This comprehensive portfolio of Grossmith, founded in 1835, is a quintessential example of a heritage perfume house that has built a lasting legacy in the world of luxurious fragrances and high-quality soaps. Renowned for its meticulous craftsmanship and dedication to quality, Grossmith has been a beacon of excellence in perfumery for generations.

The company's journey began in the 19th century, during a time when the art of fragrance creation was gaining prominence. Grossmith quickly distinguished itself with its intricate and sophisticated scents, which appealed to the discerning tastes of the elite. The brand's commitment to using the finest ingredients and traditional methods has been a cornerstone of its enduring success.

Over the years, Grossmith has continued to evolve while remaining true to its roots. Its current portfolio includes both classic and modern scents, each crafted with the same level of precision and care that has defined the brand since its inception. This seamless blend of tradition and innovation has allowed Grossmith to remain relevant and esteemed in the ever-changing landscape of perfumery.

The revival of Grossmith in the 21st century by the descendants of the original founders has further cemented its status as a heritage brand. By reintroducing some of its historic fragrances and developing new ones, the company has managed to capture the essence of its rich history while appealing to contemporary tastes.

Today, Grossmith's fragrances are celebrated not only for their olfactory beauty but also for their exquisite presentation. Each perfume bottle is a testament to the brand's dedication to luxury and elegance, making Grossmith a symbol of heritage and quality in the world of perfumery. Whether through their timeless classics or innovative new creations, Grossmith continues to enchant and inspire perfume enthusiasts around the globe.

Origins:

The company was established in London in 1835 by John Grossmith, who was a descendant of farmers living in the Bishops Waltham area as far back as 1688. His mother was Mary Lipscomb, a daughter of farmers living in Upham, the next village over.

John Grossmith's familial ties to farming provide a rich backdrop to his entrepreneurial journey in perfumery. His upbringing in a rural environment may have instilled in him an appreciation for nature's scents and botanicals, which likely influenced his later career in crafting fragrances. The mention of his mother, Mary Lipscomb, and her origins in Upham adds a personal touch to his family history, showcasing the interconnectedness of communities in the area during that time. These familial connections may have played a role in shaping Grossmith's values and work ethic as he embarked on his business endeavors.

His marriage to Lucy Eliza Whitaker suggests a continuation of family ties and perhaps even strategic alliances within the community. Such marriages were often not only matters of the heart but also considerations of social and economic advancement, further cementing Grossmith's place within the fabric of local society. Overall, these details provide valuable insight into John Grossmith's background and upbringing, shedding light on the factors that may have influenced his path to becoming a successful perfumer and entrepreneur in 19th-century London.

John Grossmith distilled peppermint and Mitcham lavender in Banstead Downs, Surrey, England, as a hobby to his larger perfumery interests in the City of London. The mint was used in his product "Menthanodyne", or what he called the "Pain-relieving Mint." The introduction of Menthanodyne in 1850 demonstrates Grossmith's entrepreneurial spirit and his ability to capitalize on emerging trends in health and wellness. Menthanodyne's dual use as a cure for indigestion and a restorative for health speaks to the versatility and appeal of his products.

Using lavender in various products like Lavender Water, eau de colognes, perfumes, and soaps showcases Grossmith's appreciation for botanical ingredients and their aromatic properties. Lavender has long been valued for its calming and soothing qualities, making it a popular choice in perfumery and skincare products.

Like other perfumeries, he also sold various cosmetics, skincare products, health restoratives, and even culinary delights such as flavoring extracts, his "J.G.'s Relish" or "Bon Gout Sauce- the secret to French cooking." 

The shelves and cabinets in the Grossmith showroom were not only stocked with his scents and toiletries but also with various novelties and fancy goods. Each item was curated to the most discerning tastes. One could find attractive bottles, pots and jars for the dressing table, in crystal with silver or gold caps. Corresponding hand mirrors, brushes and manicure implements could also be purchased to complete a set. Little scent bottles and smelling salt containers in various materials for the pocket or chatelaine were also offered. 

The inclusion of these varied items in Grossmith's product lineup reflects the diversity of his interests and the breadth of his expertise. It's clear that he had a keen understanding of consumer needs and preferences, offering a wide range of products to cater to different tastes and lifestyles. His contributions to the world of perfumery continue to be celebrated today.

Illustrated London and Its Representatives of Commerce, 1893:

MESSRS. J. GROSSMITH, SON & CO, MANUFACTURING PERFUMERS, 85, NEWGATE STREET, EC. THE interesting art of the perfumer has for over half a century been admirably exemplified by the well-known firm named above. Messrs. Grossmith's business was founded in the year 1838, and has been one of the most successful concerns of its kind in London. The firm are wholesale and export distillers of perfumes, and makers of toilet soaps, and occupy spacious and handsomely appointed premises in Newgate Street, the large and well-fitted show-rooms containing a most attractive and varied stock of perfumes, soaps, and toilet requisites. These goods are of the choicest quality, and among them are many specialities, the fame of which is international. Messrs Grossmith's celebrated "Blue Label Specialties" are particularly well known, both at home and abroad, as high-class productions of a very superior character, and the increasing demand for them constitutes an indisputable testimony as to their excellence. They include many varieties of perfumes and bouquets for the handkerchief and toilet - musk, lavender, brilliantine, an exquisite series of pomades, and a choice selection of cosmetiques. All these goods are prepared with the greatest care and skill from the finest ingredients, and there are no articles of the kind which stand higher in public estimation. Special mention is due to this firm's new "Japanese" Specialities, chief among which is "Hasu-no-Hana," a concentrated extract of marvellous fragrance, embodying the beautiful and distinctive odour of the lotus lily of Japan. The firm also produce "Hasu-no-Hana" Soap, "Hasu-no-Hana" Dentifrice, and "Hasu-no-Hana" Sachet for scenting stationery, gloves, cabinets, & c. The "Verus Naturae" Specialities (concentrated and true to nature) comprise a number of exquisite perfumes, the product of very choice and delicate flowers, such as lily of the valley, white lilac, mimosa, may blossoms, & c., and Messrs. Grossmith show a number of new "Indian Specialities," including their unique and fascinating "Phul-Nana." the bouquet par excellence for ball room or theatre. All kinds of flavouring extracts and fixed and essential oils are likewise among the productions of this noted house, and the stock held at the Newgate Street establishment is replete with attractive novelties in toilet articles, & c. Many important awards have been gained by the firm at leading exhibitions, and the trade controlled may be said to extend to well nigh all parts of the world.. Conspicuous enterprise and ability are displayed in the management of this old established and thoroughly representative business, which continues to maintain its accustomed position among the recognised leaders of a most interesting and scientific trade." 

The dissolution of the partnership between J. Grossmith & J. Thompson with CT. Stafford happened in 1855, followed by J. Thompson's continued involvement until his dissolution in 1859, indicates a period of transition and reorganization within the company. The dissolution of the partnership between J.L. Grossmith & E.M. Weston in 1874 marks another chapter in the company's history, signaling a change in its organizational structure or business focus. While they were initially listed as perfumers on Newgate Street, their continued listing together as essential oil importers in 1875, even after the dissolution of their partnership, may indeed be an error or oversight.

Such discrepancies in listings were not uncommon in historical records, and they could result from administrative delays or inaccuracies in reporting. It's possible that the partnership dissolution took some time to be officially recorded or updated in public records, leading to the continued listing of the former partners under their previous business association. Alternatively, it's also conceivable that despite dissolving their formal partnership, Grossmith and Weston may have continued to collaborate or maintain business connections in some capacity, such as through shared suppliers or professional networks in the perfumery industry. Overall, while the exact circumstances surrounding the continued listing of Grossmith and Weston as essential oil importers in 1875 may be unclear, it's evident that their partnership dissolution marked a significant moment in the company's history, potentially paving the way for new opportunities or directions in their respective perfumery endeavors.  

Expansion:

Grossmith's enterprise flourished throughout the 19th century, rapidly expanding its reach across the globe. By opening depots in Europe, Asia, Africa, and North America, Grossmith effectively brought its luxurious fragrances and high-quality soaps to an international audience. Each depot served as a hub, facilitating the distribution of the brand's products and ensuring that customers in diverse regions could experience the sophistication and craftsmanship that Grossmith was celebrated for. This global presence helped the company build a loyal customer base and fostered a network of distributors and retailers who were passionate about sharing Grossmith's legacy. This strategic expansion not only showcased the universal appeal of Grossmith's products but also solidified its reputation as a global leader in the world of perfumery. By shipping goods to destinations as far-reaching as Canada, Australia, Africa, India, and New Zealand, Grossmith was able to tap into burgeoning markets and capitalize on increasing demand for their products beyond the shores of England.

This expansion into international markets would have required careful planning and logistics management, as well as a keen understanding of cultural preferences and regulatory requirements in each destination. It speaks to Grossmith's adaptability and willingness to embrace new opportunities in order to grow and thrive in the competitive perfumery industry. 

Overall, these developments underscore Grossmith's evolution from a local perfumery in London to a globally recognized brand with a presence in markets around the world. It's a testament to their entrepreneurial spirit and commitment to excellence in perfumery craftsmanship.

Bruno Court:

Bruno Court was part of the renowned Court family, which played a pivotal role in the development of the perfume industry in Grasse. Grasse is often regarded as the perfume capital of the world due to its long-standing tradition of producing high-quality fragrances and raw materials. The Court family was deeply involved in the cultivation and distillation of aromatic plants, which are essential in the production of perfumes. Their expertise and innovation significantly contributed to Grasse’s reputation as a center of excellence in perfumery. Bruno Court and John Grossmith were pivotal figures in the history of the Grossmith perfumery house, each contributing significantly to the brand's legacy and success.

The connection between Bruno Court and Grossmith lies in the historical ties between perfumers and suppliers of raw materials. Grasse, being a major hub for high-quality ingredients, provided essential oils and absolutes to perfumers across Europe, including those in England. Grossmith, during its early years, sourced some of its raw materials from the Court family's operations in Grasse.

Bruno Court’s contributions to perfumery were not limited to supplying raw materials. The expertise developed in Grasse, including advanced techniques in extraction and distillation, influenced perfumers worldwide. This exchange of knowledge and materials helped elevate the art and science of perfumery, contributing to the creation of more complex and refined fragrances. The Grossmith firm's decision to send its workers to Grasse to learn the art of perfumery was a strategic move that greatly contributed to its success. Moreover, receiving education and perfumery training at Bruno Court would have been a valuable opportunity for Grossmith to deepen their knowledge and refine their skills in the art of perfumery. 

The association between J. Grossmith & Son and the esteemed essential oil house in Grasse, Bruno Court, speaks to Grossmith's commitment to sourcing high-quality ingredients and advancing their expertise in perfumery. Serving as Bruno Court's agent in England would have provided Grossmith with access to a wide range of premium essential oils and botanical extracts, essential components in crafting fine fragrances.

The collaboration between Bruno Court and Grossmith & Son likely facilitated the exchange of expertise and resources between the two companies, benefiting both parties and contributing to the mutual advancement of their perfumery businesses.

The conclusion of this arrangement in 1923 marked the end of an era in Grossmith's history, but it also represented a new chapter of independence and self-sufficiency for the company. By this time, Grossmith & Son had established itself as a reputable and influential presence in the perfume industry, capable of standing on its own merits and continuing to thrive in a competitive market landscape.

Fierce Competition:

Grossmith was not the only perfumery brand in England at this time. The historic houses of Floris (est. 1730), Yardley (est. in 1770), Pears (est. 1789), Breidenbach (est. in 1793), Atkinson's (est. in 1799), Rimmel (est. in 1834), Piesse & Lubin (est. in 1855), Penhaligon's (est. in 1860s), and The Crown Perfumery (est. 1872), clawed their way from the bottom to be regarded as the nation's most esteemed brands. 

It's fascinating to see the rich tapestry of perfumery history in England, with each of these historic houses carving out their own niche and legacy in the industry. From Floris, with its long-standing heritage dating back to 1730, to newer entrants like Penhaligon's in the 1860s, each brand has contributed to the evolution and diversity of English perfumery.

John Grossmith's recognition at the Great Exhibition of 1851 speaks to the quality and innovation of his perfumery creations, earning him the distinction of being the only English maker to receive such an honor. This prestigious accolade would have undoubtedly bolstered Grossmith's reputation and solidified its position among the nation's esteemed perfumery brands.

Exhibition of the Works of Industry of All Nations, London 1851, 1852:

"GROSSMITH, JOHN, 39 Friday Street (Class XXIX No 13 p 790)- Prize Medal. The Jury award a Medal to this Exhibitor for his Perfumery and the manufacture of Artificial essences applicable to the of confectionary and other purposes; for instance Pineapple, Jargonelle, Onion, Oil of cognac; these essential oils are generally used in the proportion of 1 oz to a gallon of spirit."

Subsequent awards and medals received by Grossmith at various international exhibitions further attest to the company's commitment to excellence and its success on the global stage. These medals served as tangible symbols of recognition for Grossmith's craftsmanship and creativity, reinforcing its status as a leading purveyor of fine fragrances.

In a landscape crowded with esteemed brands, Grossmith's ability to distinguish itself through quality, innovation, and international acclaim underscores its enduring legacy and ongoing influence in the world of perfumery.

While there was a number of perfumeries in England competing with each other, they also had to compete with much greater powers which extended well beyond their borders. France's dominance in the perfume industry during the 19th century was unparalleled, earning it the title of the "queen of perfume." French perfumers had long been celebrated for their mastery of the art of fragrance creation, and French perfumes were highly coveted for their exquisite scents and luxurious formulations.

