Over one thousands invitations for Charles de Beistegui’s Le Bal Oriental were sent out six months prior to the night of 3rd September 1951 to give guests time to design their elaborate costumes. The event, inspired by Giovanni Battista Tiepolo’s fresco The Banquet of Cleopatra at his Palazzo Labia, would see desperate Americans anchoring their yachts at the Venice Lido in the hope of an invitation.
“Jacques Guerlain built Mitsouko by breaking the power of the oak moss with a natural jasmine and, more significantly, a new synthetic molecule that had recently appeared. Jukov and Schestakow might have patented aldehyde C-14 (actually not an aldehyde but a lactone; it’s real name is gamma-undecalactone) in 1908, but Michael Edwards reports that it had been available from other suppliers, and it was probably Firmenich that introduced Jacques Guerlain to the molecule in the form of a base it called Persicol, which it had put on the market in 1908. C-14 was a marvel, a fruity, aromatic, delicious scent that gave ripe peach skin. Guerlain plugged C-14 into the equation perfectly (the rumor is, actually, similar to Chanel 5, that he in fact accidentally overdosed the stuff; who knows), and Mitsouko became a thing of subtle opulence, strength and balance and silken twilight.” Chandler Burr
Chasuble and Green Water, Les Parfums Jacques Fath, photographed by Herbert Gehr for Life Magazine, September 1949
During his lifetime, Jacques Fath, the “little prince” of post war Parisian couture, would see seven perfumes released for Les Parfums de Jacques Fath between 1945 and 1954. Two of the most famous fragrances, Iris Gris and Green Water, were created by Vincent Roubert, who also composed Knize Ten in 1924 and Coty’s answer to Chanel No. 5, L’Aimant in 1927. He also worked with Coty on L’Or (1912), A’Suma (1934), and Metéor (1949).