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Parfüm: From FR parfum[1] güzel koku, rayiha fromIT perfumo [mod. profumo] perfumare [mod. profumare] içinden tütmek, rayiha vermek IT Lat per+1 fumare tütmek → füme
Oldest source: parfümöri [ c (1928) ]
Parföm: [ c (1931) : Zarafetinin idamesi için her kadının kullandığı alamod parföm ve pudra (...) ] PARFÜM i. (Fr. parfum < İtal.) Güzel koku olarak kullanılmak üzere hazırlanmış sınâî mâmül: “Parfüm şişesi.” “Fransız parfümü.”
PARFÜMERİ i. (Fr. parfumerie)
1. Kolonya, esans vb. kokuların, çeşitli kozmetiklerin yapımı ve satımı.
2. Böyle kokulu maddeler.
3. teşmil. Bu maddelerin satıldığı dükkân.
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Kolonyanın Osmanlı topraklarına girişi, II. Abdülhamid döneminin ilk yıllarına rastlar. O dönemde ithal edilen ürünler arasında Farina'nın Eau de Cologne'u da bulunuyordu. Abdülhamit döneminde, Eau de Cologne fabrikatörü Jean Marie Farina, “Fahri Saray-ı Hümayun Kolonyacısı” ünvanını almak üzere başvurur. Fabrikası’nın Avrupa’nın çok eski ve meşhur bir fabrikası olduğunu, bu yüzden bu ünvana kabulünün uygun olacağını bildirir. İsteği, 3 Mayıs 1882 tarihinde padişaha arz edilir. Bu Farina, 1709’da Köln’de fabrikayı kurmuş olan Jean Marie Farina’nın torunudur.
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Anadolu'da kolonya ise, Osmanlı topraklarında ilk ıtriyat fabrikasını 1882'de kuran Ahmet Faruki'ye başlar... Bu gelişmeleri değerlendiren ilk girişimci, Mısır asıllı Müslüman bir İstanbullu olan Ahmet Faruki oldu. Faruki, henüz 26 yaşında iken, tamamı ithal edilen kozmetik ürünleri ülke içerisinde imal etmenin kârlı bir girişim olduğunu fark ederek 1894 yılında Sultanhamam’da açtığı büyük mağazası ve Feriköy’deki imalathanesi ile yerli parfüm ve kozmetik sanayiinin kurucusu oldu.
Faruki, birçok müstahzar gibi kolonyayı da ülkemizde ilk olarak üreten kişidir. Ahmet Faruki o dönemlerde halk tarafından "odikolon" olarak adlandırılan Eau de Cologne'a "kolonya" adını verir.
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Sadece parfüm ve kolonya değil, kremden düzgüne, allıktan sürmeye, rujdan ojeye, tıraş sabunundan diş macununa çok değişik ıtriyat malzemesi üreterek, sözcüğün tam anlamıyla bir parfümeri fabrikası var eden Faruki, işine duyduğu saygı ve yaratıcılığı ile kısa sürede büyük başarı elde edecektir. Ürünleri Avrupa orijinli olanların ayarında olmak bir yana, onlarla yarışacak üstünlükte ve çeşitliliktedir. Nitekim katıldığı uluslararası sergilerden (1903 Atina, 1904 Bordeaux, 1905 Liege, 1906 Paris, 1906 Londra) kazandığı birçok altın madalyanın yanı sıra, Nişan-ı Osmani ve Sanayi Madalyası, İran Hükümeti tarafından da Altın Şir-i Hurşid Madalyası ile onurlandırılır.
Yeni Marka: Faruki Parfümleri
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Kaliteli ürünlerini, şık ambalajlar içerisinde, zarif etiketlerle sunan Faruki, Avrupa’daki parfümeri firmalarının karşısına bir rakip olarak çıkabilmiştir. Hatta ismini, bir marka olarak lanse edebilmiştir.
Faruki’nin kozmetik türlerin isimlerini yerli halkın anlayacağı biçimde değiştirmesi ise ticari anlamda dahiyane bir tutumdur. Müslüman halk, dilinin dönmediği “eau de cologne”a “odikolon” derken, o önce “Faruki Kolonya Suyu” ismiyle halkın karşısına çıkmış, daha sonra bu ismi “Faruki Kolonyası”na dönüştürmüştür. Daha başka birçok müstahzara da Türkçe adlar takarak bunların isim babası olmuştur : Zambak Suyu (eau de lys), dudaklık (ruj), allık (compakt’lar), kirpik boyası ya da fırçalı sürme (rimel).
Parfümlere ise “lavanta” adını takmıştır. Ecnebi isimlere sahip ithal parfümlere karşı “Unutma Beni”, “Cici”, “Meltem”, “Şebnem” isimli kokular tertip etmiştir.
Firmasının en popüler olduğu yıllarda Sultanhamamı’ndaki dükkanından alışveriş etmek bir ayrıcalık haline gelmiş; nişan, düğün ve benzeri özel günler için hediyenin Faruki’nin dükkanından alınması önemsenir olmuştu.
Müessese çok geçmeden İran, Hindistan, Batavya ve Japonya’dan gelen siparişleri karşılamaya başlar. İç pazarda kendine bir yer edinebilmenin ötesinde ihracat yapabilen bir kuruluş haline gelir.
