Le Parfum d'Yvonne Printemps by Isabey c1929

Le Parfum d’Yvonne Printemps by Isabey was introduced in 1929, during a rich and creative period in French perfumery. The perfume’s name—“Le Parfum d’Yvonne Printemps”—translates from French as “The Perfume of Yvonne Printemps.” It is pronounced as "luh par-FAHN dee-VOHN prahn-TAHN". The name evokes elegance, theatrical glamour, and spring-like freshness, all wrapped in the delicate mystery of celebrity allure.

The perfume was named after the beloved French actress and singer Yvonne Printemps, one of the most luminous stars of the Parisian stage in the 1920s and 1930s. She was married to the famous playwright and actor Sacha Guitry, a man known for his wit, charm, and fascination with feminine mystique. Isabey had previously created a perfume for Guitry himself, and Le Parfum d’Yvonne Printemps was conceived as a companion fragrance—perhaps an olfactory portrait of the actress herself. However, it's worth noting that Jean Desprez, who would later gain fame for Bal à Versailles, was the perfumer most frequently associated with Guitry, according to the book Femmes de Papier.

Choosing Yvonne Printemps as a muse was more than a marketing gesture—it was a way to capture an ideal of femininity in fragrance form. Yvonne was elegant, spirited, and celebrated for both her talent and her timeless charm. Her name—Printemps meaning “Spring” in French—naturally lends itself to imagery of blossoming flowers, youthful radiance, and renewal. These associations suggest a perfume that may have conveyed floral freshness, delicate powdery notes, or a soft romantic aura. In essence, a perfume that captures not just the actress, but the mood of a season and a cultural moment.

The quote by Sacha Guitry—"Two things make women unforgettable, their tears and their perfume"—captures the emotional power attributed to fragrance during this time. Perfume was not just an accessory; it was an intimate form of self-expression, a signature as personal as a handwritten letter or a whispered secret.

When this fragrance was launched in 1929, the world was on the cusp of transition. The Roaring Twenties were drawing to a close, and with them, the bold exuberance and artistic experimentation that defined the Art Deco era. Fashion in this period embraced sleek silhouettes, dropped waists, and shimmering eveningwear. Women’s lives were becoming more independent and modern—short haircuts, cosmetics, and perfume were essential to the new feminine identity.

Perfumery of the late 1920s was highly imaginative. The market was filled with opulent aldehydic florals (Chanel No. 5, 1921), lush orientals (Shalimar, 1925), and romantic florals (Arpège by Lanvin, 1927). It was also an era when perfumers and fashion houses sought to immortalize muses and celebrities in scent. A perfume bearing the name of a real woman—particularly a public figure as adored as Yvonne Printemps—would have had instant emotional appeal. It allowed the wearer to channel some of the actress’s charm and sophistication.

Interestingly, Harper’s Bazaar reported in 1926 (possibly in error) that "Yvonne Printemps is the name of one of Lanvin’s most popular perfumes,” suggesting that her celebrity was so pervasive that multiple houses may have drawn inspiration from her name. This also speaks to the marketing power of associating a fragrance with a famous personality—long before celebrity fragrances became commonplace.

In scent, “Le Parfum d’Yvonne Printemps” might have expressed delicate white florals, powdery aldehydes, or green spring notes, conjuring images of fresh blossoms, sunlit gardens, and soft lace. It may also have carried a whisper of theatrical makeup powder or the musky velvet of stage costumes, grounding the springtime lightness with sensual nuance.

Within the context of the perfumery trends of the time, Le Parfum d’Yvonne Printemps would have aligned with the fashion for named perfumes, especially those evoking romanticized femininity and seasonal moods. Whether it followed a familiar floral pattern or offered a unique twist would depend on its composition—now largely lost to history—but its emotional and cultural positioning was certainly on trend: it fused star power, poetic naming, and sensuous elegance at a time when perfume was beginning to define modern identity.

Fragrance Composition:

So what does it smell like? I have no published notes on this fragrance.

To interpret the phrase "Le Parfum d’Yvonne Printemps" in scent is to imagine a fragrance that captures both a woman and a season—Yvonne Printemps, the celebrated French actress and singer known for her vivacity, charm, and refinement, and printemps, the French word for spring, a time associated with youth, renewal, and delicate beauty. The name evokes something lyrical and feminine, theatrical yet fresh, and emotionally resonant. Translating that into olfactory form would suggest a light yet sophisticated fragrance, with a heart that is unmistakably romantic and classically French.

The scent could begin with a fresh and luminous opening—perhaps bergamot, green violet leaves, or even a dewy lily of the valley, which was one of the most fashionable floral notes of the 1920s and often associated with purity, youth, and springtime. Aldehydes—a common feature in perfumes of the period—might add a fizzy brightness, giving the composition a sparkling, airy quality, not unlike the effervescent energy of Yvonne on stage.

At its heart, the perfume would most likely unfold into a bouquet of classic floral notes—a refined blend of rose, jasmine, and orris root, all beloved and frequently used in 1920s French perfumery. These ingredients would lend the fragrance depth and an emotional softness. The orris, in particular, with its soft, powdery elegance, would evoke the creamy makeup powders and stage lights of the theater, tying the fragrance to Yvonne’s life in the limelight.

The base would be elegant and softly sensual—perhaps incorporating musk, sandalwood, and a whisper of vanilla or tonka bean to add a skin-like warmth and persistence, evoking intimacy and memory. If the perfumer wanted to suggest Yvonne’s dramatic range and theatrical persona, subtle touches of amber or civet might be included to bring a touch of vintage glamour and emotional complexity.

Altogether, Le Parfum d’Yvonne Printemps would likely be a floral-aldehydic composition, refined and romantic, delicately powdered, with an undercurrent of warmth and personality. It would smell of starched silk gowns, early spring blossoms, Parisian theaters, and whispered lines behind the velvet curtain. A scent meant not just to wear—but to inhabit.

Bottle:

Simple square shape in clear glass, with flat, square clear glass stopper, housed in a green presentation box.

images: MFAH

Fate of the Fragrance:

Le Parfum d’Yvonne Printemps by Isabey was eventually discontinued, though the exact date of its withdrawal from the market remains unclear. What is known is that the perfume was still being sold as late as 1933, placing it firmly within the interwar period—a time when French perfumery was flourishing and fashion houses, along with independent perfume brands, competed to immortalize the era’s icons in scent.

The fact that the perfume remained in circulation for several years after its launch in 1929 suggests that it enjoyed a degree of popularity and cultural resonance, likely boosted by Yvonne Printemps’s continued fame throughout the 1930s. By 1933, her name would still have evoked glamour, modern femininity, and the refined artistry of the French stage. Its presence in the market during this time also indicates that it was part of Isabey’s core offerings, not just a fleeting novelty or celebrity tie-in.

The eventual discontinuation of Le Parfum d’Yvonne Printemps may have been due to shifting tastes in perfumery by the late 1930s or early 1940s, as perfumers began exploring more abstract compositions, heavier orientals, or green chypres. Additionally, the upheaval brought on by World War II caused many perfume houses to scale back production or cease altogether due to ingredient shortages, changing economic realities, and occupation-era restrictions.

Although the precise year it was discontinued remains unknown, the legacy of Le Parfum d’Yvonne Printemps endures as a fragrant tribute to one of France’s most beloved performers and a reflection of the poetic, feminine ideal of the late Art Deco period.