For English perfumeries like Grossmith and others, competing with the formidable reputation of French perfumes presented a significant challenge. The general public's staunch reverence for French products as superior undoubtedly created a formidable barrier to entry for English perfumers seeking to establish themselves on the global stage.

To rival the quality and prestige of French perfumes, English companies had to manufacture comparable high-quality products at home. This meant investing in top-tier ingredients, employing skilled perfumers, and adhering to rigorous standards of craftsmanship and formulation.

However, while the French perfumery industry may have held sway over public perception, English perfumeries had their own unique strengths and qualities to offer. They often drew inspiration from England's rich natural landscape, incorporating indigenous botanicals and traditional English scents into their fragrances. This distinctive approach allowed English perfumeries to carve out their own niche in the market and appeal to consumers seeking something different from the French offerings.

In this competitive landscape, English perfumeries like Grossmith had to strike a delicate balance between honoring tradition and innovation, all while striving to meet the exacting standards set by their French counterparts. Despite the challenges, their efforts to produce high-quality, distinctive fragrances helped solidify their place in the global perfumery landscape and contributed to the ongoing evolution of the industry.

Charles Lillie's book, "The British Perfumer" was a significant contribution to the field of perfumery during the 18th century. Published in 1758, this comprehensive volume contained a wealth of formulas for various fragrances, toiletries, and scented products, making it an invaluable resource for perfumers of the time.

Lillie's book provided detailed instructions on how to create a wide range of scented products, from perfumes and colognes to pomades, powders, and even scented candles. It covered topics such as ingredient sourcing, extraction methods, and blending techniques, offering practical guidance for both emerging and skilled perfumers alike.

The availability of such a comprehensive and systematic guide would have undoubtedly benefited perfumers by providing them with access to a wealth of knowledge and expertise. It helped standardize practices within the industry, allowing perfumers to expand their repertoire of fragrances and refine their techniques.

Moreover, "The British Perfumer" likely played a crucial role in promoting the development of British perfumery as a respected and thriving industry during the 18th century. By sharing his knowledge and expertise, Lillie helped elevate the craft of perfumery and contributed to its continued growth and innovation in Britain and beyond.

A Taste for Simplicity:

The vogue for simple floral or simple animalic perfumes was at its height during the Victorian era, but perfumers started exploring the usage of multiple different essences to create a mixed blend, which was known as a "bouquet" type perfume.

Some of the common single essence perfumes were Musk, Ambre, Jasmin, Heliotrope, Crab Apple Blossom, Honeysuckle, Magnolia, Tea Rose, Mignonette, Frangipanni, Stephanotis, Violette, Gardenia, Tuberose, Lavender, White Rose, Lily of the Valley, Patchouli, Moss Rose, Carnation, Opoponax, Sandalwood, Hyacinth, Marechal Niel, and Ylang Ylang.

This list of common single essence perfumes provided highlights the diversity of botanical and aromatic ingredients that were popular during this time. Each essence brought its own unique character and scent profile, allowing perfumers to create a wide range of fragrances to suit different preferences and occasions. 

The transition from simple floral or animalic perfumes to more complex "bouquet" type perfumes marked a significant evolution in perfumery during the Victorian era. Perfumers, ever dauntless in their pursuit of innovation, began to explore the possibilities of combining multiple essences to create intricate and layered fragrances that appealed to a more sophisticated palate.

With the advent of "bouquet" type perfumes, perfumers took these individual essences and blended them together in harmonious compositions, resulting in complex and multi-dimensional scents. These perfumes were often given fantasy names or named after notable persons, adding an element of intrigue and allure to the fragrance.

Titles such as Kiss-Me-Quick, Stolen Kisses, Bouquet du Roi, Prince's Bouquet, Millefleurs, Ess. Bouquet, Spring Flowers, Naval Bouquet, Jockey Club, Upper Ten, Chypre, Peau d'Espagne, New Mown Hay, and others captured the imagination and reflected the creativity of perfumers in naming their creations.

This era of perfumery represents a turning point where perfumers embraced complexity and sophistication, pushing the boundaries of traditional fragrance compositions and paving the way for the diverse array of perfumes we enjoy today.

"To gauge the general public demand in perfumes is a most difficult matter," said Mr. Grossmith. "I doubt whether two persons are over affected in the same way by the same perfume. The olfactive power of the one is not nearly so powerful as that of the other. Hence some will notice scarcely anything remarkable in a new scent. The odorous particles are there, but they cannot produce any effect on the nerve; just as some persons and can never hear any difference between the musical tones G and F and E. Hence the most careful combinations of the perfumer's are are apt to fail. Then one scent may seem pleasant to you, but to another person it may be extremely obnoxious. You must have met with those who have a natural antipathy to the scent of certain flowers - an idiosyncrasy, in fact, which nothing can remove. With all those difficulties the perfumer has to contend."

Single floral perfumes focus on capturing the essence of a specific flower, allowing customers to experience its natural fragrance in its purest form. A new collection, introduced in 1891, was named the "Verus Naturae Specialties" consisting of twelve refined odours of delicate flowers. Perfecting a line of concentrated single floral perfumes that are "true to nature" is a testament to Grossmith's dedication to quality and authenticity. By emphasizing that these perfumes are "true to nature," Grossmith  highlighted its commitment to using high-quality ingredients and meticulous craftsmanship to faithfully recreate the scent of each flower. The line included:  Lily of the Valley, White Lilac, Mimosa, May Blossoms, Narcissus, Linden Bloom, English Lilac, Musk Rose, Mignonette, Wallflower, Parma Violet and Cherry Pie (heliotrope). A few other scents were added to the line such as Wild Cherry, Sweet Daphne, and Orange Blossom.

Additionally, offering concentrated formulas added value to the product, as a little goes a long way with these potent scents. Customers can enjoy a longer-lasting fragrance experience with just a small amount of perfume, enhancing the overall perceived quality and value of the product. Overall, Grossmith's dedication to perfection and authenticity in its single floral perfumes demonstrates its understanding of customer preferences and its ability to meet the demand for high-quality, true-to-nature fragrances.

During the 19th century, it was quite common for perfumers to sell perfumes with identical names, and this was often because many of them relied on a few accessible books that contained basic perfume formulas. These books served as valuable resources for perfumers, providing them with recipes and techniques for creating various fragrances.

As a result, it wasn't uncommon for multiple perfumers to produce perfumes with the same or similar names, as they were essentially using the same foundational formulas. This practice led to a proliferation of identical or similar fragrances in the market, making it challenging for consumers to distinguish between them based solely on the name.

However, despite the similarities in names and basic formulas, individual perfumers often added their own unique twists or variations to their creations, whether it be through the quality of ingredients used, the blending techniques employed, or the branding and packaging of the final product. These subtle differences helped differentiate one perfumer's version of a perfume from another's, allowing each to carve out their own niche in the market.

Overall, the reliance on accessible books containing basic perfume formulas contributed to a certain degree of homogeneity in the fragrances available during the 19th century, but it also spurred creativity and innovation as perfumers sought to differentiate their offerings in a crowded marketplace.

 While perfumers of the 18th century might have started with basic formulas found in books like "The British Perfumer," they would often modify these recipes to create their own unique blends and fragrances. By tweaking the formulations through additions, subtractions, or adjustments in ingredient proportions, perfumers could craft scents that stood out from those of their competitors. This process of modification allowed for creativity and innovation within the industry, enabling perfumers to develop signature fragrances that reflected their individual style and expertise.

These modifications could be subtle, such as using a different variety of a particular ingredient or adjusting the concentration of certain notes, or more significant, such as incorporating novel botanical extracts or experimenting with new blending techniques. Regardless of the extent of the modifications, they allowed perfumers to differentiate their products and appeal to specific tastes and preferences among their clientele

In this way, while basic formulas provided a starting point for perfumers, it was their ability to adapt and innovate upon these foundations that ultimately allowed them to create original and distinctive fragrances that set them apart in the competitive marketplace of the time.

 The prevalence of names like Rose, Musk, Spring Blossoms, and others reflects the popularity of certain fragrance themes during that era. These were often classic and timeless scents that appealed to a wide range of consumers. However, each perfumer would have put their own spin on these familiar themes to create distinct and unique fragrances.

Grossmith, like other perfumers of the time, would have likely consulted formulary books for inspiration and guidance. These books provided a foundation of knowledge and recipes that could be adapted and modified to suit the perfumer's preferences and creative vision. Additionally, conducting experimental blends and trials would have been a common practice, allowing Grossmith to refine and perfect his formulations until he achieved the desired scent profile.

By leveraging both traditional formulas and their own experimentation, perfumers like Grossmith could create fragrances that stood out from the competition while still appealing to the popular tastes of the time. This blend of tradition and innovation was key to their success in creating unique and memorable perfumes that continue to be celebrated today. Not only did perfumers consult books written by others, but they also kept their own notebooks. Keeping a personal book of successful formulas would have been a common practice among perfumers like Grossmith. This book would serve as a valuable repository of their own creations, documenting the various blends and combinations that had proven successful through trial and error.

Consulting this personal book would have provided Grossmith with a convenient reference point when seeking inspiration for new fragrances or when looking to replicate past successes. It would contain detailed notes on ingredient proportions, blending techniques, and other important details that ensured consistency and quality in his perfumes.

Furthermore, this personal book would have been a testament to Grossmith's expertise and creativity as a perfumer. It would reflect his unique style and approach to fragrance creation, showcasing the culmination of his knowledge and experience in the craft. Overall, maintaining a personal book of successful formulas would have been an invaluable tool for Grossmith and other perfumers of the time, helping them to refine their art and create memorable scents that stood the test of time.

The turn of the 20th century ushered in a new series of floral based perfumes: Na-i, Florodora, Orchidor, Odoralis, Trefolia,  Florisis.

The Sphere, 1909:

"Orchidor perfume, which incorporates as it were the very essence of sweet - smelling country fields when flower;laden in June...a second novelty this season, exquisitely fragrant, whilst the acme of fragrance and perfection is reached in the Na-i perfume, a bottle of which enclosed in a lovely silken casket."

In 1899, the musical comedy, Florodora opened at the Lyric Theatre in London. The show was famous for its double sextet and its chorus line of beautiful "Florodora Girls" who were "clad in pink walking costumes, black picture hats and carrying frilly parasols [who] swished onto the stage."The story revolves around the Philippine Island of Florodora where the popular fragrance "Florodora" was manufactured from the essence of the Florodora flower. Grossmith introduced his Florodora perfume at the same time to coincide with the opening of the musical. In an agreement with the producers of the musical, Grossmith offered this custom-made perfume at the theatre. Samples were handed out to patrons as a tangible souvenir. The refreshing perfume of Florodora was said to capture the "a well-dowered herbaceous border in June."

The Era, 1899:

"When Florodora is produced at the Lyric Theatre on Saturday next, a new perfume, bearing the same title, will be introduced to the public, and a small sample will be presented to everyone in the audience on the opening night." 

The Illustrated London News, 

"What's in a name Very much when it is as sweet and means something as superlatively sweet as Florodora. Delicacy and sweetness characterise the odour to which this charming name has been applied by its manufacturers, the well known firm of perfumers, Messrs. Grossmith Son and Co. who send it out in the form of perfume for the mouchoir, of soap and of toilet powder - delightful for ladies use in all forms." 

Daily Mirror, 1910:

"Delicious Scents. The famous Shem-el-Nessim, for example, was suggested by a visit paid to Arabia in search of new scents. The Hasu-no-Hana, the Phul-Nana, and the Floradora ware all produced with like special care, and their popularity is a testimony to the value of careful thought and expert skill in the making of delicious aromas."

Eau de Cologne & Lavender Water:

It's fascinating to learn about John Grossmith's background and the diverse range of products he offered through his perfumery business. His connection to farming heritage adds an interesting dimension to his story, highlighting perhaps a natural affinity for working with botanicals and fragrances.

Grossmith's Old Cottage Lavender Water, and his Old English Lavender Water, distilled from England's own Mitcham lavender, were delightful and versatile products. Lavender water, like Eau de Cologne, was prized for its refreshing and soothing qualities, making it a popular choice for both personal fragrance and various household uses.

The use of Mitcham lavender, considered by Grossmith to be the finest lavender in the world, speaks to the company's commitment to quality and excellence in sourcing ingredients. Lavender from the Mitcham area of England was renowned for its superior fragrance and therapeutic properties, making it highly sought after by perfumers and consumers alike. Old Cottage Lavender Water would have been suitable for use by both men and women, thanks to its timeless and universally appealing scent. Lavender's clean and calming aroma makes it a versatile fragrance that transcends gender and age, suitable for a wide range of applications. 

Boxmakers' Journal and Packaging Review - Volume 64, 1940:

"Grossmith's New Lavender Water Bottles. Made of green glass to protect its contents from the effects of strong light, Grossmith's new Lavender Water bottle is acknowledged to be one of the best in its class , and it is certainly among the most distinctive. Gothic in form, its striking appearance is emphasized by a novel shape of plastic closure, specially designed to follow the bottle lines, whilst a simple display unit decorated with sprigs of lavender sets the whole off to advantage."

The enduring popularity of Old Cottage Lavender Water, which continued to be sold until the 1980s, speaks volumes about its quality and appeal. Its longevity on the market is a testament to its status as a beloved classic among consumers, standing alongside other iconic lavender fragrances like Yardley's Old English Lavender.

Overall, Old Cottage Lavender Water represents a cherished tradition of English perfumery, harnessing the natural beauty and fragrance of England's own Mitcham lavender to create a timeless and beloved scent that has stood the test of time.