Reşad Ekrem Koçu, İstanbul Ansiklopedisi’nde, Faruki’nin Abdülhamid’in son yılları ile İkinci Meşrutiyet devrinin namlı iş adamlarından olduğunu yazar ve işlerinin Meşrutiyet’ten sonra bir ara aksadığını, bu yüzden işlerini küçültmeye mecbur kalarak, yine Sultanhamam’da “Cici” adında küçük bir dükkana çekildiğini ekler.
Vefatından sonra
Oğlu Nihal Faruki, Ahmet Faruki’nin 1942 yılındaki vefatından sonra müessesenin faaliyetlerini devam ettirmişse de, 1950′li yılların sonunda kapanan firma ne yazık ki günümüze ulaşamamıştır.
Kendisi ile ilgili tüm kaynaklarda Ahmet Faruki’nin “gayet yakışıklı, sayılı güzellerden” olduğunun altı özellikle çizilir. “Hele kaşlarıyla gözleri, hanımların dillerine destan”dır. İlk kadın heykeltıraşımızlardan Nermin Faruki, babasının Maltepe’deki mezarını mozaiklerle süslediğinde duygularını şöyle dile getirir:
“Mezarlığa biraz renk götürmek istedim. Babam ‘parfümör’ olduğu için mezarını çiçeklerle süslemek istedim. Birbirine kaynaşmış iki amfora yaptım. Evliliği simgeliyor. İçlerinden dört çiçek çıkıyor, yani iki oğlan iki kız, biz…”
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AYBALA YENTÜRK’ÜN, #tarih dergi’nin 2015 / Aralık sayısında yer alan yazısından alıntıdır.
Entrance of the colony to the Ottoman lands, II. It coincides with the first years of the Abdulhamid period. Among the imported products at that time was Farina's Eau de Cologne. During the reign of Abdülhamit, Eau de Cologne fabricator Jean Marie Farina applies to receive the title of "Honorary Palace-Humayun Cologneist". He states that his factory is a very old and famous factory of Europe, so it will be appropriate to accept this title. His request was submitted to the Sultan on 3 May 1882. This Farina is the granddaughter of Jean Marie Farina, who founded the factory in Cologne in 1709.
On the other hand, cologne in Anatolia starts to Ahmet Faruki, who founded the first perfumery factory in the Ottoman lands in 1882.
The first entrepreneur to evaluate these developments was Ahmet Faruki, an Egyptian-born Muslim Istanbulist. When he was 26 years old, Faruki realized that it was a profitable venture to manufacture all imported cosmetics within the country, and became the founder of the local perfume and cosmetics industry with his big store opened in Sultanhamam in 1894 and his factory in Feriköy.
Faruki, like many preparations, is the first person to produce cologne in our country. Ahmet Faruki called Eau de Cologne, which was called "odikolon" by the people, as "cologne".
Faruki, who has created a perfumery factory literally, not only perfume and cologne, but also from cream to regular, from blush to lipstick to nail polish, from shaving soap to toothpaste, will achieve great success in a short time with its respect and creativity. Its products are superior and diverse to compete with them, let alone being in the setting of those of European origin. As a matter of fact, besides many gold medals he won from the international exhibitions he attended (1903 Athens, 1904 Bordeaux, 1905 Liege, 1906 Paris, 1906 London), Nişan-ı Osmani and Industry Medals were also honored by the Iranian Government with the Gold Şir-i Hurşid Medal.
New Brand: Faruki Perfumes
Offering its quality products in elegant packaging with elegant labels, Faruki has been able to appear as a competitor to perfumery companies in Europe. It was even able to launch its name as a brand.
It is a commercially ingenious attitude that Faruki changed the names of cosmetic types in a way that the locals can understand. When the Muslim people called "eau de cologne""oxycolon" in which the tongue did not turn, he first appeared before the people with the name "Faruki Cologne Water", and later turned this name into "Faruki Cologne". Many other preparations have also been given Turkish names and became the father of their names: Lily Juice (eau de lys), lipstick (lipstick), blush (compact), eyelash dye or brushing (mascara).
He named the perfumes “lavender”. Against imported perfumes with foreign names, “Forget Me”, “Cici”, “Meltem”, “Şebnem” scents were organized.
t was a privilege to shop from the Sultanhamami shop during the years when the firm was most popular; For engagement, weddings and similar special occasions, it was important to buy the gift from Faruki's shop.
The institution soon begins to meet orders from Iran, India, Batavia and Japan. Beyond being able to take a place in the domestic market, it becomes an organization that can export.
In the Istanbul Encyclopedia, Reşad Ekrem Koçu wrote that Faruki was one of the famous businessmen of the Second Constitutional Era with the last years of Abdulhamid, and that he was forced to shrink his works, again in Sultanhamam. He adds that he was taken to a small shop called.
After his death
Although his son Nihal Faruki continued the activities of the institution after Ahmet Faruki's death in 1942, the company that closed in the late 1950s has unfortunately not reached the present day.
