Le Lys Noir by Isabey c1924

Le Lys Noir by Isabey was launched in 1924—a moment when perfumery, fashion, and art were undergoing dramatic transformation in the wake of World War I. The name Le Lys Noir is French and translates to "The Black Lily" in English. Pronounced “luh leess nwahr,” the title evokes intrigue, opulence, and mystery. While the lily is a flower long associated with purity and divinity, the addition of the word noir—black—adds an unexpected and alluring contrast. It conjures images of dark elegance, nocturnal gardens, velvet gowns, and the alluring danger of forbidden desire. In the 1920s, when modernity collided with decadence, a name like Le Lys Noir would have resonated deeply with women eager to embrace a new era of expression and sophistication.

The 1920s—often referred to as Les Années Folles or “the crazy years” in France—were marked by social upheaval, artistic experimentation, and a reinvention of the feminine identity. Women had just emerged from wartime austerity and were eager to redefine themselves. Hemlines rose, corsets disappeared, and personal expression—through makeup, fashion, and fragrance—became central to modern life. The lily had long been popular in perfumery, a staple in Victorian and Edwardian scents where it symbolized innocence and spiritual elevation. But in this new world, Isabey reimagined the lily with a bold twist. By naming it Le Lys Noir, the house gave the traditional floral a dramatic makeover, making it bolder, sexier, and more mysterious—perfectly suited for the modern woman of the Jazz Age.

Lilies, while breathtaking in nature, do not yield essential oil in a conventional manner. True lily essence is extremely difficult to extract, and what is used in perfumery is typically a blend of synthetic molecules designed to capture its creamy, pollen-dusted aroma. These may include compounds such as hydroxycitronellal, lily aldehydes, and specific floral aroma chemicals like linalool and Iralia. In Le Lys Noir, the lily accord would have been interpreted using a combination of these synthetics alongside natural materials to create a layered, textural effect. Linalool, for instance, imparts a fresh floral brightness; Iralia brings a soft violet-like nuance with powdery overtones; while eugenol adds a spicy carnation clove-like edge.

Prends Mois by Isabey c1943

Prends Mois, launched by Isabey in 1943, is a perfume shrouded in linguistic curiosity and wartime allure. Its label displays an unusual spelling—“Prends-Mois”—which immediately draws attention. In standard French, “Prends-moi” translates to “take me,” a phrase loaded with emotional, romantic, and possibly provocative implications. However, Isabey’s version substitutes moi with mois, the plural word for “months.” Literally, prends-mois means “take months”—a phrase that holds no direct meaning in French, and would not be used in any grammatical or idiomatic context. Pronounced, it would sound like “prahn mwah,” with the “s” in mois remaining silent.

Why might Isabey have chosen this altered spelling? The likely reason is a legal one. In 1930, the house of De Raymond had already registered and released a perfume under the name Prends-Moi. To avoid infringement, Isabey may have intentionally altered the spelling to create a visually and legally distinct product—Prends-Mois. Despite its technical inaccuracy, the name remains phonetically identical to Prends-moi, and thus carries all the sensual connotations of the original phrase. It suggests invitation, vulnerability, and surrender—an expression of intimacy that, in the world of perfume, speaks directly to the wearer’s skin and allure.

Launched during 1943, Prends Mois emerged in the midst of World War II, a time when much of Europe was under strain—economically, politically, and emotionally. France, under German occupation, was a country navigating hardship and censorship, yet also yearning for beauty, escapism, and expression. This moment in history is often referred to as the “Occupation years,” and in Paris, despite rationing and restrictions, fashion and fragrance remained poignant acts of resistance and self-definition. Haute couture continued, albeit in subdued form, and perfumers adapted with creativity, using available materials to conjure beauty amidst bleakness.