It is interesting to note that in some advertisements for 1851, his name was often spelled as "Johann" and "John" simultaneously. From the ad, it seems that the "Johann" designation was reserved mainly for the promotion of his Eau de Cologne and was most likely a play on the "Johann Maria Farina" name, said to be the inventor of the true Eau de Cologne.

The variation in the spelling of John Grossmith's name in ads, suggests a clever marketing strategy that leverages associations with the prestigious "Johann Maria Farina" name. This subtle nod to tradition and heritage would have added an air of authenticity and sophistication to Grossmith's brand image.

Grossmith also offered another two other eau de colognes, the first called Crystal Eau de Cologne, in a long-necked green glass bottle, and the other called Golden Still. The Crystal Eau de Cologne was surely named after the Crystal Palace, where the Great Exhibition was hosted and Grossmith was awarded a prize medal in 1851. The word crystal also serves a dual purpose, and speaks to the crystal clear distillation of the cologne, a sure sign of purity. 

Their production of Eau de Colognes reflects the versatility and practicality of these fragrances during the Victorian era. Eau de Cologne, with its refreshing and invigorating qualities, was not only used as a personal fragrance but also recommended for various medicinal purposes.

In the sickroom, Eau de Cologne was valued for its ability to freshen the air and uplift the spirits of the patient. Its clean and revitalizing scent could help alleviate the discomfort associated with illness and create a more pleasant environment for recuperation. Additionally, the aromatic properties of Eau de Cologne were believed to have a soothing effect on headaches and "distressed nerves," offering relief from common ailments and promoting a sense of calm and well-being.

Grossmith's Golden Still, like other Eau de Colognes of the time, would have been formulated with an invigorating blend of citrus, floral, and herbal notes designed to impart a sense of freshness and vitality. It begins with a fresh burst of neroli, citron, petitgrain, orange zest with a heart of herbaceous verbena and bracing lavender, pert hints of rose, layered over a woodsy base of cedar and precious Mysore sandalwood. Its crisp and clean scent profile would have made it particularly well-suited for use in the sickroom or as a general tonic for the mind and body. Golden Still was a complete line which included toilet soap, bath soap, bath crystals and tooth powder. Its bottle was similar in style to the one used by 4711 by Mulhens.

Overall, Eau de Cologne played a multifaceted role in Victorian society, serving not only as a luxurious personal fragrance but also as a practical remedy for common ailments. Grossmith's Golden Still, with its refreshing and soothing qualities, would have been a welcome addition to any household seeking comfort and relief during times of illness or distress.

The Flair for Oriental Perfumes:

John Grossmith died in 1867 and his son, John Lipscomb Grossmith took over the business. Born in 1843, he followed in his father's footsteps and trained as a perfumer with Bruno Court in Grasse. It was during his involvement that a wide range of classic English perfumes were created, the three best known of the house included the amazing oriental florals: Hasu-no-Hana, Phũl-Nãnã and Shem-el-Nessim, more of which we will read about further. 

At the time, much of the Western world held a fascination for the exotic Far East. Everything from household utilitarian items such as crockery and furniture to artwork and textiles had adornments reflecting the infatuation. Orientalism reigned supreme during the 19th century. An amalgamation of Chinoiserie, Japonisme, Indian, Egyptian and the Middle Eastern motifs graced the homes, persons and influenced fashion to years to come. 

Grossmith himself was inspired and created perfumes which reflected his personal view of the Orient. The first perfume of what would become the "Oriental Series" was Hasu-no-Hana, which was introduced in 1888. It was said to have captured the intoxicating scent of the Japanese lotus blossom. In fact, in an 1889 newspaper ad, Grossmith declared his shop to be the "Emporium of Oriental Odours." Catering to the fantasies, conjured up by his advertisements, all one would need to do was inhale the scent and the mind would be transported to a faraway land that may have only been read about in books.

In 1895, he set up an elaborate exhibition booth at the Olympia Theatre for a spectacular stage production called "The Orient, Or An Embassy to the East". Designed and arranged by Bolossy Kiralfy. "Oriental warmth pervades throughout the vast structure the building connected by covered way with Addison Road Station. Everything under one roof and seen for one exclusive payment." It was billed as "The Grandest Show On Earth"  and featured 2500 different performers. It was on the grand stage that a ballet was performed by African dancers and "daring ladder and jumping feats" by the Ibrahim Troupe from Tangier. Also featured were troupes of elephants, dromedaries, camels, horses, mules, etc.  The photo below shows Grossmith's booth.

Sketch, 1895:

"THE SPICES OF ARABIA - There is a certain fine Eastern touch about the perfumer's art that belongs to few industries of modern civilisation. Thus it was a very appropriate thing for Messrs. Grossmith Son and Co. of Newgate Street, to pitch a bazaar in 'The Orient' at Olympia. They have broken away, too, from the convention of the ordinary exhibition shop. They have set up a faithful replica of a true Eastern bazaar. It is coloured with all the richness and mounted with all the luxuriousness that the Oriental loves, and the weary sightseer may delight himself in luxurious ease within it. The dainty damsels in attendance are tastefully dressed in artistic Indian costumes, with veil and soft silk robes, designed in blue, amber and red, harmonising delightfully with the parti-coloured surroundings. And their wares are no less suggestive of the East. There is the delicious perfume Phul-Nanā, essentially the scent for the ball room and the crowded assembly. Its odour, which is not in the least heavy, is that of a basket of fresh gathered Indian flowers, - as, indeed, the name implies. Then there is the Japanese lotus lily, Hasu-no-hana, - surely an up to date perfume, in view of the prominence of Japan, and of the fact that it is a valuable disinfectant as well as a scent. These two products are admirable specimens of the perfumer's art, and the soaps and sachets scented with them, once tried, will readily be tried again. Their Betrothal Bouquet, dedicated to the Duchess of York, shows Messrs. Grossmith to be in the front of their delightful art."

Continuing with the Eastern theme, Hasu-no-Hana was given a sister perfume in 1891, Phul-Nana. Perhaps a nod to the British Raj, Phul-Nana was said to have been distilled from India's choicest flowers, it has a distinct scent of the champaca flower to my nose. Grossmith suggested the elegant Phul-Nana to be worn to the ball room or theatre. It was said to capture the "blossoms of that sunny land. It is a rich and fragrant essence recalling a thousand delicious memories of jungle and compound and flower grown verandah which no other perfume so adequately conveys." 

The "Scent of Araby," known as Shem-el-Nessim, was released in 1906 as was named for a festival celebrated in Arabia. I read that it took nearly two years "of earnest study and research by skilled scientists." Wana-Ranee, the Perfume of Ceylon, was launched in 1914.  

Two other oriental perfumes were added around 1917, Geisha and Nu Betsu, but I have been unable to find information on these. The last of the Oriental series was a late bloomer, named Tsang Ihang, brought out in 1922.. Pronounced "sang yang," it was said to be the sweet perfume of Tibet.

Oriental Series:

• 1890 - Phul-Nana, a Bouquet of India's Choicest Flowers
• 1887 - Hasu-No-Hana, the Perfume of the fragrant Lotus of Japan
• 1907 - Shem-el-Nessim, the Perfume of Araby
• 1914 - Wana-Ranee,  the Perfume of Ceylon
• 1917 - Nu Betsu
• 1917 - Geisha
• 1922 - Tsang-Ihang, the  Sweet Perfume of Thibet

As we learned earlier, Phul-Nana, Shem-el-Nessim, Hasu-no-Hana and Tsang-Ihang had complete lines including face powder, toilet water, soaps, bath salts, dentifrice, sachet packets as well as breath sweeteners in a dainty tin called cachous, all meant to be used together.  The sachets were advised to be sprinkled onto stationary, inside gloves and cabinets.

Attention to Detail:

Grossmith understood that people often make a first purchase due to the attractive packaging alone. He made sure that his bottles boasted richly colored paper labels and were housed inside beautiful presentation boxes. A number of the Grossmith fragrances were sold in luxurious Baccarat crystal flacons from France, while others were housed in pretty pressed glass bottles produced in England and Germany. Bottles were sealed with an hermetic membrane pulled tightly over the glass stoppers which is then covered by kid leather or silk and tied in place with silken ribbons.

On the subject of presentation, Mr. J.L. Grossmith to the British Trade Journal in 1897, "That is a trade which requires infinite art, infinite care, infinite labour. Let no one who suffers from 'brain-fog' embark on it. It is a constant battle for the production of new combinations, novel forms of emballage, and rich, effective, and artistic finish. And then when, perhaps after years of thought and study, you produce a new creation and spend thousands of pounds to make it known, you wake up one morning to find that some unscrupulous competitor in Germany or America has put on the market an inferior imitation, copying your labels, your design, the shape of your bottles, and stealing your brains. I can show you instances of this in the case of our Phul-Nana, and Hasu-no-Hana perfumes, and others. Of course we instantly set the law in motion and stopped these nefarious infringements, but not before much harm has been done."

The photo below shows a lovely domed casket that holds two antique J. Grossmith & Sons perfume bottles. The red morocco leather covered box has brass lettering spelling out the word "SCENT" in a flourishing script. The interior is lined with felt and has a divided compartment to hold bottles snugly in place during travel. Both bottles retain the original paper labels, one bottle is labeled "White Rose" and the other "The Jockey Club." This is just another example of the high quality products that could be found in Grossmith's showroom.

The covers for perfume boxes were highly colored, richly embossed, or gracefully adorned with gilded tracery. Luxury gift sets were housed in decorative presentation cases to be had in silk and moroccan leather, plush velvet, or leatherette. Sumptuously lined in silk, their gleaming glass bottles held the most precious of extracts. Some of these gift boxes held two or three bottles, some may have been accompanied with soap or powder in the corresponding scent. Their elaborately designed labels lent an air of refinement to rival those of France. The Art Nouveau styled presentation below gives us a good idea of how beautiful the gift sets could be around the turn of the century. 

Baccarat Flacons:

The use of Baccarat crystal bottles by Grossmith underscores the brand’s commitment to luxury and craftsmanship, not only in their fragrances but also in their presentation. These bottles, characterized by their intricate design and precise engineering, are a testament to the attention to detail that defines the Grossmith brand. The bottle in the 1909 advertisement below features one of the classic Baccarat crystal flacons used by Grossmith. 

In 1919, Grossmith ordered a new crystal flacon for their perfumes, which is believed to be Baccarat model #398, which coincidentally, was created in 1919. (It is very similar to the bottle in the ad above.) This specific design, while noted in the "Baccarat Perfume Bottles" book, does not list a particular perfume company, indicating that it was likely used by multiple brands. Despite this, Grossmith's order of 1,000 bottles highlights the brand's commitment to elegance and quality in their presentation. 

The bottle is designed in a square shape with truncated corners, resulting in an octagonal appearance. This geometric design adds a sophisticated and unique touch to the bottle, making it stand out as a piece of art as well as a functional container for the perfume. The stopper of the bottle is a multifaceted ball, known as a lapidary stopper. The term "lapidary" refers to the art of cutting, shaping, and polishing stones, indicating that the stopper is meticulously crafted with multiple facets to catch and reflect light, enhancing the visual appeal of the bottle.

Both the mouth of the bottle and the stopper are precisely ground to ensure a tight fit. This precision grinding is essential for maintaining the integrity of the perfume by preventing evaporation and preserving the fragrance's quality. After the grinding process, the base of the bottle and the base of the stopper plug are inscribed with matching numbers. These numbers are used to match the stopper with its corresponding bottle at the end of the production line. This meticulous system ensures that each stopper fits perfectly with its bottle, reflecting a high level of quality control and craftsmanship.

The absence of a specific company name in the "Baccarat Perfume Bottles" book suggests that model #398 was not exclusive to Grossmith and may have been utilized by other perfume houses. This practice was common, as high-quality bottle designs by Baccarat were often sought after by multiple luxury brands.

Grossmith’s substantial order of 1,000 bottles in 1919 underscores the brand’s dedication to luxury and sophistication. This large commission indicates the brand's confidence in the quality and appeal of Baccarat’s craftsmanship. The use of such premium bottles would have enhanced the overall presentation and perceived value of Grossmith’s perfumes, making them more attractive to discerning customers.

The model #398 is known for its refined craftsmanship and sophisticated design, typical of Baccarat’s work. The specific details of the model include a sleek, elegant shape, featuring the octagonal form with a multifaceted lapidary stopper. The use of Baccarat crystal, a name synonymous with high-quality glassmaking, adds an element of luxury and exclusivity to Grossmith perfumes. Baccarat has a long history of producing crystal glassware of exceptional quality, and their involvement further elevates the prestige of Grossmith's products.

The precise fit ensured by the matching numbers system guarantees that the perfume is well-preserved. This functional excellence is crucial for maintaining the fragrance's integrity, ensuring that customers receive a product that meets the highest standards of quality. The use of such meticulously crafted bottles ties into Grossmith's heritage of excellence and attention to detail. It reflects the brand's historical commitment to creating not just fragrances but complete luxury experiences.

The classic design and craftsmanship of the Baccarat bottles turn them into collector's items. The aesthetic appeal of these bottles enhances the overall experience of owning and using a Grossmith perfume, making it a treasured possession. 