It is especially underlined that Ahmet Faruki is “pretty handsome, numbered beauties” in all sources related to him. "Especially with his eyebrows, his eyes are epic to the languages of women". Nermin Faruki, one of our first female sculptors, expresses her feelings when she decorates her father's grave in Maltepe with mosaics:
“I wanted to bring some color to the cemetery. Since my father was a "perfumer", I wanted to decorate his grave with flowers. I made two amphoras fused together. It symbolizes marriage. Four flowers come out of them, two boys and two girls, we… ”
Kolay imal edilebilen ve maliyetinin düşüklüğü nedeniyle satış şansı yakalayan kolonyanın tüketimi ülkemiz topraklarında hızla yaygınlaşır. Çünkü, kültürümüzde yaygın bir alışkanlık vardır: Eve gelen konukların hatırlarını, sağlıklarını sorduktan sonra ferahlatıcı ve hoş kokulu olduğu için gülsuyu sunmak... Tüm ülkede konuk ağırlama ritüelinin ilk adımı bu ikramdır. Ferahlatıcılık konusunda, gülsuyu ile yaptığı yarışı kolayca kazanan kolonya, toplum hayatımızda başköşeye oturmayı başardı. Bu alışkanlık hızla değişen toplumumuzda yerini koruyarak sürüyor.
Kolonya topraklarımızda, belki anavatanında olduğundan çok daha zengin ve renkli bir hayat sürmüş, yıllar içerisinde çeşitlenerek bugünlere ulaşmıştır. Neredeyse hemen her bölgenin kendine has bir kolonyası olmuştur. İzmir'in Altın Damlası, Gizli Çiçek ve İzmir Geceleri, Antalya'nın turunç çiçeği kolonyası, Rize'nin çay kolonyası, Düzce'nin ceviz yaprağı ve tütün kolonyası, Trabzon'un hamsi ve fındık kolonyaları, Amasya'nın elma kolonyası, Isparta'nın gül kolonyası, Edremit ve Ayvalık'ın zeytinçiçeği kolonyası, Sındırgı'nın çam kolonyası, Balıkesir'in beyaz zambağı, Gaziantep'in Biber ve Fıstık Kolonyaları ve daha niceleri Türk insanının beğenisine hitap etmiş, bayramlarını kutlamış, yolculara eşlik etmiş ve hastalara şifa dilemiştir.
Türkiye'de ise ilk 1912 yılında, Süleyman Ferit Eczacıbaşı tarafından İzmir'de üretilen kolonya daha sonraki yıllarda Türkiye'de bir sanayi haline gelmiştir.
Zamanla Boğaziçi, Eyüp Sabri Tuncer ve PEREJA markaları yaygınlaşmış, Rebul eczanesinin Rebul Lavanta Kolonyası, LEDA'nın lavanta ve limon kolonyası, yaygın kullanılaya başlanmşıtır.
Türkiye'de en yaygın kullanılan kolonya türleri ise sırasıyla, limon, lavanta, beyaz zambak, mimoza, tütün, altın damlası, çam, harikalar, Paris geceleri ve kırmızı zambaktır...
PE-RE-JA
1968 yılında Cumhuriyet gazetesinin “Toplu İğneden Bugüne: Sanayileşmenin Neresindeyiz” başlıklı köşesinde ihracat konusunda en başarılı iki tesisten biri olarak gösterilen Pe-Re-Ja’nın üretim tesisi “lüks bir dağ villası” ve “sanat eseri” gibi isimlerle betimlenmiştir. Firmanın başarılarının ve yapının modern tasarımının övüldüğü yazıda,22 fabrikanın gözetleme teknolojisinden bahsedilen kısım “Modern Zamanlar” filminden karakteristik bir Fordizm sahnesini çağrıştırmaktadır: “ [...] Genel müdür, masasının üzerindeki küçük bir televizyon alıcısının düğmelerini çevirerek, fabrika içindeki bütün çalışmaları oturduğu yerden izleyebiliyor. Televizyon 10 kanallı. Kapıdan itibaren bütün servislere ve koridorlara el kadar, dürbün gibi birer alıcı konulmuş.”
Söz konusu yazıdan ayrıca fabrikayı kuran genel müdür Yılmaz Cenkel’in hissesini HAS ailesinin sahibi bulunduğu İMTAŞ (İstanbul Meşrubat) şirketine sattığını öğrenmekteyiz. Pepo Yasef 1962 yılında Müslüman olarak mahkeme kararıyla ismini Yılmaz Cenkel olarak değiştirmiştir.
Pe-Re-Ja’nın kurucusu Pepo Yasef’in kendi hissesini HAS ailesinin sahibi bulunduğu İMSA (İstanbul Meşrubat Sanayi) şirketine sattığını 1968 yılındaki bir gazete haberinden öğrenmekteyiz. Ayrıca yine 1968 yılında İMSA’nın23 verdiği tahvil satış ilanında Pe-Re-Ja, Akbank ile birlikte şirketin iştirakları arasında gösterilmektedir. 1952 yılında kurulan İstanbul Bankası da 1972 yılında HAS Holding’in yönetimine geçmiştir. Pe-Re-Ja reklamlarında ise HAS Holding’in adı 1973 yılından itibaren görülmektedir. 1971 yılında THKC (Türkiye Halk Kurtuluş Cephesi) yayınladığı 1 nolu bültende yaptıkları askeri hareketlerin dökümünü verirken beşinci maddede Has Holding ve Pe-Re-Ja’dan bahsetmektedirler: Coca-Cola, Pe-Re-Ja, Elvan, Mercedes Benz, Otomarsan Fabrikası, Akbank ve daha pek çok şirket ve teşekkülün hissedar sahipleri olan Kadir Has, Mete Has, Adana’lı büyük toprak ağası Talip Aksoy’un günlük hasılatları halkımızın devrimci kavgasında kullanılmak amacı ile kamulaştırılmıştır. (Nurettin Çalışkan, 2015) 4 Nisan 1971 pazar günü Kadir Has’ın yeğeni Mete Has ve eniştesi Talip Aksoy 400 bin lira fidye için kaçırılmış, istenilen para ödendiği için rehineler serbest bırakılmıştır. Mete Has’ın evindeki özel kasasında bulunan 1.5 milyon lira değerindeki mücevherlere dokunulmazken, aynı kasada bulunan Kadir Has’ın babası Nuri Has’ın Adnan Menderes’le ve Mete Has’ın da Süleyman Demirel ile birlikte çekilmiş olan fotoğrafları alınmıştır (Has, 2002).
