, while terpineol adds a gentle lilac-like softness. The sweetness deepens through Bourbon vanilla, harvested from orchids grown primarily in Madagascar and Réunion, whose warm aroma contains natural vanillin. Additional vanillin reinforces this creamy sweetness, creating a comforting softness beneath the florals.
The fragrance’s structure is grounded by rich resins and woods. Maltese labdanum, derived from the resin of the Mediterranean rockrose plant, contributes an ambered leather-like warmth with balsamic depth. Java vetiver, grown in Indonesia’s volcanic soils, brings an earthy, smoky elegance distinct from the greener character of Haitian vetiver. Mysore sandalwood, historically sourced from southern India, is revered for its creamy, velvety woodiness rich in santalol molecules, which produce its characteristic smooth warmth. Tyrolean oakmoss, harvested in alpine forests, introduces the classic chypre note of damp forest moss and earthy green depth.
The base becomes even more luxurious with Siam benzoin, a resin from Southeast Asia that smells sweet and vanilla-like, and Venezuelan tonka bean, whose aroma is defined by coumarin—a molecule smelling of sweet hay, vanilla, and almonds. Ambergris, historically obtained from ocean-aged whale secretions, adds a soft marine warmth often recreated today by molecules such as ambroxan. Finally, Tonkin musk, once derived from the musk deer and now replaced by sophisticated synthetic musks, creates a warm skin-like aura that allows the fragrance to linger intimately.
The overall effect of Mon Image is one of spiced elegance and powdery warmth. The fragrance begins with bright neroli and aromatic spices, blossoms into a richly layered floral bouquet centered around carnation and rose, and gradually settles into a velvety base of sandalwood, amber, moss, and musk. Natural materials from celebrated regions—Grasse, Mysore, Zanzibar, and Java—blend seamlessly with carefully chosen aroma molecules that enhance and stabilize the scent. Together they create a perfume that is both vibrant and refined, capturing the poised glamour and intricate craftsmanship characteristic of the golden age of French perfumery.
The New Yorker, 1935:
"It is blessed to give or to receive — Opening Night that makes you feel like the star of the performance . . . Mon Image, so piquant and arresting . . . Gardenia, a perfume "in the grand manner"..."
"Mon Image by Lucien Lelong: perfume for brunettes."
Drug and Cosmetic Industry - Volume 44, 1939:
"LUCIEN LELONG Lucien Lelong has introduced sachet in five of his fragrances, Impromptu, Indiscreet, Mon Image, Opening Night and Whisper. The sachet is highly concentrated and comes in a handsome crystal bottle with gold cap."
Bottles:
The bottle created for Mon Image occupies a remarkable and somewhat unusual place in the history of perfume design. Although it was not designed by the celebrated glass artist René Lalique, it was nevertheless manufactured at his renowned glassworks in Wingen-sur-Moder. This curious circumstance arose from the close friendship between Lalique and the Parisian couturier Lucien Lelong. Earlier in the decade Lalique had created two bottles for Lelong, in 1930 and 1931, at a time when Lelong’s perfumes were simply identified by letters—“A,” “B,” and “C.” Among Lalique’s contributions, the most memorable was the “draped dress” bottle of 1930, used for the dramatic “skyscraper” presentation. Its cascading vertical folds evoked the graceful fall of couture fabric, making it one of the most recognizable bottle designs associated with Lelong’s early fragrances.
Soon afterward, however, Lelong decided that the visual identity of his perfumes should reflect his own creative vision. Beginning in 1932, he resolved to personally design all the bottles for his fragrances, continuing this practice until his retirement in 1950. This decision was unusual at the time; few fashion designers assumed such complete artistic control over their perfume packaging. When Mon Image debuted in 1933, Lelong translated his couture sensibility into a bold glass design that departed strikingly from the decorative styles typical of the early 1930s. The flacon he conceived was geometric and architectural, consisting of two stacked crystal cubes forming a minimalist double-cube silhouette. Beneath a large square overcap sat a small internal ground-glass stopper, ensuring the perfume remained sealed. The overcap itself was molded in clear crystal and engraved in intaglio with Lelong’s elegant intertwined “Double L” monogram, and because the cap mirrored the bottle’s cubic proportions, the entire composition appeared like a perfectly balanced stack of glass blocks.