Ancillary Products:

Pairing ancillary products with popular perfumes in harmonious packaging can create a cohesive and appealing product offering for customers. It not only enhances the shopping experience but also encourages customers to explore and purchase complementary items, increasing sales and potentially boosting customer satisfaction. Plus, it creates a sense of luxury and completeness, which can be enticing for consumers looking for a well-rounded experience. Overall, it's a smart way to leverage the popularity of certain products to drive sales across a broader range of offerings. Phul-Nana, Shem-el-Nessim, Hasu-no-Hana and Tsang-Ihang had complete lines including face powder, cream, hair lotion, brilliantine, toilet water, soaps, bath salts, dentifrice, sachet packets as well as breath sweeteners in a dainty tin called cachous, all meant to be used together. Today, we would term the use of all these products together as "layering."

Marketing:

A tenacious level of attention to detail in advertising can be very effective, especially in the competitive world of perfumery products. By highlighting the newest additions to the Grossmith lineup in highly detailed advertisements, it not only kept existing customers engaged but also attracted new ones who were intrigued by the latest offerings.

Detailed advertisements can convey a sense of quality and craftsmanship, which was essential for luxury products like perfumes. They can showcase the unique features and benefits of each product, helping customers understand why they should choose Grossmith over other brands. Additionally, announcing new additions to the lineup regularly kept the brand fresh in consumers' minds and created anticipation for what's to come, fostering a sense of excitement and loyalty among customers. Overall, it was a great way to build brand awareness, drive sales, and maintain relevance in the market. Using elements of Oriental persuasion for their illustrations, the firm was able to convey a feeling of opulent exoticism and exclusiveness which the public found irresistible. 

Another way to spread the word about the brand was to hand out trade cards sprayed with the latest scent. Using trade cards sprayed with the latest scent is a brilliant way to engage potential customers and leave a lasting olfactory impression. It's a tactile and sensory experience that goes beyond traditional advertising methods, allowing people to directly experience the fragrance and associate it with the brand. Other cards could be turned in for a perfume sample. Offering perfume samples in exchange for cards is also a smart strategy to encourage trial and potential purchase. It gives customers the opportunity to experience the scent in their own time and environment, increasing the likelihood of them making a purchase later on. Sometimes these cards were offered for sale at 2d and the purchaser's donation given to a local charity. 

Personally, I found that some of the more interesting advertising gimmicks was the eye-catching glazed pottery statues manufactured by Royal Doulton expressly for Grossmith. For the perfume Tsang-Ihang, Royal Doulton produced a figure of a Chinese lady wearing a yellow costume, trimmed in blue and decorated with red and yellow poppies. She was perched upon a black base with printing, "Grossmith's Tsang-Ihang Perfume of Thibet." Designed by Arthur "Leslie" Harradine, the statue stands 11.75" tall. The figurine was derived from a character in a Tsang-Ihang advertisement from 1921 and added a unique and artistic dimension to the brand's promotional efforts. It was used to promote the Grossmith brand on counters in perfumeries and luxury shops such as Harrods or Selfridges. The statues served as conversation pieces, drawing attention to Grossmith's products and creating memorable impressions in the minds of consumers. Yardley of London also used a decorative Doulton porcelain figure, this time, a grouping of flower sellers to advertise their classic "Old English Lavender" fragrance.   

It's no surprise that these Grossmith advertisements have become popular with collectors of perfumery-related ephemera. They not only serve as historical artifacts but also reflect the creativity and innovation of the brand in its marketing strategies.

"Besides an artistic conception of the beautiful the manufacturing perfumer must have a good nose. He should be able to distinguish the various primary extracts of which a bouquet is compounded. This can only be done by an educated olfactor; it eludes the analysis of science, and such education requires years of study and experiments. The user of perfumes finds it an impossible task. He or she may be able to distinguish one blend from another, Jockey Club from Phul Nana, for instance, but even this is not always the case. A trained nose not only does this readily, but can inform its possessor what are the essences of which it is put together. My son [Stanley] is now studying at Grasse in order to acquire this faculty and go through the practical details of the first manufacturing processes - those which produce the original essences - or matières premières of perfumes,"  explained John L. Grossmith to the British Trade Journal in 1897.

Royal Patronage:

 Grossmith's commitment to using the highest quality raw materials and refining them with meticulous craftsmanship was undoubtedly a key factor in the company's success and prestige. By prioritizing quality at every step of the production process, from sourcing ingredients to packaging the final product, Grossmith was able to cultivate a reputation for excellence that resonated with discerning consumers.

This dedication to quality and refinement did not go unnoticed, and Grossmith's efforts were rewarded with royal patronage starting in the late 1800s and extending into the early 1900s. The granting of domestic royal warrants from Queen Alexandra, as well as foreign royal courts such as those of Greece and Spain, is a testament to Grossmith's standing as a purveyor of luxury and sophistication.

Royal patronage bestowed upon Grossmith by members of the monarchy signaled not only the company's esteemed reputation but also its alignment with the highest standards of taste and elegance. The endorsement of royalty lent an air of prestige and exclusivity to Grossmith's products, further solidifying its position as a leading perfumery in England and abroad.

For consumers, purchasing Grossmith perfumes with royal warrants would have been a mark of distinction and luxury, elevating the act of wearing or gifting these fragrances to a higher level of sophistication and status. In this way, royal patronage served not only as a symbol of endorsement but also as a powerful marketing tool, enhancing Grossmith's brand image and attracting an elite clientele.

Grossmith's creation of custom perfumes to commemorate important events for the royal court demonstrates both their creativity and their commitment to honoring significant moments in history. These special perfumes not only captured the essence of the occasion but also served as cherished mementos for those who were fortunate enough to possess them.

The creation of Victorian Bouquet for Queen Victoria's Diamond Jubilee is a prime example of Grossmith's dedication to crafting perfumes that reflected the spirit and heritage of the British Empire. Described as "the National Perfume," Victorian Bouquet was hailed as a rare collection of exotic odors culled from the flora of the British Empire, paying tribute to the diverse botanical riches of the realm.

Grossmith's description of Victorian Bouquet as "a tribute of fragrance in commemoration of the Record Reign" underscores the significance of the perfume as a symbol of honor and reverence for Queen Victoria's historic reign. By capturing the essence of this momentous occasion in a fragrance, Grossmith ensured that the Diamond Jubilee would be remembered and celebrated in a truly unique and sensory way.

Moreover, the bottles of these custom perfumes served as enduring souvenirs long after the scent had faded, allowing individuals to cherish and preserve the memory of the event for years to come. As such, Grossmith's commemorative perfumes not only captured the essence of history but also became cherished keepsakes that bridged the past with the present.

In creating perfumes like Victorian Bouquet, Grossmith not only demonstrated their skill as perfumers but also their ability to weave together history, artistry, and emotion into a single olfactory experience. The attention to detail in both the design of the bottle and the presentation case for Victorian Bouquet is truly remarkable and speaks to Grossmith's dedication to creating a luxurious and memorable experience for their customers.

The clever choice to shape the bottle like an orb and to use the Matese Cross as the stopper not only adds an elegant and regal touch but also pays homage to the symbols associated with Queen Victoria's Diamond Jubilee. The orb symbolizes sovereignty and power, while the Matese Cross represents unity and the British Empire's global reach.

The blushing shade of pink for the presentation case, along with the emerald hue of the crystal bottle, exudes a sense of opulence and refinement, befitting the occasion being commemorated. These colors would have evoked a sense of grandeur and celebration, further enhancing the experience of receiving and using Victorian Bouquet.

The paper label featuring representations of the rose, thistle, and shamrock, along with a portrait of Queen Victoria, adds a personal and patriotic touch to the perfume. These symbols are emblematic of the United Kingdom and its constituent nations, emphasizing the connection between the fragrance and the British Empire's rich heritage and cultural identity.

Overall, the design elements chosen for Victorian Bouquet, from the shape of the bottle to the colors and imagery used on the presentation case and label, come together to create a truly immersive and evocative sensory experience. It's a fitting tribute to Queen Victoria's Diamond Jubilee and a testament to Grossmith's artistry and craftsmanship as perfumers.

The Westminster Budget, 1897:

"The Diamond Jubilee enthusiasm is bursting out in out in innumerable forms. There is not a show-window in London which has not some article or other made on purpose for this year of jubilee. There are flags and banners, kerchiefs and sashes, hat-bands and umbrella-handles, to say nothing of all the crockery which bears the face of the Queen. One fails, in some cases, to see the appropriateness of an article of this sort, but this is not the case with the perfumes which Messers. J. Grossmith, Son and Co., of 29, Newgate-street, London, are putting into the market. The firm's specialties for the toilet are too well known to need special recommendation, and to all the perfumes, sachets, soaps, & , they have now added a Victorian Floral Sachet of delicious fragrance, and the daintiest of bottles of rose-perfume of "undying fragrance." The bottle has a special case in rose colour and gold, and it would be difficult to find a souvenir of the great event of the year that would be prettier and more appropriate as a gift to a girl or a woman of taste than one of these cases of scent, which are both elegant and useful. "

Queen Alexandra was presented with a bottle of Phul-Nana in 1895, this began a patronization of the Queen for several years to come. Grossmith was proud of the association and acknowledged the fact even after the sovereign had passed away. In the 1930s, newspaper advertisements still displayed the message "By Appointment to Her Late Majesty, Queen Alexandra.".

Creating a special perfume for the accession of King Edward VII, named Regal, demonstrates Grossmith's commitment to tradition and their ongoing dedication to honoring significant royal events. Just as they had done for Queen Victoria's Diamond Jubilee, Grossmith seized the opportunity to commemorate this momentous occasion with a fragrance that captured the essence of the era.

The name "Regal" is fitting for a perfume created in honor of King Edward VII's accession to the throne, evoking notions of royalty, elegance, and majesty. This choice reflects Grossmith's desire to create a fragrance that not only celebrates the new monarch but also embodies the regal spirit of the time.

Like Victorian Bouquet, Regal would have been carefully formulated to evoke a sense of grandeur and sophistication, befitting the occasion it was created to honor. Its scent profile may have been crafted to reflect the refined tastes and preferences of the royal court, offering a sensory experience that was both luxurious and timeless. Just as with their previous commemorative perfumes, Grossmith likely spared no expense in designing the packaging and presentation of Regal. From the bottle design to the label artwork and presentation case, every detail would have been meticulously chosen to convey the significance and prestige of the occasion.

In creating Regal, Grossmith not only paid tribute to King Edward VII's accession but also continued their legacy of crafting perfumes that captured the essence of history and tradition. It's a testament to their artistry and craftsmanship as perfumers, as well as their enduring commitment to honoring the monarchy and the cultural heritage of the United Kingdom. 

The creation of Betrothal perfume to commemorate the engagement of the Duke of York and Princess May in 1893 demonstrates Grossmith's ability to capture the romance and sentimentality of significant royal events. The choice of name, "Betrothal," evokes the promise and anticipation of love and commitment, making it a fitting tribute to the couple's impending union.

Described as a "lovely sweet floral perfume," Betrothal would have been crafted to evoke feelings of romance, joy, and celebration, reflecting the excitement surrounding the royal engagement. Its scent profile likely featured a delicate blend of floral notes, chosen to convey the freshness and purity of new beginnings.

The introduction of Betrothal perfume on the occasion of Princess May's marriage to the Duke of York garnered significant attention and acclaim within the trade, as noted in the British Trade Journal in 1897. This success speaks to the popularity and appeal of Grossmith's creations, as well as their ability to capture the imagination of consumers with their evocative fragrances.

The Betrothal bouquet, inspired by the perfume of the same name, would have been a fitting accompaniment to the royal wedding festivities, offering guests a tangible reminder of the joyous occasion. Its sweet floral scent would have added an extra layer of romance and elegance to the celebrations, creating a sensory experience that was both memorable and enchanting.

In creating Betrothal perfume, Grossmith once again demonstrated their skill and artistry in capturing the essence of romance and celebration. It's a testament to their ability to translate the emotions and sentiments of important events into beautifully crafted fragrances that resonate with people's hearts and memories.

Obtaining special permission to dedicate the Betrothal perfume to Princess May highlights Grossmith's close relationship with the royal family and their commitment to honoring significant events with their perfumes. The personal acquaintance Grossmith had with Princess May, King Edward VII, and other members of the royal family further underscores the company's prestigious position within royal circles.

The acquaintance happened about a year or two before when Princess May, King Edward VII, and other members of the Royal Family visited the factory of Bruno Court at Grasse. Grossmith served as Bruno Court's agent in England and was at the factory at the time and acted as cicerone to the royal party.  

The fact that Grossmith had the opportunity to host Princess May, King Edward VII, and others during their visit to the factory is a testament to the company's esteemed reputation and standing in the perfume industry. Serving as Bruno Court's agent provided Grossmith with unique access to the inner workings of one of the most renowned essential oil houses in the world, allowing them to forge close connections with both industry leaders and members of the royal family.

Acting as cicerone to the royal party during their visit to the factory demonstrates Grossmith's role as a trusted advisor and guide, showcasing their expertise and knowledge in the world of perfumery. This personal interaction would have further solidified Grossmith's relationship with the royal family and contributed to the company's reputation as a purveyor of luxury and sophistication.

Overall, Grossmith's close ties to the royal family, combined with their dedication to creating perfumes of the highest quality and craftsmanship, helped cement their position as a preferred supplier of fragrances for special royal occasions. The dedication of Betrothal perfume to Princess May is a poignant example of Grossmith's ability to capture the essence of romance and celebration in their creations, while also paying homage to their esteemed royal connections.

The exquisite presentation of the Betrothal perfume bottle, specially crafted for Princess May, reflects Grossmith's attention to detail and commitment to luxury and elegance. The choice of a specially cut bottle containing approximately 16 ounces of parfum, adorned with a "massive gold top," adds a sense of opulence and sophistication befitting the occasion.