Pe-Re-Ja Kolonya Fabrikası: İstanbul'da Sanayinin Desantralizasyonu ve Emek Gücünün Örgütlenmesi
Pe-Re-Ja Cologne Factory is one of the latest buildings of the famous Turkish architect Seyfi Arkan. It was opened on July 9, 1967 by the prime minister Süleyman Demirel, almost one year after the death of the architect. The history of the factory is exemplary for the decentralization of industry at that time and the post-Prost urban transformation of Istanbul via D-100 Highway. Pe-Re-Ja also allows us to speculate on the new subjectification of the working class via spatial organization and makes the labour struggle during import substituting industrialization period visible. Although partly demolished and transformed into a sports shop, the building still exist on D-100 Highway in Bahçelievler in spite of the heavy urban transformation around.
Erdem Üngür
Seyfi Arkan’ın yanın-da çalışmış olan Yüksek Mimar M. Murat Gür,sözkonusu fabrikanın nasıl yapıldığını, mimar-işveren ilişkilerini ve dönemin mimari talep-leriyle ilgili bazı bilgileri esprili bir dille aktar-maktadır. Tarihi arka plana dair verdiği önemlibilgilerden ötürü uzun bir alıntı yapacağım:“Seyfi Hoca’nın iş çevresinden yakın tanıdık-larının az oluşu nedeniyle gelen projeler ge-nellikle konut ve iş hanları olurdu. Fabrikatürü proje olarak sadece Pe-Re-Ja KolonyaFabrikası’nı yapmıştık. ‘Pe-Re-Ja’ ismi, YılmazCenkel ismini kullanan ‘Peppo’, eşi ‘Reji’ ve ço-cukları ‘Jak’ın isimlerinin ön harflerinden oluş-muştu. O dönemin en başarılı kolonya firmasıolan Pe-Re-Ja Haznedar’da inşa edildi. SeyfiArkan Hoca ile yer seçimleri ve aplikasyon içindefalarca Haznedar’daki araziye gittik. Mal sa-hibi Yılmaz Cenkel her seferinde bize eşlik etti.Ama hocanın sadece prizma kullanarak yaptı-ğı aplikasyon 3 metre yanılgı verince YılmazCenkel’in tepesi atmıştı. [...] Pe-Re-Ja KolonyaFabrikası ön proje çalışmaları sırasında YılmazCenkel bir gün büroya geldi. Seyfi Hoca’yasoruyor ‘Bu konuyla ilgili başka kolonya fab-rikalarını gezdiniz mi?’ Hocanın o yaşta, o fi-zikte ve klasta fabrika gezecek hali mi var(!)‘Tabii ki’ dedi, ‘Birçok fabrika gezdim’. YılmazCenkel, hocanın bu masum yalanını yakaladı:‘Seyfi Bey’ dedi, ‘Koca Türkiye’de İstanbul’dasadece bir tane fabrika var. O da Leda Ko-lonya Fabrikası... Onu gördünüz mü?’ HocaLeda’yı yeni duymuş, ama artık dönüş yok!Devam etti, ‘Tabii ki gördüm’ dedi. Bu defaYılmaz Cenkel ‘Planlamasını beğendiniz mi?’diye sorunca, Seyfi Hoca ‘Yahu, adamlar odaoda bölümler yapmışlar, duvarlar insanı boğu-yor. Bu sizin fabrikada ara bölmeleri masa hi-zalarına kadar cam yapacağız.’ Yılmaz Cenkel,‘Seyfi Bey ben her gün oradayım, Leda’da araduvarlar yere kadar camdır...’ demeye kalma-dı, hoca hemen onun sözünü keserek ‘Ben deonu diyorum işte. Tabii ki yere kadar olan camduvarlar insanı boğuyor’ diye atıldı. YılmazCenkel artık pes etti!”
Source:
Mehmet Murat Gür, “Seyfi Hocam ve Akademi Günleri”,
Modernist Açılımda Bir Öncü: Seyfi Arkan
, ed. Ali Cengizkan, A. Derin İnan, N. MügeCengizkan, Mimarlar Odası Yayınları, 2012.
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“Dün Pepo idi bugün Yılmaz oldu”,Milliyet
,28.07.1962, s. 6
Sosyal medya hesabından konu üzerine mesajlaşırken duayen gazeteci Reha Erus da bu konuya dikkat çekince ilgim daha çok arttı. Erus’un iddiasına göre ise isim, markanın sahibinin üç çocuğunun adları olan Perla - Rebecca ve Jack’tan oluşuyor.
