40 Love (1947)

In 1947, Jean Desprez introduced his only unisex fragrance—40 Amour, also known as 40 Love—a crisp and invigorating fougère that captured the fresh, sunlit atmosphere of the tennis court. The name itself, 40 Love, is a clever nod to tennis scoring, where "40–love" signifies one player nearing victory while the opponent has yet to score. More than just a sports reference, the name evokes a sense of energy, optimism, and flirtation—the thrilling tension of being just a point away from winning both the match and, perhaps, someone's heart.

Desprez took inspiration from the image of the "tennisman", the effortlessly elegant French sportsman who embodied virility, discipline, and a kind of casual glamour. Post-war France in the late 1940s was entering a period of renewed hope and vitality. The era, known historically as the postwar recovery period, saw a return to leisure, luxury, and personal grooming, particularly as fashion houses like Dior redefined femininity with the New Look, and perfumers returned to bolder compositions after years of wartime austerity. In this climate, 40 Love emerged not only as a novel unisex scent, but as a lifestyle statement—a fragrance that suggested both athletic elegance and a clean sensuality suited to the optimistic spirit of the times.

The scent itself was built on the fougère structure, traditionally associated with masculine perfumery, but softened and brightened here for broader appeal. It opened with a brisk and clear blend of essential oils—bergamot bringing sharp citrus clarity, marjoram (marjolaine) lending a peppery, herbal warmth, and gardenia softening the composition with a creamy floral note. These top notes created a sense of open air and movement, like the gust of wind as a ball sails across the net.

Perfume Advice from Denis Desprez

After the passing of Jean Desprez at the age of 73, his legacy was carried forward by his son, Denis Desprez, who had already dedicated 25 years to the family business. As the new managing director and later president of Parfums Jean Desprez, Denis sought to uphold the company’s refined French traditions, rooted in excellence, craftsmanship, and respect for the art of perfumery. His commitment extended beyond product development; he became a thoughtful spokesperson for how fine perfumes should be treated and worn to preserve their integrity and beauty.

In a 1977 interview with the Santa Ana Register, Denis Desprez offered practical and meticulous advice on perfume care—guidance that reflected a deep respect for the fragility and value of fine fragrance. He began by warning of perfume’s three primary enemies: heat, sunlight, and air. These elements can dramatically alter a fragrance’s composition over time, leading to oxidation, discoloration, and eventual deterioration of the scent. He emphasized storing perfume in a cool, dark place, away from direct sunlight, and ensuring that bottles are tightly sealed after use to prevent unnecessary exposure to air.

Desprez also suggested a very specific ritual for perfume application. Rather than using the original bottle every day, he recommended decanting only a three-to-four-day supply into an atomizer. Once the atomizer was empty, he advised rinsing it with alcohol, allowing it to dry thoroughly, and then refilling it with a fresh small dose. While he acknowledged that this method was time-consuming, he insisted it was the best way to preserve the fragrance's quality—minimizing repeated air exposure to the main supply and preventing contamination or evaporation.

He also gave timeless application advice: perfume should be worn on the warm parts of the body, such as behind the ears, at the base of the throat, or on the inner elbows and wrists—areas where natural body heat helps diffuse the scent subtly throughout the day. Interestingly, he also recommended applying perfume beneath clothing, which protects the fragrance from evaporation and allows it to mingle gently with the fabric and body heat for a more intimate effect.

Perhaps most charming and revealing of his philosophy was his view on scent loyalty. "One should never mix two perfumes," he cautioned. If a particular fragrance, such as Shalimar, had been worn with certain garments, then, in his words, “these clothes have to be used with Shalimar for life!” This notion reflects a romantic, highly personal relationship between scent, memory, and fabric. According to Desprez, clothing becomes imbued with the essence of a fragrance over time, and mixing different perfumes with those same garments risks clashing olfactory memories or creating unpleasant blends. It’s an idea rooted in old-world elegance, where fragrance was an extension of one’s wardrobe—deeply tied to personal identity and emotional resonance.

