Reverie by Tuvache c1972

"Rêverie" originally produced by Yardley in 1967 reflects the cultural and olfactory trends of its time. The late 1960s was a period marked by significant social change, characterized by the rise of the youth culture, the exploration of new artistic expressions, and a general sense of rebellion against established norms. Yardley, a quintessential British brand known for its elegant and classic fragrances, positioned "Rêverie" amidst this cultural backdrop.

Yardley's interpretation of "Rêverie" would have likely featured notes that evoke a sense of softness and serenity, perhaps floral or powdery accords that embody a delicate yet evocative fragrance experience. Such scents were popular among consumers looking to embody the spirit of the times through their personal grooming choices.

In 1972, the launch of "Rêverie" by Tuvache occurred against the backdrop of a cultural shift marked by the tail end of the 1960s counterculture and the burgeoning of the 1970s. This era was characterized by a quest for individuality, self-expression, and a rejection of traditional norms, especially in fashion and personal grooming. Perfumes of this time often sought to capture the spirit of liberation and exploration, offering wearers a sensory escape from the constraints of conventional society.

A "rêverie" is a state of dreamy meditation or fanciful musing, typically a pleasant one. It's a moment of being lost in one's thoughts, often in a way that is peaceful and reflective. Tuvache likely chose the name "Rêverie" for their perfume to evoke this sense of daydreaming and introspection. Perfume names are carefully chosen to convey a mood or atmosphere that aligns with the fragrance's intended character and the emotions it aims to evoke.

"Rêverie" would be an appropriate name for a perfume because it suggests a fragrance that transports the wearer to a dreamlike state, where the senses are heightened and imagination takes flight. It implies a perfume that encourages moments of reverie, where one can escape the mundane and indulge in a sensory journey of pleasant thoughts and emotions.

Those who would relate to a perfume called "Rêverie" are likely individuals who appreciate moments of introspection and the power of scent to evoke memories and emotions. They might respond to this perfume by seeking it out as a means to enhance their personal experiences, using fragrance as a tool to create or enhance a particular mood or mindset.

The word "Rêverie" evokes images of soft, hazy landscapes, where colors blend gently into each other and time seems to slow down. It brings to mind feelings of serenity, nostalgia, and a touch of whimsy, akin to wandering through a sun-dappled garden or lying in a field of wildflowers on a lazy afternoon. The fragrance itself would likely aim to capture these sensations through its composition, using notes that evoke tranquility and a sense of ethereal beauty.

Overall, "Rêverie" by Tuvache, launched in 1972, would have appealed to those seeking a fragrance that not only adorned the body but also transported the mind to a state of tranquil contemplation and poetic daydreams, reflecting the spirit of its time with a blend of escapism and sensory allure.

Nectaroma by Tuvache c1960

In 1960, the launch of the perfume "Nectaroma" by Tuvache coincided with a period of burgeoning interest in luxurious and evocative fragrances. This era marked a transition in perfumery towards more complex compositions that aimed to capture the essence of indulgence and allure. Perfumes were becoming not just personal scents but statements of sophistication and elegance.

"Nectar," in the context of perfumes, refers to a sweet and aromatic liquid often associated with the gods in mythology. It symbolizes something divine, exquisite, and intoxicatingly fragrant. The term "Nectar of the Gods" underscores this perception, suggesting a substance that embodies divine pleasure and beauty.

Bernadine de Tuvache, the creator of "Nectaroma," likely chose the name to evoke these very associations. "Nectaroma" combines "nectar," with its connotations of sweetness and divine essence, and "aroma," emphasizing its aromatic allure. The name suggests a perfume that promises to envelop the wearer in a rich, luxurious scent akin to the essence of gods' nectar.

Tuvache Perfume Amulets

The Modesto Bee And News-Herald, 1946:

Beauty Hints by Alicia Hart.

" Tucking a sweet scented pellet of cotton into a stocking welt via the backseam opening may sound like heaping on the glamor, but it makes practical sense as a perfume saver. Good perfume, especially a concentrate, will tantalize nostrils for days. Tuck pieces of perfumed cotton also into a bra or girdle top. So says a perfumer wise to the ways of imprisoning scents which fight to escape. Mrs, Bernadine de Tuvaché suggests holding fragrances in perfume amulets. To make an amulet--the size of a good luck charm a gremlin might wear --she uses a strip of ribbon one half inch wide and two inches long! Into this ribbon "pocket"--folded and sewed together on three sides --she stuffs a perfume soaked piece of cotton, and tacks the open end closed. Try her trick, and see how much longer your perfume lasts. When the amulet needs to be retired, Mrs. de Tuvaché says it can still do service as a sachet in your bureau drawer."

Where Should I Apply Perfumes

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.