Pe-Re-Ja firması E-5 üzerine taşınmadan önce, ilk olarak 1956 yılında Haliç’in kuzeyindeki üç sanayi merkezinden biri olan Bomonti’de Pepo Yasef tarafından kurulan bir tesiste üretime başladı. Bomonti sanayi alanının oluşumu 19’uncu yüzyıl sonlarında başlamakla birlikte esas gelişmesi 1955 sonrasında oldu. 1966 yılına gelindiğinde bu alanda küçük ve orta boy toplam 119 sanayi tesisi bulunmaktaydı ve bunların yaklaşık üçte biri kimyevi maddeler kolunda toplanmıştı.
E-5’TEKİ FABRİKANIN MİMARİSİ DİLLERE DESTANDI
Seyfi Arkan tarafından 1963-66 yılları arasında tasarlanarak inşa edilen Pe-Re-Ja Kolonya Fabrikası da ithal ikameci dönemde E-5 aksı üzerinde kurulmuş olan sanayi yapıları arasında yer aldı. 15 Temmuz 1966 yılında aramızdan ayrılan ünlü mimarın son yapılarından olan kolonya fabrikasının temeli, 4 Mart 1966 tarihinde -su yerine kolonya dökülerek-atıldı.9 Temmuz 1967 tarihinde dönemin başbakanı Süleyman Demirel tarafından açılan Pe-Re-Ja Kolonya Fabrikası’nın açılış törenine İstanbul Valisi Vefa Poyraz ve İstanbul Belediye Başkanı Haşim İşcan’ın yanı sıra seçkin bir davetli topluluğu katıldı.
İstanbul Ticaret Odası'na 41946 sicil no ile kayıtlı firma, 28 Şubat 1950 tarihinde kuruldu.. Bomonti Rum Kilisesi Cad. Şişli, İstanbul
Yasef Pepo Almozlinos
Birthdate: 1928
Birthplace: Balat
Death: January 2009 (80-81)
Istanbul, Türkiye (Turkey)
Immediate Family:
Son of Yuda Almozlinos and Sol Almozlinos
Husband of Private
Father of Private; Cako Almozlinos; Private User and Private
Brother of Regina Almozlinos; Esther Golden; Private; Rifka Almozlinos; Eli Almozlinos and 4 others
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Leda Ticaret Türk Anonim Ortaklığı
[1] Fragrance: parfum, fragrance, senteur, arôme, arome
Scent: parfum, odeur, senteur, piste, odorat, trace
The word perfume derives from the Latin perfumare, meaning "to smoke through". Perfumery, as the art of making perfumes, began in ancient Mesopotamia, Egypt, the Indus Valley Civilization and maybe Ancient China. It was further refined by the Romans and the Arabs. The world's first-recorded chemist is considered a woman named Tapputi, a perfume maker mentioned in a cuneiform tablet from the 2nd millennium BC in Mesopotamia.[2] She distilled flowers, oil, and calamus with other aromatics, then filtered and put them back in the still several times perfume (n.) 1530s, "fumes from a burning substance," from Middle French parfum (16c.), from parfumer "to scent," from Old Provençal perfumar or cognate words in dialectal Italian (perfumare) or Spanish (perfumar), from Latin per "through" (from PIE root *per- (1) "forward," hence "through") + fumare "to smoke" (see fume (n.)). Meaning "substance containing agreeable essences of flowers, etc.," is attested from 1540s.
perfume (v.) 1530s, "to fill with smoke or vapor," from perfume (n.) or from Middle French parfumer. Meaning "to impart a sweet scent to" is from 1530s. Related: Perfumed; perfuming.
Perfume: (French: parfum) is a mixture of fragrant essential oils or aroma compounds, fixatives and solvents, used to give the human body, animals, food, objects, and living-spaces an agreeable scent. It is usually in liquid form and used to give a pleasant scent to a person's body. Ancient texts and archaeological excavations show the use of perfumes in some of the earliest human civilizations. Modern perfumery began in the late 19th century with the commercial synthesis of aroma compounds such as vanillin or coumarin, which allowed for the composition of perfumes with smells previously unattainable solely from natural aromatics alone.
Specific terms are used to describe a fragrance's approximate concentration by the percent of perfume oil in the volume of the final product. The most widespread terms[16] are:
parfum or extrait, in English known as perfume extract, pure perfume, or simply perfume: 15–40% aromatic compounds (IFRA: typically ~20%);
esprit de parfum (ESdP): 15–30% aromatic compounds, a seldom used strength concentration in between EdP and perfume;
eau de parfum (EdP) or parfum de toilette (PdT) (The strength usually sold as "perfume"[16]): 10–20% aromatic compounds (typically ~15%); sometimes called "eau de perfume" or "millésime"; parfum de toilette is a less common term, most popular in the 1980s, that is generally analogous to eau de parfum;
eau de toilette (EdT): 5–15% aromatic compounds (typically ~10%); This is the staple for most masculine perfumes.
eau de Cologne (EdC): often simply called cologne: 3–8% aromatic compounds (typically ~5%); see below for more information on the confusing nature of the term "cologne";
eau fraiche: products sold as "splashes", "mists", "veils" and other imprecise terms. Generally these products contain 3% or less aromatic compounds and are diluted with water rather than oil or alcohol.