In offering such advice, Denis Desprez did more than teach perfume etiquette—he reminded wearers to treat fine fragrance not as a fleeting accessory, but as a treasured, almost sacred ritual worthy of care, precision, and reverence.

Revolution a Versailles (1989)

On July 14, 1989, Paris radiated with unprecedented brilliance. It was Bastille Day, but not an ordinary celebration—this marked the bicentennial of the French Revolution, a pivotal event that not only reshaped France, but helped define modern ideals of democracy and liberty. The City of Lights, eternally balanced between tradition and transformation, became the stage for a once-in-a-lifetime commemoration. Streets overflowed with spectators from around the world, drawn to witness a celebration of freedom, history, and national pride. President François Mitterrand led the proceedings, joined by international dignitaries including U.S. President George H. W. Bush and First Lady Barbara Bush, underscoring the moment’s global resonance.

The grandeur of the day extended beyond ceremony into cultural celebration. A spectacular military and ceremonial parade swept along the Champs-Élysées, echoing the fervor of revolutionaries two centuries before. At Place de la Concorde, once the site of royal executions, the world stood still as opera legend Jessye Norman, draped in the tricolore, gave a rousing performance of La Marseillaise, her voice rising with the same defiant spirit that once filled the streets of 1789 Paris. Across the capital, symbolic transformations unfolded: the Paris Ballet took new residence in the Opéra Garnier, while the Bastille Opera House, built on the symbolic ruins of the old prison, opened as a monument to artistic freedom. Nearby, the newly completed Louvre Pyramid glinted like a modern jewel among the historic stones—an emblem of France’s leap into the future.

Debutante de Versailles (1958)

As a tribute to the elegant American and French debutantes, the newborn belles of the ball, Jean Desprez created Debutante de Versailles in 1958, a limited edition perfume exclusively created for Daggett & Ramsdell.  The perfume was a tie in for Teleflora's Aura Arrangements campaign line of  floral arrangements.

Fragrance Composition:

This opulent composition made up of over 300 ingredients was to become the infamous Bal a Versailles perfume in 1962, when it was offered to the public for the first time. So what does it smell like? It is classified as an oriental fragrance for women. Although, no one other than the creative geniuses at Parfums Jean Desprez know the entire formula for Bal a Versailles, we do know that these are definitely in the opulent mixture:

• Top notes: basil, bergamot, cajuput, cinnamon, clary sage, coriander, eucalyptus, grapefruit, hyssop, lemon, lemongrass, lime, mandarin orange, neroli, niaouli, orange, peppermint, petitgrain, ravensara, sage, spearmint, tagetes, tangerine, tea tree, thyme, verbena

• Middle notes: bay, black pepper, Bulgarian rose, cardamom, chamomile, cypress, fennel, geranium, ho leaf, ho wood, hyssop, jasmine, juniper, lavender, lilac, lily-of-the-valley, marjoram, melissa, myrtle, nutmeg,  orange blossom, palmarosa, pine, rose de Mai, rosemary, spikenard, yarrow

• Base notes: ambergris, benzoin, cassia, cedarwood, cinnamon, civet, clove, frankincense, ginger, melilot, musk, myrrh, oakmoss, orris root, patchouli, Peru balsam, rose, rosewood, sandalwood, tolu balsam, valerian, vanilla, vetiver, ylang ylang

Bottle:

The perfume was housed inside of a cut crystal flacon manufactured by Cristal de Sevres. 

The crystal bottles for Bal a Versailles featured an image of the Fragonard painting, Bal a Versailles on the label.

Punch, 1958:

"the world's most bewitching fragrance in a concentration never before achieved. They make the world's most expensive perfume, "Debutante de Versailles," which will be used as the fragrance in the October issue of Spirit, publication of Teleflora.  Needless to say a bottle in a lush case was presented to each girl."

Telegraph Delivery Spirit, Volume 28, 1961:

"This fabulously flattering fragrance made its exciting debut at the brilliant Debutante Bal de Versailles. Using the costliest floral essences ever captured, world famous parfumeur Jean Desprez created a perfume masterpiece, DEBUTANTE DE VERSAILLES. Here is a fragrance that surrounds the Spirit with the world's most expensive aura so rare, so romantic, you'll want to with your customer who knows and appreciates the best."