Tuvara by Tuvache c1948

In 1948, the launch of Tuvara by Tuvache occurred during a post-war period marked by a desire for renewal and elegance. This era was characterized by a shift in societal norms, where fragrances played a significant role in expressing sophistication and femininity. The name "Tuvara" holds a special significance rooted in both botanical and personal symbolism. Cassia, the plant from which the name derives, is known for its aromatic properties, often used in perfumery for its warm, spicy notes reminiscent of cinnamon. This connection to cassia suggests a perfume with a rich, comforting aura, likely appealing to those seeking a blend of exotic allure and familiar warmth.

Bernadine de Tuvache's decision to name the perfume "Tuvara" likely stemmed from personal and strategic considerations. Naming it after her daughter suggests a deep personal connection, possibly intending to imbue the fragrance with qualities associated with her daughter's essence: youth, beauty, and a timeless charm. Strategically, choosing a botanical name like Tuvara aligns with the trend of naming perfumes after natural elements, evoking images of lush gardens and exotic locales, which were particularly appealing in the immediate post-war period.

Perfume advice for Junoesque Girls by Madame de Tuvache

Culled from the Troy Times Record, Saturday, August, 9, 1947:


Alicia Hart’s Timely Beauty Hints

"Junoesque girls who would like to under-accent their magnificent proportions should enlist the aid of perfume to that end.  Perfumer Bernadine de Tuvache, who creates rare scents and speaks with authority on the impressions they can create, claims that delicate, airy fragrances will help the stout woman put over the illusion of less bulk.
Says our perfumer: “The tendency of the overweight women is to use heavy perfumes. When these fragrances are exploded by body heat, the effect is too much woman and too much perfume.” The effect of a light fragrance when wafted about by the large woman, says our expert, is to make her seen daintier and more feminine. 

To achieve what Madame de Tuvache calls “ the fourth dimension of lightness,” Junoesque gals are advised to use their some hither scents so as to created an enveloping aura/ Suggested areas for application are shoulder pads, handkerchiefs,  gloves, the inside of a handbag and the hand fan that goes into action in hot weather."

Lily of the Valley by Tuvache c1944

In 1944, the launch of "Lily of the Valley" by Tuvaché occurred amidst a significant period of history. World War II was still raging in Europe, and the perfume industry, like many others, faced challenges due to wartime restrictions and changes in production. Despite these difficulties, perfumes continued to serve as a source of comfort and luxury for those who could access them, offering a fleeting escape from the realities of war.

Lily of the Valley holds a special place in the world of perfumery due to its delicate and distinctive fragrance. Known for its sweet, floral scent with hints of green freshness, Lily of the Valley has been cherished for centuries. Its connection to perfumes stems from its natural essence, which is often extracted through methods that preserve its purity and complexity. This flower has been a favorite in perfumery for its ability to evoke feelings of freshness, purity, and springtime renewal.

Choosing the name "Lily of the Valley" for a perfume carries several implications. Bernadine de Tuvache likely selected this name to capture the essence of the flower itself—a fragrant symbol of spring and new beginnings. The name suggests a desire to encapsulate the floral purity and natural allure associated with Lily of the Valley, appealing to those who seek a fragrance that embodies freshness and elegance.

For perfume enthusiasts of the time, a fragrance named "Lily of the Valley" would have been particularly appealing. It would resonate with those who appreciated single-flower scents, valuing the clarity and beauty of a specific floral note. The response to such a perfume would likely have been positive, as it would evoke images of lush greenery, blooming gardens, and the delicate, bell-shaped flowers of Lily of the Valley.

Lilac by Tuvache c1940

In 1940, the launch of "Lilac" by Tuvaché occurred during a tumultuous period marked by World War II. This era was characterized by a blend of hardship and resilience, where perfumes often served as a form of escapism and comfort amidst uncertainty. The choice of lilac as a fragrance theme during this time holds significant symbolism. Lilacs are known for their delicate, sweet floral scent, often associated with springtime and renewal. In perfumery, lilac is prized for its fresh, powdery, and slightly spicy aroma, making it a popular choice for single-flower scents.

Bernadine de Tuvaché likely chose the name "Lilac" for its evocative power and its resonance with the spirit of the times. The word "Lilac" conjures images of lush gardens in bloom, with clusters of purple or white flowers exuding a gentle fragrance that is both calming and uplifting. During the uncertainties of wartime, a perfume named "Lilac" would offer wearers a sensory escape to a more peaceful and natural setting, providing solace and a connection to beauty amidst adversity.

"Lilac" would have been particularly appealing to individuals seeking solace in nature's tranquility during a time of global conflict. Those who gravitated towards this perfume would likely have responded to its comforting, nostalgic scent with a sense of longing for simpler, happier times. The fragrance would evoke images of spring gardens, filled with blooming lilac bushes swaying gently in the breeze, and feelings of hope and renewal that springtime brings.