The inspiration for the perfume itself was connected to the glamorous world of cinema. In 1933, Lelong designed costumes for the legendary actress Marlene Dietrich for the film The Scarlet Empress. Enchanted by Dietrich’s dramatic screen presence and distinctive beauty, Lelong reportedly dedicated Mon Image to her. The name—meaning “My Image”—thus took on deeper meaning, suggesting a fragrance that captured a woman’s personal aura or reflected the captivating personality of its muse. In this sense, the perfume was imagined as a fragrant reflection of Dietrich’s enigmatic elegance.
Although Lalique did not design the flacon, he generously agreed to oversee its manufacture as a gesture of friendship and professional respect. Initially, Lelong—who had a reputation for being extremely frugal—had entrusted the bottle’s production to a less experienced glassmaker. Unfortunately, the results were disastrous: the first bottles leaked and proved unsuitable for holding perfume. Recognizing his friend’s predicament, Lalique intervened. From 1933 to 1936, the bottles were produced at Lalique’s own glassworks in Wingen-sur-Moder, where the technical precision and craftsmanship of the factory ensured that Lelong’s daring design could be realized successfully. The finished crystal flacon is remarkable for its forward-looking simplicity—firmly rooted in Art Deco geometry, yet anticipating the sleek minimalist forms that would not become fashionable until decades later.
Equally striking was the presentation box, which was itself an ingenious piece of Art Deco design. The box took the form of a tall, square column completely covered with genuine glass mirrors. It consisted of two parts: a square base that cradled the bottle and a slipcover lid decorated with panels of mirrored glass. When placed on a vanity, the mirrored surfaces reflected the perfume bottle and the printed name “Mon Image” from multiple angles, creating a dazzling play of light and reflections. Such mirrored presentations were extremely rare at the time and considered boldly avant-garde. Only a few other perfumers experimented with mirror surfaces in their packaging, making Lelong’s design particularly distinctive. His meticulous attention to visual drama ensured that his perfumes stood out prominently among the many fragrances displayed on elegant dressing tables and department-store counters.
The production of Mon Image included several bottle sizes, each maintaining the same geometric character. The smallest Ref. 250 miniature—a 1/8 oz (1 dram) glass-stoppered bottle—stood about 1⅝ inches tall, making it a compact collector’s piece. A ¼ oz version with a brass screw cap measured approximately 1.75 inches, while the standard Ref. 500 ¼ oz bottle reached about 2.25 inches in height. Larger sizes included the ½ oz bottle, standing roughly 2.75 inches, and the 1 oz bottle, which rose to 3.5 inches. When presented in its mirrored box, the complete display stood an impressive six inches tall, transforming the perfume into a miniature architectural sculpture.
Today, surviving examples of Mon Image are exceptionally scarce. Their rarity, combined with the unusual collaboration between Lelong and Lalique, makes them highly prized by collectors. The story behind the bottle—its innovative design, early manufacturing troubles, and Lalique’s intervention—remains one of the more charming anecdotes in perfume history, illustrating both the practical challenges of luxury production and the friendships that shaped the golden age of French perfumery.
Life, 1934:
"The exciting floral odor of "Mon Image," Lelong's newest perfume in a mirror bottle."
Woman's Home Companion, Volume 65, 1938:
"Mon Image" in the famed mirror box ... "a reflection of yourself in fragrance." $2.50 to $100."
Other bottles are the atomizer flacon which held 2.5oz of Perfumed Cologne. This bottle stands 5" tall.
Fate of the Fragrance:
The fragrance Mon Image by Lucien Lelong gradually disappeared from the market over time as the Lelong house evolved after the designer’s retirement. The cologne version of Mon Image, which offered a lighter and more refreshing interpretation of the scent, was officially discontinued in 1950, coinciding with the period when Lucien Lelong withdrew from active involvement in his fashion house. The more concentrated parfum version appears to have remained available for a longer period, although the exact date of its discontinuation is not known. Evidence indicates that the perfume was still being sold as late as 1961, suggesting that remaining stock or limited production continued for some years after the cologne had been withdrawn. By the early 1960s, however, Mon Image had effectively vanished from the market, becoming one of the many elegant yet largely forgotten fragrances of the classic French perfumery era.
No comments:
Post a Comment