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4711 is a traditional German Eau de Cologne by Mäurer & Wirtz. Because it has been produced in Cologne since at least 1799, it is allowed to use the geographical indication Original Eau de Cologne. The brand has been expanded to various other perfumes and products besides the original Echt Kölnisch Wasser, which has used the same formula for more than 200 years.
In the early 18th century, Johann Maria Farina (1685–1766), an Italian living in Cologne, Germany, created a fragrance. He named it Eau de Cologne ("water from Cologne") after his new home. Over the next century, the fragrance became increasingly popular. According to legend, on 8 October 1792, a Carthusian monk made a wedding gift for the merchant Wilhelm Mülhens (1762-1841): the secret recipe of a so-called "aqua mirabilis", a "miracle water" for internal and external use. Mülhens then founded a small factory at Cologne's "Glockengasse" and established the first "Eau de Cologne" as a remedy. Peter Joseph Mülhens and his son Wilhelm Mülhens had been in a dispute over the use of the name "Farina" from 1800 to 1881. The Farina family accused Mülhens of using the name without authorization. The firm "Johann Maria Farina gegenüber dem Jülichs-Platz" feared confusion between the products because they also produced perfumes. In 1832, Wilhelm Mülhens lost the dispute, whereupon he employed another Mr. Farina from Mortara in order to continue using the name. The company name was Eau de Cologne & Parfümerie Fabrik Glockengasse No. 4711 gegenüber der Pferdepost von Ferd. Mülhens in Köln am Rhein until 1990, when it was renamed Mülhens GmbH & Co. KG.
In 1994, the Mülhens family company was bought by Wella AG, Darmstadt, Germany. Since 1997, Wella has operated its cosmetic activities under the name Cosmopolitan Cosmetics GmbH, although the name Mülhens GmbH & Co. KG was still in use. In 2003, Wella AG was taken over by the American competitor Procter & Gamble. In summer 2006, Procter & Gamble announced it would sell the 4711 brand and three other former Mühlens brands, as part of an effort to divest "local" brands and to focus on global brands. The offer attracted several interested parties; in December 2006, P&G announced that the brand had been sold to the perfume company Mäurer & Wirtz in Aachen, a subsidiary of the Dalli Group. On 3 October 1794, in view of the French troops standing just outside Cologne, the city council approved a plan proposed by the guard-committee to number all houses in the city without exception and to install what would be considered appropriate lighting for each location. Orders were given to install the lighting immediately, while the numbering was left to fate.[1]
On 6 October 1794, French troops occupied the city. On 7 October 1794, the city council decided that every local government official had to hand in an inventory of all citizens and non-citizens in his district within 48 hours. Furthermore, the guard-committee received authorisation to number the houses as previously agreed.[2]
On 20 October 1794, Senator Gottfried von Gall noted in his diary that the numbering and the written documentation of the houses which started eight days earlier was being continued.[3]
The printer Heinrich Josef Metternich (a council member) applied for permission to publish an address calendar. This calendar was supposed to include, amongst other things, the house numbers which had recently been assigned. He also sought permission to collect all the relevant details.[4]
In the second address book of Cologne (1797), the widow of Wilhelm von Lemmen was still listed as the tenant of the Klöckergasse house, which had been given the number 4711.[5]
Wilhelm Mülhens was listed as the tenant of the house no sooner than in the third edition of the address book of Cologne; his occupation was listed as "in Speculationsgeschäften" (which translates to speculator). He is not yet listed under the manufacturers of Eau de Cologne in the mercantile directory.[6]
In 1811, the continuous house numbering was changed to a system of numbering streets separately, as is common today.
In the preface to the 1813 French edition of the address book, the publisher Thiriart claimed that there had not been any house numbering before the arrival of the French in the city ("inconnu à Cologne avant l´arrivée des armées françaises au bord du Rhin") and that the order to number the houses had been given in 1795.[7]
In 1854, Peter Joseph Mülhens moved from Glockengasse 12 into a newly constructed commercial building with a neo-gothic facade at Glockengasse 26-28. Glockengasse 12, which had been assigned the number 4711 in 1794, remained vacant for a period of time and was torn down after it was sold.[8]
The depiction of a French military officer painting the house number 4711 on the facade of the house in the Glockengasse while sitting on his horse is a product of advertising. A piece of tapestry, a gobelin which had been ordered and made in the 1920s, served as a model. A scenic version spread widely in the 1950s and the 1960s.[9]
The original 4711 store at Glockengasse 4 in Cologne is a popular tourist attraction.PERFUME CRUSADERS – AND THE RENAISSANCE
Perfume_Crusaders
While Europeans largely turned their backs on the use of perfume at this time – pure frivolity, was the verdict – other cultures revered and reveled in it. In India, perfume was at the heart of sacred Tantric ritual: men were anointed with sandalwood during ceremonies, women adorned with oils of jasmine on the hands, patchouli on the neck and cheeks, amber on the breasts, spikenard in the hair, musk on the abdomen, sandalwood on the thighs, and saffron on the feet: a sort of human ‘fragrance pyramid’, literally with head, heart and base notes. (Actually, the use of sandalwood in India goes back 4,000 years – not just as a relaxant and disinfectant but as a building material for Hindu temples.)