Enclosing the bottle inside a silk-lined morocco leather presentation case further enhances its prestige and ensures that it is presented in a manner befitting its royal recipient. The use of luxurious materials such as silk and morocco leather underscores the exclusivity and craftsmanship of the gift, elevating it to the status of a cherished keepsake.

Overall, the presentation of the Betrothal perfume bottle to Princess May represents a moment of celebration and recognition, capturing the essence of romance and elegance in both its design and sentiment. It stands as a testament to Grossmith's enduring legacy as a purveyor of luxury and refinement, with a commitment to creating perfumes that inspire joy and delight in those who receive them.

As a gesture of gratitude, Grossmith received a letter inferring that the Princess "will accept with thanks the lovely bottle sent by Mr. Grossmith containing the Betrothal Bouquet." The letter intimating Princess May's acceptance of the bottle is a testament to the appreciation and recognition shown by the royal recipient. This acknowledgment underscores the significance of the gift and the esteem in which Grossmith and their creations were held within royal circles.

The title of the perfume had been registered as a trade-mark and Grossmith hoped that "loyal subjects will find it a duty and a pleasure to odorise themselves with the same perfume."  Registering the title of Betrothal perfume as a trademark demonstrates Grossmith's commitment to protecting their brand and ensuring its exclusivity. By securing the trademark for Betrothal, Grossmith sought to distinguish their perfume from competitors and maintain control over its use and distribution.

The hope that "loyal subjects will find it a duty and a pleasure to odorize themselves with the same perfume" reflects Grossmith's desire to align their brand with sentiments of patriotism and loyalty to the crown. By associating Betrothal perfume with royal events and figures, Grossmith aimed to evoke a sense of pride and allegiance among consumers, encouraging them to choose their perfume as a symbol of allegiance to the monarchy.

For non-Royals, Grossmith offered the Betrothal bouquet perfume in three different sized bottles: 1.5 oz, 3 oz, and 6 oz. This range of sizes catered to different preferences and budgets, ensuring that Betrothal perfume was accessible to a wide range of consumers. Whether as a personal indulgence or a gift for loved ones, the availability of multiple bottle sizes allowed individuals to enjoy the luxurious fragrance of Betrothal in a way that suited their needs.

Overall, the registration of Betrothal perfume as a trademark and the availability of multiple bottle sizes reflect Grossmith's strategic approach to branding and marketing. By leveraging royal associations and offering a range of product options, Grossmith sought to maximize the appeal and accessibility of Betrothal perfume, cementing its status as a coveted fragrance for all.

The Westminster Budget, 1893:

"A chat with Mr. J. Grossmith, 84, of Newgate-street, whose "Betrothal" bouquet is having such a success this summer, was quite a refreshing incident in the hot monotony of a long summer day. The Betrothal perfume, though brought out, as its name announces, on the occasion of the marriage of the Duke and Duchess of York, is by no means a monopoly of Royalty; we can all buy it in its pretty little case, and refresh ourselves with it at our will. r. Grossmith had the honour of a special acknowledgement of the gold-mounted flask which he sent as a wedding present to Princess May, and a gracious acceptation of the dedication. This favour was partly due to the fact that Mr. Grossmith had personally escorted the Royal party over the chief perfumery fabrique at Grasse, when the Princess May and her parents were staying in the South of France. Mr. Grossmith's other perfumes are almost too well known to need description. The Hasu-no-Hana is an odour as distinct from that of the Betrothal as possible, and the Phul-Nana is another quite separate and delicious fragrance. Some people will prefer the one, some the other, one must try all three to decide. Of floral extracts there are any number, and perhaps the White Lilac, Lily of the Valley, and Mimosa are the most refreshing, but it is difficult to assign the pre-eminence to one when all give back so truly the fragrance of the flower from which they are distilled. Not the least fascinating part of these perfumes is the way in which they are presented to us, in tempting little cases appropriately adorned."

Awards & Accolades:

The achievements of John Grossmith and the accolades received by the Grossmith brand underscore its prominent status in the world of perfumery during the 19th century. These honors not only highlight the exceptional quality and craftsmanship of Grossmith's fragrances but also the innovative spirit and dedication to excellence that defined the brand.

John Grossmith's recognition at the Great Exhibition of 1851 was a significant milestone. The Great Exhibition, held at the Crystal Palace in London, was one of the first international showcases of industrial and cultural achievements. Being awarded a medal for perfumery at such a prestigious event was a testament to the superior quality and artistry of Grossmith's creations. It was especially notable because John Grossmith was the only English perfumer to receive this honor, setting him apart from his contemporaries and elevating the Grossmith name.

The success at the Great Exhibition of 1851 was followed by numerous other accolades from major international exhibitions. These awards further established Grossmith's reputation as a leading perfumery house:

• Brussels: Grossmith received two medals, recognizing the brand's excellence and contribution to the perfumery industry.
• Amsterdam: The brand was honored with one medal, affirming its quality and innovation.
• Paris: Grossmith won two medals, underscoring its appeal and recognition in one of the world's fashion and fragrance capitals.
• London: Two additional medals were awarded in the brand's home city, solidifying its status as a top English perfumer.
• Milan: Grossmith also received a medal in Milan, highlighting its international acclaim and influence.

The Factory & Premises:

The expansion and relocation of Grossmith's premises throughout the years underscore the company's growth and success in the perfumery business. Beginning with the wholesale premises at 24 Cannon Street in 1841, Grossmith Sr. laid the foundation for what would become a renowned and thriving enterprise.

The move to 39 Friday Street, Cheapside, London prior to 1851 likely coincided with the company's expanding operations and the need for larger facilities to accommodate their growing business. This relocation allowed Grossmith to establish a more prominent presence in the heart of London's commercial district, positioning themselves for further growth and success.

Subsequent moves to 85 Newgate Street and later 29 Newgates Street, reflect Grossmith's continued expansion and evolution as a leading perfumery firm. Each relocation likely represented strategic decisions aimed at enhancing the company's visibility, accessibility, and operational efficiency.

The employment of a large staff and the establishment of a bonded factory at Red Lion Wharf, Thames Street, EC demonstrate Grossmith's commitment to quality and craftsmanship in every aspect of their business. By overseeing the entire production process, from sourcing raw materials to distillation and refinement, Grossmith ensured the integrity and excellence of their perfumes and perfumed soap. 

Overall, Grossmith's journey from humble beginnings to established perfumery firm is a testament to their vision, innovation, and dedication to creating exceptional fragrances and products. The company's relocations and expansion reflect the dynamic nature of the perfumery industry and Grossmith's ability to adapt and thrive in an ever-changing market.

 The relocation of Grossmith's business from 85 Newgate Street to No. 29 on the same avenue in 1895 marked a significant milestone in the company's history, driven by both practical and strategic considerations.

The primary reason for the move was the advance of the Central Railway Company's tube railway, which necessitated the relocation of businesses along the route. By moving to new premises opposite the new central railway station, Grossmith positioned themselves strategically to capitalize on increased foot traffic and accessibility for customers.

Additionally, the old premises at 85 Newgate Street had become cramped due to the company's expanding production needs. The new building at No. 29 offered 2,800 square feet more in floor space, providing ample room for growth and expansion. The inclusion of modern amenities such as a back entrance, rolling way, and lift further enhanced the operational efficiency of the new premises, streamlining the production and distribution processes.

The external edifice of the new building was described as imposing and architecturally significant, with two frontages for advertising, thanks to its location on a corner block. This prime positioning allowed Grossmith to maximize their visibility and brand exposure, reinforcing their status as a leading perfumery firm.

Overall, the relocation to No. 29 Newgate Street represented a strategic move for Grossmith, driven by the need for larger and more modern facilities to accommodate their growing business. The new premises not only provided the space and amenities necessary for increased production but also positioned Grossmith for continued success and prominence in the perfumery industry.

The comprehensive refitting of the building at No. 29 Newgate Street to suit the specialized requirements of Grossmith's trade underscores the company's commitment to innovation and excellence. From the basement to the topmost story, every aspect of the building was tailored to accommodate the unique needs of the perfumery business. The building was considered a model of construction for its time, reflecting the latest advancements in architectural design and engineering. Inside, the rooms were equipped with new machinery and associated apparatus, allowing Grossmith to optimize their production processes and maintain the highest standards of quality and efficiency.

The property's substantial layout, comprising large extensions to existing older buildings, provided ample space for Grossmith's operations. Stretching from Newgate Street down a significant portion of Ivy Lane and bounded by Duke's Head Passage and Paternoster Square, the property offered both scale and strategic positioning in the heart of London's commercial district.

This expansive footprint not only accommodated Grossmith's growing business but also reinforced the company's presence and visibility within the local community. The building's central location and impressive facilities would have made it a landmark in the area, further enhancing Grossmith's reputation as a leading perfumery firm.

Overall, the refitted building at No. 29 Newgate Street represented a significant investment in Grossmith's future, providing the infrastructure and resources necessary to support continued growth and success in the perfumery industry. It stands as a testament to Grossmith's legacy of craftsmanship, innovation, and commitment to excellence.  

The meticulous attention to detail in the construction and amenities of Grossmith's building at No. 29 Newgate Street reflects the company's commitment to providing a safe, comfortable, and productive work environment for its employees. The adoption of fireproof construction and the use of electricity for lighting, still a relatively new technology at the time, demonstrated Grossmith's commitment to modernity and innovation in workplace design.

Ventilation systems were installed based on the "most approved system," ensuring optimal air quality and circulation throughout the building. This attention to environmental factors, such as air, light, and warmth, was not only conducive to employee comfort but also essential for maintaining their health and well-being during long hours spent at work.

Grossmith's concern for the welfare of his employees extended beyond the physical workspace to include provisions for their comfort and convenience. The inclusion of amenities such as a large recreation room, fully equipped kitchen, cloakroom with wardrobes and lockers, and elaborate lavatories, ensured that employees had access to facilities that enhanced their quality of life while on the premises. "My people and I spend about a third of our lives here; why should we not have something better than bare walls, a cheap desk, and a shabby floor?", said J.L. Grossmith to Chemist & Druggist magazine. 

In providing these amenities, Grossmith recognized the importance of creating a supportive and nurturing work environment that valued the well-being and dignity of its workforce. By prioritizing the needs and comfort of employees, Grossmith fostered a sense of loyalty, satisfaction, and mutual respect within the company, contributing to its success and longevity in the perfumery industry.

The integration of modern conveniences like aerial tubes for product transfer and state-of-the-art laboratory facilities on the fifth floor of the new building exemplifies Grossmith's commitment to efficiency and innovation in their production processes.

By conducting distillation on the old premises and then transferring products via aerial tubes to the laboratory in the new building, Grossmith streamlined their workflow and minimized the need for manual handling and transportation. This not only reduced the risk of contamination or damage to the products but also expedited the production process, allowing for faster turnaround times and increased productivity.

The laboratory on the fifth floor was equipped with the latest appliances for product manipulation, ensuring that Grossmith had access to cutting-edge technology and resources for quality control and product development. This investment in research and development further underscored Grossmith's dedication to excellence and continuous improvement in their offerings.

Once products underwent testing and manipulation in the laboratory, they proceeded to the bottling department, where they were prepared for packaging and distribution. From there, they moved on to the finishing rooms, where skilled workers, often women, added final touches and embellishments to the products before they were sent to the stockroom or dispatch department for distribution to customers.

This systematic approach to production, with each department seamlessly connected and integrated into the overall workflow, allowed Grossmith to maintain high standards of quality and efficiency while meeting the demands of a growing customer base. It also reflects Grossmith's commitment to precision, attention to detail, and customer satisfaction in every aspect of their business operations.

The meticulous design and layout of Grossmith's building at No. 29 Newgate Street reflects both practical considerations and a commitment to aesthetic excellence.

The ground floor served as the show or sample-room, providing visitors with a welcoming and impressive introduction to Grossmith's products and brand. Designed in the medieval style, with solid hand-carved oak woodwork, the entrance, office, and waiting room exuded an air of elegance and sophistication. This attention to detail in the architectural design created a memorable first impression for visitors and underscored Grossmith's commitment to quality and craftsmanship.

The first floor housed the clerk's offices and counting house, as well as the private offices of the managing clerk and Mr. Grossmith himself. This floor served as the administrative hub of the company, where day-to-day operations and business transactions were conducted with efficiency and professionalism.

The second floor was dedicated to the laboratories, mixing, and refrigerating departments, where the blending, filtering, and extraction of perfumes and other products took place. This floor represented the heart of Grossmith's production process, where skilled technicians and chemists worked to create and refine their signature fragrances and cosmetics.

The upper stories were reserved for various stages of production, including soap-drying, polishing, and packaging rooms. These floors were bustling with activity, as workers filled, trimmed, and packaged perfume bottles, as well as created cosmetics, smelling salts, tooth powders, and toilet soaps. This multi-level approach to production allowed Grossmith to efficiently manage the various stages of manufacturing while ensuring the highest standards of quality and craftsmanship in their products.

Overall, the layout of Grossmith's building at No. 29 Newgate Street reflects a harmonious blend of form and function, combining practicality with aesthetic elegance to create a space that was both efficient and visually striking. It stands as a testament to Grossmith's dedication to excellence in every aspect of their business operations. 

The organization and operation of Grossmith's various premises reflect the company's comprehensive approach to production, storage, and distribution.

In the main building at No. 29 Newgate Street, sections were dedicated to the storage of materials essential for packaging and presentation, such as fancy presentation boxes, polychromed paper labels, and silky ribbons. The basement served as a vast store of bottles of various shapes and sizes, meticulously classified in neat compartments after being washed and tested. Here, specialized machinery was used to cut, stamp, or press soaps before they were transported by elevators to the packing departments. Additionally, the sample department prepared samples of high-class perfumes for distribution.