Fate of the Fragrance:

Discontinued, date unknown. The perfume was still being sold in 1973.

In 1958, another perfume for Daggett & Ramsdell was released, named Nuit de Versailles. Originally introduced in a parfum splash, in 1961, it was available in a spray form. It was still being sold in 1967.

Grand Dame (1939)

Grand Dame by Jean Desprez, launched in 1939, emerged as a fragrance imbued with regal elegance and deliberate flair. The name itself, Grand Dame, is French—pronounced as "grahnd dahm"—and translates to “great lady.” It is a term historically used to describe a woman of noble bearing, dignity, and refined sophistication. The phrase conjures images of a woman who is both commanding and elegant, someone admired for her poise, wisdom, and presence. Choosing such a title suggests Jean Desprez intended this perfume not just for any woman, but for one who carried herself with authority and confidence, a matriarch of fashion or society, a modern-day empress in spirit.

Launched on the eve of World War II, Grand Dame appeared at a tumultuous moment in history. France in 1939 was still steeped in the glamour of the late Art Deco period, though change loomed. Fashion leaned toward tailored suits, narrow waists, and military-inspired detailing, but there remained a love of rich textures and femininity. In perfumery, there was a growing appreciation for bold, expressive compositions—scents that stood apart and announced themselves. A perfume called Grand Dame would have appealed to women asserting their strength and individuality amid uncertainty, women who might have worn crimson lipstick, structured wool coats, and hats tipped just so, unafraid to make a statement.

Etourdissant (1939)

Etourdissant by Jean Desprez was launched in 1939, a time of profound social and political change as the world edged toward the upheaval of World War II. The name “Etourdissant” is a French word meaning "astounding," “dazzling” or “stunning,” pronounced roughly as "ay-toor-dee-san". This evocative word conjures images of brightness, excitement, and a captivating allure—feelings that Jean Desprez sought to capture in this fragrance. It evokes the sensation of being swept away by something electrifying and unforgettable, perfectly aligning with the perfume’s intended impact.

The late 1930s was a period marked by elegance tempered by looming uncertainty. Fashion trends favored sophisticated yet practical styles, with tailored silhouettes and luxurious fabrics, reflecting a desire for refinement even as the world braced for conflict. In perfumery, the chypre family remained immensely popular, celebrated for its complex blend of fresh, floral, and mossy notes. Against this backdrop, Etourdissant positioned itself as a “startling” floral chypre—both classic and bold.

Women of the time, navigating a balance between grace and resilience, would have been drawn to a fragrance named Etourdissant as it promised an aura of confidence and magnetic charm. It spoke to those who wished to leave a memorable impression despite uncertain times. The scent itself unfolds with an invigorating burst of green galbanum, whose resinous freshness stands out distinctly. This is enhanced by sparkling aldehydes that lend a shimmering brightness and a crisp citrus opening, creating an immediate sense of vibrancy.

Escarmouche (1949)

Éscarmouche by Jean Desprez was launched in 1949, a perfume that dares to flirt and tease with both its name and its composition. The French word "Éscarmouche" (pronounced ess-kar-MOOSH) translates to "skirmish" in English—a small, lively, and often spontaneous clash. The term carries with it an air of playful combat, a spirited duel of wits or affections, and conjures the theatrical image of masked lovers in a commedia dell’arte farce, trading barbed lines and stolen kisses. It’s no wonder that the name recalls Scaramouche, the swaggering trickster of Italian theatre, blending laughter with bold gestures. For Jean Desprez, known for drawing on music, art, and history, the name likely captured the mischievous tension between romance and rebellion.