In the Orient, the Chinese were suffusing their surroundings with fragrance – from the ink they wrote with, the stationery they wrote on, to (less surprisingly) the temples they worshiped in. The Japanese, by contrast, focused their attention on the burning of fragrance, creating an incense ceremony – Kho-Do – which was said to ward off bad luck. (A handful of monks still perform the Kho-Do incense ceremony today: click here to view one that took place in London, recently: it’s as ritualistic and mesmerizing to watch as the more familiar Japanese Tea Ceremony.)
Ernst,_Rodolphe_-_The_Perfume_MakerThe Arabs came up with clever ways to capture fragrances. Across the Arab lands – where perfume plays a central role in religious ceremonies – trade links were maintained with India and China, and scientists worked on new techniques of distillation to capture the ephemeral scent of these new materials: the first tin-plated copper still (much less fragile than the original glass), and a ‘cooling worm’, the pipe and chamber which the distillation was transferred to. As the prophet Mohammed put it, in the 7th to 8th Century, ‘It has been given to me to love three things in your base world: women, perfumes and prayer…’ (The image on the left is The Perfume Maker, by Rodolphe Ernst – with one of those copper stills, in the hearth…)
When the Crusades kicked off – in the 11th Century – among the treasures brought back to Europe by Crusaders from the Middle and Far East were aromatic materials (and perfumery techniques). The celebrated Arabian physician Avicinna is said to have been the first person to have mastered the distillery of rose petals, in the 10th Century.
The Italians perfected this art and took it to a whole new level. Cut to Italy. Modena, in fact, where after a breakthrough involving cooling of the tube which carried vapours from the distillation pot, they managed to produce a scented alcohol close to 95% proof. This revolutionary clear liquid was variously known as ‘aqua mirabilis’ (marvelous water), or ‘aqua vita’ (water of life). By the tail end of the 14th Century, liquid perfumes had replaced solid ones – though they were also drunk, as scented waters, tinctures (and breath fresheners…!)
Mixed Herbs
Marco Polo brought exotic aromatics and scented goods back to his home city of Venice. The great explorer returned laden with fragrant treasures from the new civilisations he’d discovered, on his voyage. This major trading hub flourished for a while as the centre of the perfume world. Almost everything was perfumed: shoes, stockings, gloves, shirts, even coins. Glamorous women carried or wore a silver version of the pomander, wafting trails of scent through the little perforations, as they moved, helping to block out the fetid smells of the streets and canals. Meanwhile, doctors wore long robes and bird-like masks stuffed with aromatic herbs to shield themselves against epidemics (including deadly plague).
But it was in 1370, in Hungary, that perfumery as we know it today was really born. Queen Elizabeth of Hungary inspired the first perfume – a fusion of aromatics including lavender and rosemary. It became known as ‘Queen of Hungary Water’. The perfume was offered to her by a simple hermit as an ‘elixir of youth’. Lo and behold: at the age of 72, Elizabeth married the king of Poland.
Italians weren’t the first to want to smell nice. In fact the urge to surround ourselves with scent goes back much further, at least four thousand years further, to the ancient Egyptians who were massive fans of fragrance.
The earliest Egyptian perfumes were closely linked to religion, status, health and beauty with fragrance believed to the sweat of the sun-god Ra.
Egyptians also recognized the benefits of fragrance on health and well being. Perfume for personal beautification was highly restricted to the highest status people, however, with only people such as the pharaoh and their court wearing the precious body oils.
Perfume use in the Roman Empire was an entirely different matter.
Most people had access to fragrance, not just those who caught the perfume bottles thrown from Julius Caesar’s triumphant parade as he returned from conquering Egypt. Perfume was an intrinsic part of daily life. They even invented the word: par fumum meaning through smoke. Archeological findings have proved that the ancients had dozens of different recipes using olive oil as a base then adding plant and herb botanical extracts. And at the height of their use Romans were estimated to be using over 2800 tons of imported frankincense and 550 tons of Myrrh – both aromatic tree resins - per year in beauty products, perfumes, bathing oils and even as balm for their feet.
But unlike today’s cosmetics, ancient perfume was still largely based on gums, resins and oils and oftentimes was even solid. The change to alcohol-based perfumes would take several more centuries of chemistry and magic. Fast forward to the 1300s.
The Christian church had been at war for large parts of the last couple of hundred years in Crusades against swathes of the Eastern Mediterranean. They were trying to wrestle the Holy Land out from under Islamic rule. But whilst the attempts to conquer lands failed, they did bring back some of the perfume-making customs of their enemies. One of which revived the Roman idea of personal scents and led to the new fashion for wearing a pomander – a little scented ball or bag - to fragrance both the person and their clothes.
Around the same time, Venice was flourishing. It was the undisputed Mediterranean center for trade with the East. And with the silks came spices, oils and resins: the very raw ingredients essential to perfumery. It’s not surprising then that Venice quickly established the techniques for scent making which, when combined with its talents for glass-making, made it the natural home for perfumery during the Italian Renaissance. But perfume wasn’t just used to pamper the body at this time; it was also used to add fragrance to the hair, laundry and even leather accessories. Which leads us south to Florence and the most powerful family who ruled the Tuscan city: the de Medicis.
Founded in 1189 the de Medici clan grew wealthy on textile and wool trade, climbing the social ladder from merchants to Grand Dukes of Florence. Their influence on Florentine and later wider Italian government grew through the years. They even produced three popes and 2 queens of France. And it was the first of those ladies, Catherine de Medici, Queen of France from 1547 to 1559, who added to our perfume story.