Moroccan Rose by Tuvache c1940

In 1940, the launch of "Moroccan Rose" by Tuvaché coincided with a period of significant cultural fascination with exoticism and oriental influences in perfumery. This era was marked by a romanticized view of distant lands, spurred on by increased travel, literature, and art depicting faraway places. Morocco, in particular, held allure with its rich history of trade, spices, and vibrant landscapes.

The connection of roses to perfumes dates back centuries, as roses have been prized for their delicate fragrance and symbolism of love and beauty. Moroccan roses, specifically, are renowned for their deep, rich scent, often described as spicy and slightly fruity due to the region's unique climate and soil conditions. This distinctiveness made Moroccan rose oil a coveted ingredient in perfumery, adding an exotic allure to fragrances.

Bernadine de Tuvache likely chose the name "Moroccan Rose" for its evocative power. The name conjures images of lush gardens, desert landscapes, and the vibrant markets of Morocco. It promises a sensory journey through the aromatic essence of Moroccan roses, capturing the essence of romance and adventure.

"Moroccan Rose" would be a fitting name for a perfume because it taps into the desire for escapism and sensory exploration that was prevalent during the 1940s. It appeals to individuals seeking sophistication, elegance, and a touch of the exotic in their fragrance choices. The name suggests a perfume that is both luxurious and culturally rich, appealing to those who appreciate craftsmanship and the art of perfumery.

Violet by Tuvache c1939

In 1939, the launch of "Violet" by Tuvaché occurred during a period marked by the approaching turmoil of World War II. This era was characterized by a blend of optimism and apprehension, where perfumes often provided a nostalgic escape into realms of beauty and tranquility. The choice of violet as a fragrance theme during this time was significant. Violets have long been associated with delicate beauty, modesty, and simplicity. They evoke a sense of refinement and innocence, often symbolizing loyalty and faithfulness.

Bernadine de Tuvache likely chose the name "Violet" for its classic appeal and the universal charm associated with the flower itself. Violets have a rich history in perfumery, dating back centuries, where their sweet, powdery scent has been cherished for its calming and comforting qualities. In the context of Tuvaché's repertoire of single-flower scents like Moroccan Rose, Lily of the Valley, and Lilac, Violet would have fit seamlessly, offering a gentle, floral option amidst potentially turbulent times.

"Violet" would have been an appropriate name for a perfume not only due to its elegant connotations but also because of its timeless appeal. During the late 1930s, women of various backgrounds and ages would have been drawn to such a fragrance. It would resonate with those who appreciated classic femininity and sought solace in a scent that reminded them of gentler, more peaceful times. The perfume would likely have been received with nostalgia and a sense of comfort, offering wearers a subtle yet profound connection to nature's beauty amidst the uncertainties of the era.

Zezan by Tuvache c1939

In 1939, the launch of Zezan by Tuvache marked a significant moment in perfume history, coinciding with a period of artistic and cultural exploration, particularly with an African connection. During this time, Africa was becoming increasingly intertwined with European art and culture, partly due to colonial influences and burgeoning interest in exoticism. This period saw an emergence of African motifs in art, sculpture, and even fashion, reflecting a fascination with the continent's rich cultural heritage.

The word "Zezan," as Madame de Tuvache chose it for her perfume, carries a mysterious allure. While its exact origin is not explicitly defined, it resonates with the sounds and rhythms that Madame de Tuvache found appealing, especially the distinctive "Z" sounds. Interestingly, in Albanian, "zezan" means "black," which adds an intriguing layer considering the design of the perfume's packaging featuring an African motif. Whether this linguistic connection influenced Madame de Tuvache's choice remains unclear, but it adds depth to the perfume's narrative.

"Zezan" is a fitting name for a perfume designed to evoke exoticism and allure. It conjures images of mystery, sensuality, and the unknown, appealing to those fascinated by distant lands and cultures. The perfume's packaging further enhances this allure, with its one ounce bottle set in an African wood stand, adorned with a gold ceramic replica of a primitive princess's head. The wooden crate, sealed with wax, adds a sense of exclusivity and authenticity, reflecting the painstaking craftsmanship and exotic materials that went into its creation.

Highlander by Tuvache c1938

In 1938, when Highlander by Tuvache was launched, Europe was on the cusp of World War II, a period marked by heightened tensions and looming uncertainty. Amidst this backdrop, fashion and fragrance trends often reflected a blend of resilience, tradition, and a longing for the rugged beauty of nature. Men's fragrances of the time sought to embody qualities of strength, sophistication, and a connection to heritage.

A "Highlander" traditionally refers to someone from the Scottish Highlands, a region famed for its breathtaking landscapes, including heather-covered moors and misty mountains. Highlanders are historically associated with traits like courage, independence, and a deep affinity for their land and traditions.