The late 1940s marked a period of recovery and reinvention in Europe. World War II had ended just a few years earlier, and women, after years of austerity and practicality, were turning back toward glamour. This was the era of Dior’s New Look—cinched waists, full skirts, and femininity reborn with a vengeance. In perfumery, this meant bolder compositions, dramatic bottles, and fragrances that spoke of joie de vivre and resilience. Éscarmouche, described as having notes of jasmine, citrus zest, and woods, embodied this energy. Jasmine—languid and sultry—mingled with bright citrus and earthy woods in a composition that was both sweet and cheeky, offering a fragrant "aubade" (a song of morning love) to the wearer.

In keeping with its theatrical theme, Desprez packaged Éscarmouche in a bottle shaped like a crystal dagger with a Sevres porcelain handle—a dramatic contrast to the delicate hand-shaped bottle of Votre Main. If Votre Main was the tender outstretched hand of courtship, Éscarmouche was the pointed foil of flirtation, a perfume meant not for demure debutantes, but for spirited women with a sense of humor and confidence. It was even marketed with the phrase: “Éscarmouche, the perfume that kills”—a nod to its playfully dangerous allure.

In the context of its time, Éscarmouche was distinct. While many late 1940s perfumes leaned into romantic florals or classical chypres, Desprez's creation stood out for its irreverent concept, theatrical presentation, and vibrant character. It reflected not just the scent preferences of the postwar woman, but also her shifting identity—elegant yet bold, playful yet poised, and no longer afraid to steal the scene.

Fragrance Composition:

So what does it smell like? Escarmouche by Jean Desprez is classified as a floral spicy chypre fragrance for women. It was described as "insouciant, sweet, and spicy".

• Top notes: aldehyde C10, aldehyde C11, aldehyde C12, Paraguayan petitgrain, Sicilian neroli, linalool
• Middle notes: Alpine lily of the valley, hydroxycitronellal, lyral Riviera jasmine, Grasse rose, Manila ylang ylang, French carnation, Zanzibar clove bud oil, eugenol, Ceylon cinnamon leaf, Tuscan violet leaf, Florentine orris butter, ionone.
• Base notes: Tyrolean oakmoss, Siam benzoin, Sumatran styrax, Colombian tolu balsam, Mysore sandalwood, Java vetiver, Mexican vanilla, Abyssinian civet

Scent Profile:

Escarmouche by Jean Desprez opens with a fizzy, high-sparkling effervescence, an audacious burst of aldehydes that instantly feels both dazzling and airy. Aldehyde C10 (decanal) delivers a soapy, waxy brightness reminiscent of sun-warmed linen, while aldehydes C11 and C12 elongate the shimmer—C11 giving a green, metallic snap, and C12 lending an ozonic, almost frosty lift that seems to hover above the skin. These synthetic components don’t aim to mimic nature, but rather to exaggerate it—to heighten the natural top notes in a surreal, cinematic way. Linalool, a naturally occurring terpene alcohol with a soft, floral-woody aroma, threads through this aldehydic sparkle with a touch of creamy lavender and bergamot nuance.

From this luminous opening emerges a greenery—sharp, herbaceous, and slightly bitter—thanks to Paraguayan petitgrain, distilled from the leaves and twigs of the bitter orange tree. Petitgrain from Paraguay is particularly prized for its bright, green briskness, lacking the heavier floral notes of its Tunisian cousin. It segues seamlessly into Sicilian neroli, plucked from the orange blossoms of sun-drenched groves, which radiates a dewy, ethereal quality—a cool floral whisper grounded in citrus warmth.

The heart of Escarmouche is where its charm unfurls—a lush and intricately embroidered tapestry of floral and spicy elements. Hydroxycitronellal, a classic aroma chemical known for its muguet (lily of the valley) impression, weaves seamlessly with lyral, a similar soft floral aldehyde, now restricted due to allergenic concerns. Together they conjure the damp greenness and bell-like clarity of Alpine lily of the valley, making the heart feel pastoral, breezy, and springlike.