Catherine grew up in the de Medici court, surrounded by splendor, banquets and elegance. She was destined for royalty and in 1533 left Florence to marry Henri, Duc d’Orléans, later Henri II of France. She took with her artists, poets, her dancing master and even a personal profumiere, René de Florentin.
Catherine’s own perfume had a characteristic fragrance of bergamot and orange blossom but it was her habit of wearing scented leather opera gloves that really caught the attention of the French courtiers. Rumors swirled around court that she hated the distinctive smell of leather and called upon René the Florentine to disguise it with a personal perfume. He set to work creating a musk and civet scent and the effect was a sensation. Catherine’s penchant for perfumed gloves topped the very height of French fashion with the aristocracy clamoring to emulate her with all manner of scented garments such as waistcoats, doublets, belts and even leather shoes. And so Italian perfumery spread widely into Europe.
Not long after the death of Catherine de Medici an Italian boy with family links to Venice was born. And just like Catherine, he grew up to become a key figure in the history of perfume.
His name was Giovanni Paolo Feminis and he was born in the northern Italian Alps in 1666. Giovanni, also known as Giampaolo, emigrated to Germany as a young man, settling significantly in the city of Cologne and there he opened a distillery-herbalist shop specializing in the sale of perfumes. And it was here, creating his own, innovative perfumes that the young Italian made his name, if not his fortune.
Using fragrance recipes written by herbalist monks as his foundation, Feminis developed a new distillation process to create an aromatic, 95% alcohol-based perfume that would become known as Aqua Mirabilis. It was a light, fresh perfume imbued with the most exquisite Italian scents including bergamot, lavender, lemon, orange, neroli and rosemary. And significantly it wasn’t oil based, but alcoholic which meant it was light on the skin, could easily be made into a spray and took fewer raw ingredients to create the scent with a little going a long way – three fundamental production elements that would one day lead to the mass production of perfume across the world.
We might never have known anything of Feminis’s contribution if it hadn’t been for his nephew, one Giovanni Maria Farina, called in from Italy to take over the business in Feminis’ later life. Giovanni the younger proceeded to modernize things changing the name of the perfume and giving it a French twist. He called it Jean-Marie Farinà Eau de Cologne, a name now synonymous with the top fragrances on the perfume counter.
So the next time you dab on a spot of Chanel No 5, peruse the cosmetic counter or catch a hint of Gucci Bloom on the air you know who to thank. From the ancient Egyptians, via Rome and the Orient to Italy and France the history of perfume has journeyed around the world. And three Italians, from vastly different social strata, were key players, bringing light, aromatic fragrance to the fashionable houses and fashion houses of Florence, Paris and beyond. Grazie Catherine, Rene e Giovanni.
aqua mirabilis noun
aqua mi·ra·bi·lis | \ -məˈräbələ̇s, -rab- \ a distilled cordial of old pharmacy made of spirits, sage, betony, balm, and other aromatic ingredients
Aqua mirabilisIn English, the miracle WATER. According to Samuel Johnson as cited in the OED, it was produced from CARDAMOM, CLOVES, CUBEB GALINGAL, GINGER, MACE and NUTMEG soaked in SPIRIT OF WINE, which was then redistilled. Aqua mirabilis was included in Randle Holme's list of 'Drinks' that were in the province of the compounder of liquors [Holme (2000)]. This suggests that he also considered aqua mirabilis to be a COMPOUND WATER.
OED earliest date of use: 1673 as Mirabilis
Aqua limonisA Latin name for LEMON WATER. This term appears only once in the Dictionary Archive among the stock of an APOTHECARY [Inventories (1671)]. Presumably it had some relatively unimportant medicinal use; it was not included in the Pharmacopoeia.
Not found in the OED; earliest date of use for Lemon water: a1625
Aqua
Aqua is the Latin term for water, and it was used in the early-modern period almost entirely as a label for medicinal preparation made either with water or with some form of alcohol. The former, called in the Pharmacopoeia 'Aquae stillatitiae simplices' or in English SIMPLE WATERs, were distilled with only sufficient water to prevent the product burning, and did not keep well. The latter, called 'Aquae stillatitiae spiritosae' or AQUA COMPOSITA, in English DISTILLED WATER or COMPOUND WATERs, were distilled using PROOF SPIRIT. Most medicinal waters noted in the shops were probably in this form. For reasons not explained, these medicinal waters with Latin names were usually measured by weight in units of LB and OZ, and so they are readily identifiable. By contrast, the waters drunk mainly for pleasure, like AQUA COELESTIS and AQUA MIRABILIS, were measured in units of capacity such as the GALLON or PINT.
Some apothecaries and other medicinal practicioners had medicinal waters in variety. For example Richard Hancock of Newcastle had thirteen different versions of aqua in twenty one entries [Inventories (1690)], while Joseph Bossley of Bakewell had eight [Inventories (1730)]. There are considerable similarities between the two lists suggesting that there was a recognized set stocked by many, even if it is not clear today what some of them are.
OED earliest date of use: 1398
¶Found in units of BARREL, BOTTLE, FERKIN, GALLON, HOGSHEAD, LB, OZ, PINT, POT, POTTLE, QUART, RUNLET Found imported by CASK, PIECE, TUN Found rated by the BARREL, GALLON, HOGSHEAD