Bernadine de Tuvache likely chose the name "Highlander" for its evocative power. Firstly, it conjures images of Scottish heritage, particularly the rugged elegance of tweed-clad gentlemen against the backdrop of rolling hills and expansive moors. Tweed, a durable woolen fabric, was often worn by Highlanders and symbolizes both practicality and timeless style.

"Highlander" is an apt name for a men's fragrance because it resonates with the rugged yet refined persona associated with Highlanders. It suggests a man who appreciates the outdoors, values tradition, and exudes a sense of adventure and sophistication. The fragrance would likely appeal to those who identify with classic values of strength and honor, coupled with an appreciation for natural beauty and craftsmanship.

Cossack by Tuvache c1938

In 1938, the world was on the brink of significant political turmoil, with Europe nervously anticipating the outbreak of World War II. It was a time of both uncertainty and bravado, where masculinity often took center stage amidst the looming specter of conflict. It was against this backdrop that Bernadine de Tuvache launched "Cossack," a fragrance named after the renowned warriors of Eastern Europe known as Cossacks.

A Cossack, historically, was a member of various autonomous communities of Eastern Slavs who inhabited the steppes of Eastern Europe and Siberia. These communities were known for their fierce independence, strong martial traditions, and rugged individualism. The term "Cossack" itself evokes images of fearless horsemen, skilled in combat and adept at surviving in harsh environments. They were often seen as symbols of strength, valor, and freedom.

Bernadine de Tuvache likely chose the name "Cossack" for its association with these qualities. In the context of a men's fragrance, "Cossack" would appeal to men who valued courage, adventure, and a sense of daring. The fragrance would embody characteristics such as strength, resilience, and a bold spirit, resonating with individuals who saw themselves as independent and capable.

Arabia by Tuvache c1939

The perfume "Arabia" by Tuvache was launched in 1939, a period marked by significant global tensions and impending conflict as World War II loomed on the horizon. Despite the troubling political landscape, the 1930s were also a time of cultural exploration and fascination with the exotic and the unknown. During this era, there was a romanticized view of distant lands and cultures, which were often depicted as mysterious and enchanting in literature, film, and art. This fascination extended to perfumes, which were seen as a means of capturing and experiencing the essence of these far-off places.

Arabia has a long and storied connection with perfumes. The region, encompassing modern-day Saudi Arabia, the Arabian Peninsula, and parts of the Middle East, has been associated with the production and trade of fragrant materials for millennia. Frankincense and myrrh, two of the most prized resins, have been harvested in Arabia since ancient times. These aromatic substances were essential in religious ceremonies, medicine, and personal adornment, contributing to Arabia's reputation as a land of exquisite scents. Additionally, the region was a crucial hub on the Incense Route, facilitating the exchange of spices, herbs, and perfumes between the East and the West.

Bernadine de Tuvache likely chose the name "Arabia" to evoke the rich olfactory heritage and the exotic allure associated with the region. The name "Arabia" conjures images of vast deserts, bustling bazaars filled with spices and incense, and the luxurious courts of ancient empires. By naming the perfume "Arabia," Tuvache aimed to capture the mystique and opulence that the region symbolized, promising consumers a sensory journey to a place of legendary beauty and fragrance.

Sumatra by Tuvache c1940

The year 1940 was a tumultuous time globally, as it marked the early stages of World War II. The world was steeped in conflict, uncertainty, and rapid change. Despite the war, or perhaps because of it, there was a strong desire for escapism and the allure of exotic locales. In the United States, where Tuvache perfumes were compounded and packaged, the market for luxury goods, including perfumes, remained resilient among those who could afford them. This period saw a fascination with far-off lands and cultures, partly due to the restricted travel caused by the war, which intensified the allure of the exotic and the unknown.

Sumatra, an Indonesian island known for its dense jungles, rich biodiversity, and exotic flora, had a strong connection to the world of perfumes. The island was, and still is, renowned for its aromatic plants and flowers, many of which are used in the creation of perfumes. Essential oils extracted from Sumatra’s native flora, such as patchouli and vetiver, are prized in perfumery for their unique, earthy, and complex scents. These ingredients contribute to the deep, musky, and rich profiles that are often sought after in fine fragrances.

Bernadine de Tuvache, the visionary behind Tuvache perfumes, likely chose the name "Sumatra" to evoke a sense of exoticism, adventure, and mystery. The name itself conjures images of lush, untamed jungles teeming with vibrant flowers and rare plants. It suggests a journey into the heart of nature’s most opulent and unspoiled environments. By naming the perfume "Sumatra," Tuvache could harness these connotations to appeal to consumers' desires for luxury, escapism, and the allure of the unknown.