Another warehouse, located on Ivy Lane, housed additional finishing and packing rooms, as well as storage for bottles, stoppers, caps, corks, labels, ribbons, leather coverings, and presentation boxes. Within these facilities, a large staff of girls and young women handled the bottling, capping, labeling, and packaging of perfumes and soaps with precision and care. Warehousemen on the ground floor managed the filling and dispatch of packages, ensuring smooth operations and timely delivery.

A third set of premises near the docks was dedicated to the export trade, where goods were packed and shipped in bond. This location facilitated the efficient handling of international shipments and ensured compliance with customs regulations.

Overall, Grossmith's extensive network of premises and facilities allowed for the seamless coordination of production, storage, and distribution activities, ensuring the timely delivery of high-quality products to customers both locally and internationally. This comprehensive approach reflects Grossmith's commitment to excellence and customer satisfaction in every aspect of their business operations.

Daily Mirror, 1910:

"A record of 75 years and a reputation of world-wide fame are the proud possessions of Messrs. J. Grossmith, Son & Co., wholesale perfumers, of Newgate-Street, London. The erection of a model factory, which is absolutely fireproof, having been demanded as a necessary extension of the firm's perfume premises, a souvenir of the opening of the factory and warehouse has been issued by the firm. It contains a detailed account of the way in which the business of extracting and perfecting the most delicious scents is carried out. How the soul of the flower is imprisoned makes excellent reading, too, to discover in what way the different blends of scent have been produced."

The Death of JL Grossmith:

John Lipscomb Grossmith's leadership of the business until his retirement in 1919 foreshadowed the end of an era for Grossmith. With his departure, the company underwent a significant transformation as it transitioned from a partnership to a limited liability company.

Following the passing of John Lipscomb Grossmith in 1921, his son Stanley Grossmith assumed control of the business. Trained in perfumery like his father and grandfather, Stanley Grossmith continued the family tradition of excellence in fragrance production. The succession of leadership within J. Grossmith & Son Ltd. reflects the continuity of the family's involvement in the business and the dedication of successive generations to its success. However, his tenure as head of the company was tragically cut short by his sudden death in 1924, at the age of 45. His untimely passing marked the end of an era for Grossmith as a family-run enterprise. 

Becoming a limited liability company likely offered several advantages, including increased access to capital, greater protection for shareholders, and enhanced flexibility in governance and decision-making. By adopting this corporate structure, Grossmith positioned itself for continued growth and expansion in an increasingly competitive market.

The transition to a limited liability company also signaled a shift in management and ownership dynamics, as the company's operations became more formalized and professionalized under corporate governance structures. While the Grossmith family's legacy and influence undoubtedly continued to shape the company's identity and values, the move to a corporate structure reflected the evolving needs and aspirations of the business in the modern era.

Overall, the transition of J. Grossmith & Son to a limited liability company marked a significant milestone in the company's history, representing both continuity and change as it embarked on a new chapter of growth and development in the perfumery industry.

The Chemist & Druggist, 1919:

"J. GROSSMITH & SON, LTD. Private Company, Capital 150,000, Objects: To acquire the business formerly carried on J.L. Grossmith as "J. Grossmith & Son" and "Grossmith Son & Co." at 29 Newgate Street, and Paternoster Square and Ivy Lane, E.C. and to on the business of wholesale and export perfumers, toilet soap makers, essential oil merchants, etc. The directors are G.L. Grossmith, S. Grossmith, A. Ridout, and E.J. Marshall, Registered Office: 29 Newgate, London, E.C. 

As from July 1 the firm of J Grossmith, Son & Co. has become a private limited company under the style and title of "J Grossmith & Son Ltd." The directors are Mr. John L. Grossmith, Chairman; Mr. Stanley Grossmith; Mr. Alfred Ridout, managing director; and Mr. Edward J. Marshall; Mr. F.A. Garratt is Secretary. The business has been in the hands of the Grossmith family since its establishment in 1835 by Mr John Grossmith, father of Mr John L. Grossmith, the Chairman of the newly formed company. Stanley Grossmith is Mr. John L. Grossmith's son and thus brings a third generation into the conduct of the company which is retaining the services of the present managers of departments, many of whom have spent the greater part of their lives with the old firm, and it is worthy of mention that Mr John Grossmith was awarded a medal for perfumery so long ago as 1851, he being the only English maker so honoured at the Great Exhibition of that year." 

The Chemist & Druggist, 1921:

"MR. J.L. GROSSMITH -At his residence, The Grange, Bickley, Kent, on November 18, Mr. John Lipscomb Grossmith, chairman of J. Grossmith & Son, Ltd., perfumers, 29 Newgate Street, London, E.C. 1, aged seventy eight. Mr. Grossmith was the son of the late Mr John Grossmith, who founded the business in 1835. At the Great Exhibition of 1851 Mr Grossmith, senior, was the only English maker who received the award of a medal for perfumery. The business was carried on for a long time on the site of the present Post Office Station of the Central London Railway in Newgate Street, and on the construction of the railway being begun was removed to its present address on the opposite side of the street. Mr. Grossmith's early years were spent in part at Banstead, where his father distilled lavender and peppermint, and subsequently at Grasse and in South Africa. He eventually returned home to take control of the business, which in 1919 was converted into a limited liability company, with Mr. Grossmith and his son, Mr. Stanley Grossmith, on the board of directors. Mr. Grossmith was for several years a member of the Corporation of the City of London and a deputy for the Ward of Farringdon Within; he retired about twelve months ago. The funeral took place amid many manifestations of esteem, at St Luke's Cemetery, Bickley, on November, 22. On the same day a memorial service was held at Christ Church, Newgate Street, E.C., and largely attended. The service was choral, the hymns selected being "Let saints on earth" and "Abide with me." Among those present were the Lord Mayor of London, members of the City Council, and departmental managers and other representatives of J. Grossmith & Son, Ltd."

Perfumery and Essential Oil Record - Volume 12, 1921:

"DEATH OF MR. J.L. GROSSMITH. We greatly regret to record the death November 18th, at his residence, The Grange, Bickley, Kent, of Mr. John Lipscomb Grossmith, the chairman of directors of Messrs. J. Grossmith Son, & Co., Ld., the well known London manufacturing perfumers. He was one of the best known and popular men of the trade, and, dying in his 79th year, leaves behind a large circle of friends, including ourselves, who cherish most pleasant memories of him...He was a man of remarkable attributes, with a wide knowledge of the perfumery industry. By his great organising ability he developed a perfumery house greatly esteemed at home into one of importance in almost every market of the world. His early life was spent on Banstead Downs, where his father, Mr. John Grossmith, the founder of the business, distilled peppermint and lavender as a hobby to his larger perfumery interests in the City of London and which he founded nearly a century ago. The success of the firm in later years was doubtless due in a measure to the technical experience gained by Mr. J.L. Grossmith in his youthful service in the establishment of Bruno Court at Grasse. The business of "Grossmith" was conducted at 85, Newgate Street, London, E.C., for many years, until its removal to No 29 in the same avenue, and the premises to-day comprise large extensions to the old buildings, and form an enterprise the more fascinating by contrast with the prosaic surroundings of the district in which it is conducted - the heart of London. The late Mr. J.L. Grossmith had held many important civic appointments, and in his day devoted much time to public service. He will be greatly missed not only as a great perfumer but a fine type of London business man." 

In 1930, Alfred Ridout took on the role of president and managing director of J. Grossmith & Son Ltd. Ridout's visit to Vancouver in pursuit of increased usage of British perfumes in Canada demonstrates the company's commitment to expanding its market reach and promoting its products internationally.

Following Ridout's tenure, Robert Gordon Dyas, a nephew of Stanley Grossmith and great-nephew of John Grossmith, assumed leadership of the company in 1940. Dyas' extensive experience within the firm, having worked his way up through various departments since joining at the age of 18, made him well-suited to lead the business into the future. Dyas' appointment as chairman and managing director marked a new chapter in the company's history, with a continued focus on innovation, quality, and growth. His long-standing dedication to the company's success is evident in his continued leadership until his passing in 1964.

Throughout these transitions in leadership, J. Grossmith & Son Ltd. remained committed to upholding the legacy of excellence established by its founders, ensuring that the company continued to thrive and innovate in the competitive world of perfumery.

The variety of bottles shown below illustrate the creativity still present within the Grossmith sphere during the 1920s to the 1940s.

Second World War and Beyond:

The destruction of the Grossmith premises on Newgate Street by German bombers in 1940 presented significant challenges for the company, forcing it to navigate a difficult landscape of rationing and import restrictions during World War II.

With the interruption of the supply chain for raw materials, Grossmith was compelled to adapt its manufacturing processes by substituting costly natural ingredients with synthetic alternatives, albeit deemed unsatisfactory in terms of quality. This compromise inevitably led to a slight decline in the overall quality of the company's products.

The shortage of cardboard and paper further compounded the difficulties, hindering the production of customary presentation cases, coffrets, and gift boxes. Additionally, government regulations such as the Limitation of Supplies Order imposed rationing on perfumery and other goods, limiting the quantity of products available to retailers and purchasers alike.

Moreover, glass rationing posed another challenge for Grossmith, as the availability of bottles for packaging became scarce. Faced with the prospect of shutting down bottling production entirely, the company made the difficult decision to adapt by using smaller bottle sizes to circumvent the rationing measures.

This strategic shift resulted in the introduction of smaller bottles with colorful plastic screw caps to the market, reflecting Grossmith's resilience and ingenuity in the face of adversity. Despite the challenges posed by wartime conditions, the company remained committed to meeting the needs of its customers and maintaining its presence in the perfumery industry.

Grossmith's initiative to contribute to the war effort through perfumery demonstrates both creativity, compassion, and commitment to making a positive impact during a time of adversity. By leveraging their expertise in perfumery, Grossmith found a unique way to support the troops while also promoting their brand and products.

In addition to supporting the war effort, Grossmith's message on the back of the cards cleverly capitalized on wartime restrictions by emphasizing the availability of their fine quality toiletry products despite supply constraints. This dual messaging not only promoted their products but also highlighted their commitment to maintaining quality and service during challenging times.

By incorporating a charitable aspect into their marketing efforts, Grossmith demonstrated a commitment to social responsibility and community engagement. This not only generated goodwill within the community but also enhanced the brand's reputation as a caring and socially conscious company.

The post-war period saw a resurgence of optimism and a desire for new beginnings, reflected in the introduction of fresh and innovative fragrances by perfume companies around the world. As a result, Jean Patou released L'Heure Attendue in 1946, and Nina Ricci introduced her iconic L'Air du Temps in 1948. In line with this spirit of renewal, Grossmith invited the world to reach for the stars with an optimistic new perfume, Sky High in 1947, evoking a sense of hope and aspiration.  

Phul-Nana, Old Cottage Lavender, and Shem-el-Nessim, still sold regularly throughout the 1950s and 1960s. Packaging was generally updated to appeal to changing tastes. 

Following Sky High, Grossmith expanded its lineup with two new floral fragrances in 1949: White Gardenia and English Freesia, catering to the evolving tastes of consumers seeking elegant and uplifting scents. In 1954, the company introduced White Fire, a smouldering, sexy perfume designed to captivate the senses.

In 1969, Grossmith unveiled Adventure, an intrepid fragrance that embodied the spirit of exploration and discovery, capturing the imagination of adventurous souls. However, as the 1970s unfolded, Grossmith shifted its focus primarily to the production of soaps, with only Old Cottage Lavender and White Fire enduring as perfumes in the company's lineup. Eventually, Grossmith ceased production and trading altogether, signaling the end of an era for the company.

Indeed, by 1980, Grossmith's presence in the perfumery industry had dwindled, ultimately marking the end of its storied history. With the company no longer under the control of its original family, it ceased to operate, bringing an end to its legacy in the world of perfumery.

While the company may have faded away, the impact of Grossmith's contributions to perfumery remains significant. From its beginnings in the 19th century, Grossmith distinguished itself with its commitment to quality, innovation, and craftsmanship, leaving behind a rich heritage of iconic fragrances and timeless creations.

Grossmith's legacy continues to be celebrated by enthusiasts and collectors of vintage perfumes, who cherish the company's exquisite creations and contributions to the art of perfumery. While the original chapter may have closed on Grossmith's history, its influence and legacy endure, serving as a testament to its enduring impact on the world of fragrance. However, this is not the end of Grossmith London....read on for the miraculous revival of the house!