From here, things warm. Riviera jasmine, indolic and sunlit, adds a seductive creaminess, anchored by the voluptuous depth of Grasse rose, which brings with it a raspberry-like sweetness and a dusky, honeyed undertone. The spicy personality of Escarmouche comes to life in this phase: Zanzibar clove bud oil—hot, peppery, and slightly medicinal—pairs with eugenol, its main component, to give a piercing aromatic sharpness. Ceylon cinnamon leaf offers a softer, greener spiced note than bark oil, with slightly tannic, tea-like undertones. French carnation lends a floral-spicy character, a bridge between bloom and heat, while Manila ylang ylang contributes a fruity, custard-like exoticism with hints of banana and smoky leather.

An unusually refined violet leaf from Tuscany introduces a green, almost aqueous contrast—dewy and faintly metallic. Then Florentine orris butter, the precious root extract aged for years before distillation, imparts a dry, powdery, slightly carrot-like creaminess, amplified by ionones, which give violet its signature candied floral note. These molecular elements, derived from natural degradation of carotenoids, also lend a softly woody and suede-like roundness.

As the base settles in, Escarmouche deepens dramatically. Tyrolean oakmoss wraps the composition in a forest-like veil—damp, leathery, and mossy—emphasizing the chypre structure. Resins and balsams glow in the drydown: Siam benzoin brings a vanilla-amber warmth with its cinnamon-like sweetness; Sumatran styrax, richer and smokier, adds resinous depth; and Colombian tolu balsam smells of balsamic woods and vanilla pipe tobacco. These complex resins form the sweet-spicy skeleton on which the final act unfolds.

Mysore sandalwood, once the gold standard of perfumery, is opulently creamy and milky, adding a sacred woodiness that feels enveloping and serene. Java vetiver contributes a bitter, grassy-earthy texture, while Mexican vanilla sweetens everything with its dark, gourmand richness. Finally, a trace of Abyssinian civet lends its unmistakable animalic touch—musky, faintly fecal, and deeply carnal—bridging the gap between skin and perfume with feral elegance.

Escarmouche, in sum, is a fragrant duel—an olfactory clash of bright aldehydes and green leaves, of warm florals and hot spices, and a base that is simultaneously sweet, mossy, and wild. It is indeed "insouciant, sweet, and spicy"—a perfume that teases rather than declares, like a dancer’s wink or a swordsman’s feint. A chypre with theatrical flair, full of contrast and confidence.

Bottles:

Presented in a flacon by Cristalleries de Baccarat.

Escarmouche by Jean Desprez was presented in one of the most distinctive and dramatic bottles ever produced by the house—a crystal sword-shaped flacon with a delicate Sèvres porcelain stopper. This presentation was more than just a bottle; it was an objet d’art, referencing both the perfume’s name—Escarmouche, or “skirmish” in French—and the theatrical flair of the fragrance itself. The crystal blade, slender and faceted like a dagger, rested horizontally, with the porcelain stopper forming the handle, often decorated with colorful detailing in red and green. This rare flacon exemplified Jean Desprez’s deep appreciation for storytelling through design and remains a coveted treasure among collectors.

For those seeking a more practical, affordable version of the perfume, a purse-sized vial was also produced. This version mimicked the shape of the crystal sword but was made of simple glass, fitted with a brass-toned cap, and adorned with a jaunty little tassel at the end. It was clearly intended for portability, allowing fashionable women of the 1950s and 60s to carry the bold, spicy-sweet scent of Escarmouche with them discreetly in their handbags. Though humbler than the luxurious crystal version, this travel vial retained a sense of charm and playfulness, perfectly in step with the perfume's flirtatious character.

Fate of the Fragrance:

Escarmouche by Jean Desprez was launched in 1949, entering a post-war world that was beginning to rediscover elegance, flair, and romantic mischief. The fragrance embodied a spirited charm that echoed the cultural mood of the late 1940s, with its name suggesting a playful duel or flirtatious skirmish. Although the exact date of discontinuation is not documented, Escarmouche remained in production for many years and was still being sold as late as 1965. Its longevity in the market suggests that it maintained a devoted following throughout the 1950s and into the stylish, modernizing decade of the 1960s, appealing to women who appreciated its sweet, spicy insouciance wrapped in classical chypre elegance.