List of Fragrances by Grossmith & Son:

Below I have compiled a list of the perfumes of Grossmith that I could find. Many of the dates are generally from advertisements and may have been used earlier such is the case with the single flower or single scents. Please note that this is not a complete list, I will add new entries as I come across them:

• 1851 - White Rose (still sold in 1937)
• 1851 - Ylang Ylang
• 1851 - Stephanotis
• 1851 - Gardenia (still sold in 1937)
• 1851 - New Mown Hay
• 1851 - Wood Violet (still sold in 1912)
• 1851 - White Heliotrope
• 1851 - Jockey Club (still sold in 1937)
• 1851 - Rondeletia
• 1851 - Frangipanni
• 1851 - Opoponax
• 1851 - Ess Bouquet
• 1851 - Spring Flowers
• 1851 - Magnolia
• 1851 - Esprit d'Amour
• 1855 - Mitcham Lavender
• 1860 - Sovereign of Scents (handkerchief perfume)
• 1887 - Hasu-No-Hana, the Perfume of the fragrant Lotus of Japan (still sold in 1951)
• 1890 - Phul-Nana, a Bouquet of India's Choicest Flowers (still sold in 1951)
• 1891 - Verus Naturae Series (White Lilac, English Lilac, Linden Bloom, Lily of the Valley, Musk Rose, Mignonette, Mimosa, Narcissus, May Blossoms, Wallflower, Parma Violet, Cherry Pie, Wild Cherry, Sweet Daphne, Orange Blossom)
• 1891 - Linden Bloom
• 1891 - Violet
• 1891 - May Blossoms
• 1891 - Lily of the Valley (still sold in 1944)
• 1891 - English Lilac
• 1891 - Musk Rose
• 1891 - Mignonette
• 1891 - Wallflower (relaunched in 1937)
• 1891 - Parma Violet (relaunched in 1937)
• 1891 - Cherry Pie
• 1891 - Mimosa (still sold in 1937)
• 1891 - Narcissus (still sold in 1937)
• 1891 - White Lilac (still sold in 1912)
• 1891 - Peau d'Espagne
• 1891 - Chypre
• 1891 - Violette Blanche
• 1891 - Rose Mousse (Moss Rose)
• 1893 - Betrothal Bouquet (still sold in 1916) 
• 1897 - Victorian Bouquet (still sold in 1902)
• 1897 - White Heliotrope (still sold in 1937)
• 1897 - "Enterprise" Series of perfumes
• 1897 - Carnation (relaunched in 1937)
• 1897 - Blush Rose
• 1897 - Mathiola
• 1897 - Jasmin
• 1897 - Verbena
• 1897 - Heliotrope
• 1897 - Rose Geranium
• 1897 - Sweet Briar (relaunched in 1937)
• 1897 - Millefleurs
• 1897 - Orange Blossom (still sold in 1937)
• 1897 - Hyacinth (still sold in 1937)
• 1897 - Patchouli
• 1900 - Primrose
• 1900 - Florodora (still sold in 1923)
• 1902 - English Rose (still sold in 1923)
• 1904 - Heather
• 1904 - Floralia Series (of perfumes & soaps: Parma Violet, Wallflower, Lily of the Valley, Sweet Pea, Rose, Heliotrope) - still sold in 1923
• 1904 - Trefolia Series (of perfumes & soaps) - still sold in 1923
• 1904 - Killarney Violets
• 1904 - Cambrian Bouquet
• 1904 - Caledonian Bouquet
• 1904 - Violets of Scotland
• 1905 - Aida 
• 1907 - Shem-el-Nessim, the Perfume of Araby (still sold in 1951)
• 1909 - Odoralis
• 1911 - English Violet (still sold in 1937)
• 1912 - Wood Violet
• 1912 - Crab Apple
• 1912 - Frangipanni
• 1914 - Wana-Ranee,  the Perfume of Ceylon (still sold in 1951)
• 1914 - Golden Still (sweet, heady, light, refreshing) still sold in 1949
• 1916 - Old Cottage Lavender (A charming and favourite Old English perfume in quaint dark green old- fashioned bottles)
• 1917 - Nu Betsu
• 1917 - Geisha
• 1920 - Charm
• 1920 - Fascination
• 1921 - Florisis
• Lilac (still sold in 1937)
• 1922 - Tsang-Ihang, the  Sweet Perfume of Thibet 
• 1922 - Orchidor
• 1922 - Reve de Jeunesse
• 1922 - Etoile Divine
• 1922 - Rose Pompadour
• 1929 - Parfum Jasmin (still sold in 1944)
• 1930 - Wild Honeysuckle (relaunched in 1937)
• 1937 - Parma Violet (relaunch)
• 1937 - Jasmin
• 1937 - Wallflower (relaunch)
• 1937 - Sweet Pea
• 1937 - Carnation (relaunch)
• 1937 - Lily of the Valley (relaunch)
• 1937 - Sweet Briar (relaunch)
• 1947 - Sky High
• 1948 - Fern (cologne)
• 1948 - Verbena (cologne)
• 1948 - Russian Leather (cologne)
• 1948 - Pink Clover (cologne)
• 1948 - White Gardenia (cologne) 
• 1948 - English Freesia (still sold in 1954)
• 1954 - Old Cottage Lavender Water (Crinoline Lady presentation)
• 1954 - White Fire
• 1969 - Adventure

A Life Renewed:

Fast forward to 2006, Simon Brooke, the great great grandson of John Grossmith, the original founder of the company, was a perfume bottle collector and amateur genealogist. One of his bottles coincidentally, was for Phul-Nana, which he purchased from a seller in Tasmania via the online auction, eBay. Looking back into his family tree, he realized he had a personal link to one of his prized bottles of perfume. Searching for information on the Grossmith perfumery company, he found that another family still owned it, even though it had not been trading for quite some time.  

It's fascinating how personal connections can intersect with family history and legacy. Simon Brooke's discovery of his ancestral link to the Grossmith perfumery company through his genealogical research and his connection to one of its iconic perfumes, Phul-Nana, adds an intriguing dimension to the story.

The fact that another family still owned the company, despite it no longer being active in trading, highlights the enduring legacy and significance of Grossmith in the world of perfumery. It's a testament to the lasting impact of the company's heritage and the continued interest and appreciation for its creations even years after its cessation of operations.

Simon Brooke's personal connection to Grossmith and his passion for perfume bottle collecting further enrich the narrative, showcasing the ways in which family history and personal interests intersect to preserve and celebrate the legacy of iconic brands like Grossmith.

He asked his wife Amanda, if she would be interested in reviving the old family perfume house. For 18 months, he and his wife studied the intricacies of the complex art of perfumery. After attending a lecture by British perfumer, Roja Dove, the couple approached him and explained the story of the Phul-Nana bottle, the family connection to the Grossmith perfume house and the burgeoning desire to restore it. Dove suggested that they contact the French perfume house Robertet to have the contents of the Phul-Nana bottle analyzed to see what aromatic components could be detected. 

The Brooke family needed to raise the capital for the new enterprise and in order to do so, sold their holiday home and used their life savings. Brooke, in partnership with Amanda, successfully managed to purchase the brand in 2007. 

The journey of Simon and Amanda Brooke in reviving the Grossmith perfume house is truly inspiring. Their dedication to preserving their family's legacy and passion for the art of perfumery led them on a remarkable path of discovery and determination.

Studying the complexities of perfumery for 18 months demonstrates their commitment to understanding and mastering the craft before embarking on their venture. Seeking guidance from experts like Roja Dove and collaborating with renowned perfume house Robertet to analyze the contents of the Phul-Nana bottle showcases their meticulous approach to revitalizing the brand.

The decision to invest their own capital, including selling their holiday home and using their life savings, underscores their unwavering belief in the project. It's a testament to their courage, dedication, and entrepreneurial spirit. The revival of the company marked a triumphant return to the world of perfumery, infused with the enthusiasm and determination of the Brooke family. Their story serves as an inspiration to aspiring entrepreneurs and underscores the enduring power of family heritage and passion in driving success.

After nearly forty years of dormancy, the company was revived with an exuberant flourish. 

History Preserved:

Meanwhile, Brooke contacted a distant cousin and was providentially informed that two formulary books were preserved. Brooke learned that the two formulary books, two ledger books and the prize medals were dug out from the rubble in 1940 and had been safeguarded by the family ever since. What an incredible stroke of luck for Brooke to discover those preserved formulary books and ledger books, along with the prize medals! These artifacts hold a wealth of historical and practical knowledge about the art of perfumery, providing a fascinating glimpse into the techniques and formulas used by perfumers of the past. They represent invaluable treasures that provide a direct link to the rich history and heritage of the Grossmith perfume house.

The formulary books would be especially valuable, as they likely contain a treasure trove of recipes and formulations for various fragrances and scented products. These recipes could offer insight into the ingredients, proportions, and blending techniques favored by perfumers of the time, shedding light on the trends and preferences in the industry.

The original formulae books retained by Grossmith today were handwritten by John Lipscomb Grossmith himself. These antique, worn, leather covered volumes contain a registry of formulas for over 300 products including 96 different perfumes, 23 individual eaux de toilette and colognes, 10 essential oil blends and 82 soaps. 

They served as a crucial tools for documenting his own experiments, observations, and discoveries in the art of perfumery. These notebooks were often filled with detailed notes on ingredient combinations, blending techniques, and the results of various scent trials. By keeping his own notebooks, he could capture insights and ideas in real-time, ensuring that valuable information was not lost or forgotten. These notebooks also provided a means of tracking the evolution of his craft over time, allowing him to refine his techniques and develop his own unique style.

Furthermore, his personal notebooks served as a private repository of knowledge, containing trade secrets and proprietary formulations that set him  apart from their competitors. These notebooks were often closely guarded and considered precious assets in the perfumer's arsenal. In essence, personal notebooks were essential tools for perfumers like Grossmith, providing a means of recording and preserving their creative process and contributing to the ongoing advancement of the art of perfumery. These can be considered to be the irreplaceable holy grails of the company as well as the perpetual heartbeat keeping Grossmith motivated to offer new fragrances to delight the contemporary world.

Likewise, the ledger books would provide valuable historical records, documenting the business transactions, sales, and expenses of the perfumery operation. They could offer insight into the economic and commercial aspects of the business, as well as provide clues about the perfumer's clientele and marketing strategies.

As for the prize medals, they are tangible symbols of recognition and achievement, serving as a testament to the perfumer's skill and reputation within the industry. They add an extra layer of prestige and authenticity to the collection of artifacts, further enriching Brooke's understanding of his family's heritage and legacy in perfumery.

Overall, these preserved artifacts are invaluable treasures that offer a rare glimpse into the world of perfumery in times gone by. They provide a unique opportunity for Brooke to connect with his family's history and explore his passion for the art of scent.

To herald the blossoming revival of the heritage brand, they decided to bring back to life the three major perfumes which had helped to make the Grossmith name so well known in the past. In October 2009, three of the Grossmith oriental floral classics were relaunched: Hasu-no-Hana, Phũl-Nãnã and Shem-el-Nessim. On advice from Roja Dove, the Brookes consulted famous French perfume house, Robertet. In their laboratories, photo chromatography was used to analyze existing samples of the antique perfumes. Each of the perfumes was re-orchestrated by Robertet using modern ingredients based on the original formulations dating from the turn of the century. 

Utilizing modern ingredients based on the original recipes, combined with the meticulous analysis of existing samples using photo chromatography, allowed for the recreation of the perfumes with remarkable accuracy. 

Robertet was commissioned to create these fragrances using the finest materials money could buy. Brooke told the Evening Standard in 2009 that, "We want[ed] to replicate them using the best natural ingredients. There are obviously some we can't reproduce like civet, from wild cats. But there is a growing trend in classic perfume." Commissioning Robertet to create these fragrances using the finest materials further underscored the commitment to quality and excellence. Despite some challenges in reproducing certain ingredients, such as civet, the Brooke family remained steadfast in their dedication to replicating the perfumes using the best natural ingredients available.

The decision to relaunch three of Grossmith's oriental floral classics, Hasu-no-Hana, Phũl-Nãnã, and Shem-el-Nessim, was a significant step in the revival of the heritage brand. By bringing back these iconic perfumes, the Brooke family sought to pay homage to Grossmith's illustrious past while introducing them to a new generation of fragrance enthusiasts.

Partnering with the renowned French perfume house Robertet to re-orchestrate the perfumes was a strategic move, ensuring that the essence and authenticity of the original formulations dating from the turn of the century were preserved.

The relaunch of these classic perfumes not only celebrated Grossmith's heritage but also tapped into a growing trend in classic perfumery, where there is a renewed appreciation for timeless fragrances crafted with care and attention to detail. It marked a significant milestone in Grossmith's revival journey, setting the stage for the brand's renaissance in the modern perfume landscape.

Brand Identity:

Grossmith's attention to detail extends beyond the scent to the packaging and bottle design, reflecting the brand's commitment to luxury and elegance. In order to create a visual identity, Simon Brooke and his wife Amanda collaborated with branding and design agency, Holmes & Marchant, in 2008. 

The collaboration to rejuvenate the Grossmith fragrance brand involved a meticulous blend of historical reverence and contemporary design sensibility. The agency undertook a comprehensive redesign of the brand's visual identity, ensuring that each element—from logos to packaging—reflected both the heritage and modern appeal of Grossmith.

“The Baccarat bottles were where the project began,” said Nick Hanson, creative director at Holmes & Marchant to worldbrandesign.com. “It is a reverential nod to Grossmith’s heritage that we have taken the original Baccarat bottle as the basis for the new flagship range of the brand."

The Baccarat bottle's base, characterized by its square shape with truncated corners, transitions into a distinctive octagonal form. This unique design element served as inspiration for various aspects of the product presentation, including the labels, presentation box shapes, blotter shapes, and even the bottle caps

Holmes & Marchant crafted a logo that honors Grossmith's storied past while presenting a clean, modern aesthetic. This logo serves as the cornerstone of the brand’s identity, easily recognizable and adaptable across various media. The typography used in the rebranding draws inspiration from historical typefaces found in early Grossmith materials. These have been carefully updated to ensure readability and aesthetic appeal, bridging the gap between tradition and modernity. A palette was selected to evoke the elegance and luxury associated with the early nineteenth century, utilizing rich, timeless colors that appeal to contemporary tastes.

Bottles:

The perfumery required a standard bottle design capable of holding both parfum and eau de parfum. This need for a versatile and consistent design ensures uniformity across different product lines, making the bottles easily recognizable and practical for various fragrance concentrations.

 The original Grossmith perfume bottles stood out due to their distinctive ovoid shape, unlike the more common cylindrical bottles used by other brands. These unique bottles also featured the words "Grossmith & Son London" molded onto their sides, adding to their distinctive and recognizable design. 

The new bottle designs are inspired by these original Grossmith bottles, featuring elegant shapes that suggest refinement and sophistication. Each bottle is a nod to the brand’s heritage, subtly updated to meet modern standards of aesthetics and usability. The lids are crafted with a focus on detail and quality, echoing the intricate designs of the past while ensuring a modern ergonomic feel. 

The designed oval reeded bottles, produced in 100ml, 50ml, and 10ml sizes, are crafted by STO-Flaconnage. Caps have been supplied by PlusImage and pumps by Emsar. This partnership ensures that Grossmith maintains its commitment to quality and craftsmanship while offering a range of bottle sizes to meet the diverse needs of its customers.

"Capturing the past can be a challenge,’ said Mark Devonald Smith, Group Sales Director for the international Stölzle Glass Group to webpackaging.com. ‘The low volume run required by such a prestigious brand presented problems. Thanks, though, to the recent major investment programme in our West Yorkshire factory, we have produced this new classic reeded bottle with its chamfered label cartouche and met customer expectations, keeping within economic parameters while providing the high quality needed for this brand’s relaunch. It is a bottle redolent of the elegance and style of the original House of Grossmith with its Royal Warrant."

Boxes:

The elegant presentation boxes are meticulously crafted to complement the beauty and sophistication of the bottles themselves. Every detail, from the shape and texture of the box to the placement of logos and embellishments, is carefully considered to create a harmonious and cohesive overall presentation. This attention to detail ensures that the packaging enhances the overall luxury experience of the product.

Rather than the vibrant color palette used during the Victorian era, the new packaging relies primarily on a gold, blue and white colour scheme. High-quality materials are used to reinforce the premium nature of the brand, providing a tactile experience that reflects the product's exclusivity. The parfum line is housed inside of a deluxe white box, while the eau de parfum is housed inside of a regal blue box. The use of luxurious materials and design elements in the packaging creates a tactile and sensory experience that enhances the perception of richness. From the smoothness of the box surface to the quality of the materials used, every aspect is carefully considered to evoke a sense of opulence and refinement.

A Return to Baccarat:

Tantalizing the fortunes of serious collectors, Grossmith decided to offer limited editions in lavishly gilded Baccarat crystal, known as the "Serie de Luxe." Brooke said he tracked down the original 1919 order sheet for the Baccarat bottles and after consulting with the iconic crystalworks, he found that they still retained the original moulds! 

“The Baccarat bottles were where the project began,” said Nick Hanson, creative director at Holmes & Marchant to worldbrandesign.com. “It is a reverential nod to Grossmith’s heritage that we have taken the original Baccarat bottle as the basis for the new flagship range of the brand. The exquisite patterns of the new gold etching are a modern interpretation of the Victorian decoration."

The idea to bring back the original Baccarat bottles was a stroke of genius. To give them an update, Holmes & Marchant had them adorned with intricate etched patterns that are reminiscent of historical decorative styles. These patterns were reimagined to fit the contemporary context, offering a sense of luxury and craftsmanship. 

Tracking down the original moulds for these flacons is a testament to Brooke's dedication to preserving the brand's heritage and authenticity. The model #398 is known for its refined craftsmanship and sophisticated design, typical of Baccarat’s work. The specific details of the model include a sleek, elegant shape, featuring the octagonal form with a multifaceted lapidary stopper. These limited edition Baccarat bottles were sold in hand-made oak presentation cases finished in six layers of white piano lacquer, lined in midnight blue velvet and opened with a gilded key. The creation of special limited editions added an opulent touch to the brand's offerings. 

In 2010, the sumptuous Baccarat presentations were available to order (with a three-month delivery time) and priced at £6,000 for a single presentation and the triple at £18,000. Each bottle holds 85 ml Parfum in either Phul-Nana, Shem-el-Nessim or Hasu-no-Hana.

The Baccarat crystal bottles used by Grossmith exemplify the brand’s dedication to luxury, quality, and craftsmanship. From their overall design to the precise matching system ensuring a perfect fit, these bottles are a true representation of Grossmith's commitment to excellence. They enhance the brand's prestige, offer significant artistic and functional value, and contribute to the enduring legacy of Grossmith as a leader in heritage perfumery. 

Made in England:

Proud of its English heritage, Grossmith remains steadfast in its commitment to preserving its roots by keeping all aspects of perfume making within the country. This dedication not only honors tradition but also supports local craftsmanship and industry, ensuring that the legacy of English perfumery continues to thrive for generations to come.

The perfume itself is meticulously crafted in England at Robertet's UK operation situated in Haslemere, Surrey. The glass bottles, with their distinctive oval reeded design, are manufactured in Knottingly, Yorkshire. Meanwhile, the presentation boxes are skillfully crafted by a company based in Sheffield, while the paper labels are produced in Loughborough. Finally, all assembly of the components takes place in Tiverton, Devon. This comprehensive approach ensures that every aspect of the production process remains rooted in English craftsmanship, reflecting Grossmith's commitment to quality and tradition.

The choice of using standard glass bottles made in Knottingly, Yorkshire, reflects a dedication to quality and authenticity. The ovoid shape and ribbed design add a touch of elegance to the packaging, while the colorless glass allows the fragrance to take center stage. The collaboration with various manufacturers across different regions of England, including Loughborough, Sheffield, and Tiverton, demonstrates a collaborative approach to production while also showcasing the diverse skills and expertise found throughout the country.

Stockists for the range were Fortnum & Mason, Harrod’s and Les Senteurs.

Fast Forward to May 2024:

Recently, I was perusing my blog and noticed that I never finished writing up my article on Grossmith. Remembering that the brand was revived in 2009, I decided to check out their website to see what was new. I was happy to see that they were still making fragrances and went ahead and contacted them to request press materials and samples if possible.

After a lovely email exchange with Amanda Brooke, I received the wonderful Grossmith press kit, sent directly from London. It contained samples of all eleven of Grossmith's current fragrances; six glossy colored postcards reproducing antique Grossmith advertisements; and a beautifully illustrated booklet explaining the origins of the brand and the evolution of its revival. The precious contents were all packed very nicely and wrapped with tissue paper printed with the "GL" monogram for Grossmith London. 

With eleven different fragrances to explore, I have had quite the olfactory journey. In addition to the fragrances themselves, I also took note of the presentation of each sample. The generous 2ml spray samples are on thick cardstock and conveniently come with a blotter so you can spray your perfume on it. 

Grossmith is known for using high-quality ingredients sourced from around the world. From floral and fruity notes to woody and oriental accords, Grossmith's fragrance collection offers a diverse range of scents to suit various preferences and occasions. Each fragrance is a unique olfactory experience, with its own story to tell and mood to evoke. 

Fragrances can smell different on skin compared to paper strips or in the bottle, so I made sure to use them both while I sampled. I always apply scent to the upper part of my forearm, a few inches from the crook of my arm. It find that it is a convenient area for testing.  As I sampled each fragrance, I paid close attention to the nuances of the ingredients and how they interacted with my skin chemistry. I discovered hidden gems and unexpected combinations that delighted my senses. 

I have had the opportunity to experience offerings from other revived heritage houses, but some of them seemed to a sort of let down. I was hoping that their recreated fragrances would be full and enveloping, characterized by a vintage feel. Most of them were what I term "thin" - very sheer, some had shrill notes that I didn't find very pleasant. I felt they were too modern, and had no connection to the original vintage fragrances.

It's understandable to feel disappointed when experiencing fragrances from revived heritage houses that don't live up to expectations. Recreating vintage fragrances with authenticity and capturing the essence of the originals can be a challenging task. Here are some possible reasons why I may have encountered fragrances that fell short of my expectations:

Lack of Access to Original Formulations

• Lost Formulas: Many heritage perfume houses ceased production long ago, and the original formulations may have been lost or altered over time. Without access to the exact recipes and techniques used in the past, it can be difficult to recreate the fragrances authentically.

• Limited Documentation: Some heritage houses may not have comprehensive documentation or archives detailing the ingredients and proportions used in their original fragrances. This lack of historical records can pose challenges for modern perfumers attempting to recreate the scents.

Changes in Manufacturing and Regulations

• Ingredient Restrictions: Modern regulations regarding the use of certain ingredients in perfumery may differ from those in the past. Perfumers may need to reformulate vintage fragrances to comply with current safety and regulatory standards, which can alter the scent profile.

• Modern Manufacturing Techniques: Advances in perfume manufacturing and extraction methods may result in differences in scent compared to historical production processes. These differences can affect the overall character and depth of the fragrances.

Evolving Consumer Preferences

• Contemporary Trends: Modern consumers may have different preferences and sensibilities compared to those of previous generations. As a result, revived heritage houses may feel pressure to create fragrances that appeal to current market tastes, leading to formulations that deviate from the original vintage style.

• Preference for Lighter Scents: In recent years, there has been a trend towards lighter, fresher fragrances that are suitable for everyday wear. Some heritage houses may adjust their formulations to cater to this demand, resulting in fragrances that feel more "modern" and less "full-bodied."

While the revival of heritage perfume houses offers the opportunity to experience fragrances from bygone eras, it's important to recognize the challenges inherent in recreating vintage scents. Factors such as lost formulas, changes in manufacturing techniques, and evolving consumer preferences can all impact the final result. When exploring fragrances from revived heritage houses, it's helpful to approach them with an open mind and an appreciation for the complexities involved in capturing the spirit of the past while embracing the realities of the present.

However, my experience with Grossmith's fragrance samples exceeded my expectations! I instantly understood that the Brooke's weren't joking when they said no expense was spared. Each fragrance was "full bodied" and every single one of them evoked a true feeling of authenticity. The dedication to using premium raw materials and the commitment to craftsmanship are evident in every aspect of Grossmith's perfumes, from the initial formulation to the final product. Given that the Brookes were able to consult the original formulary books gave them a leg up on the competition. 

I told my siblings that I was "blown away" by the quality of the samples. I couldn't stop talking about them to my friends and other family members, telling them about the history of the brand, regaling them with the story of its resurrection, and inviting them to check out the website for themselves. I felt as if I scored sealed antique bottles of Grossmith's original perfumes, which to me, speaks to the authenticity and timelessness of the fragrances. The only other revived heritage houses that I feel compare in this absolute respect to are Volnay & Cherigan.

Receiving a set of samples of all eleven of Grossmith's current fragrances was a wonderful opportunity to immerse myself in the world of luxury perfumery. I enjoyed the journey as I discovered the artistry, craftsmanship, and beauty of Grossmith's diverse fragrance collection. Each scent was a treasure waiting to be uncovered, offering a sensorial experience that captivated the senses and transported me to another realm.

My Overall Impressions:

• Exceptional Raw Materials: Grossmith's perfumers meticulously select the finest ingredients from around the world to create their fragrances. These high-quality raw materials are chosen for their purity, complexity, and olfactory richness, resulting in perfumes of unparalleled depth and character.

• Full-Bodied Fragrances: The use of premium ingredients contributes to the full-bodied nature of Grossmith's fragrances. Each scent is carefully composed to showcase the richness and complexity of its individual notes, creating a multi-dimensional olfactory experience that lingers on the skin.

• Heritage and Tradition: Grossmith's fragrances evoke a sense of vintage elegance and sophistication, paying homage to the brand's rich history and heritage. The careful blending of classic and modern elements results in scents that feel timeless yet relevant, resonating with both traditionalists and contemporary fragrance enthusiasts.

• Nostalgic Aesthetics: The vintage feel of Grossmith's perfumes may evoke a sense of nostalgia, transporting you to a bygone era of glamour and refinement. This nostalgic appeal adds an extra layer of allure to the fragrances, inviting you to indulge in a sensory journey through time.

• Luxurious Sensory Experience: Grossmith's commitment to quality and craftsmanship ensures that every aspect of the fragrance experience is luxurious and indulgent. From the rich, complex scents to the elegant packaging and presentation, each detail is carefully curated to enhance the overall sensory experience.

I am so honored that my inquiry led to such a positive exchange with Amanda Brooke and allowed me to delve deeper into the rich history and revival of Grossmith. The attention to detail in their press kit, from the samples of their fragrances to the beautifully illustrated booklet and antique advertisements, reflects the brand's commitment to quality and heritage. The inclusion of the "GL" monogram on the tissue paper adds a touch of elegance and reinforces the brand's identity.  

My experience with Grossmith's fragrance samples highlights the brand's unwavering dedication to excellence and authenticity. By sparing no expense when it comes to raw materials and embracing a truly vintage aesthetic, Grossmith creates perfumes that are not just scents, but evocative experiences that transport you to another time and place. I suggest you try them out for yourself. Enjoy your journey through Grossmith's fragrances, and savor every moment of the luxurious olfactory adventure that awaits you.

The Classic Collection:

Hasu-No-Hana:

Hasu-no-Hana, said to recreate the elusive scent of the Japanese lotus lily, is a radiant composition that exudes timeless elegance and sophistication. With its pronounced mossy chypre and resinous amber facets, this fragrance captivates the senses with its bright and uplifting aura, evoking the beauty of a blooming lotus in full splendor.

Originally created in 1888, Hasu-no-Hana heralded the dawn of modern creative perfumery, setting a standard for innovation and excellence that endures to this day. Its trailblazing spirit and perennial quality make it a true masterpiece, cherished by fragrance connoisseurs for generations.

It begins with the brightness of bergamot and bitter orange. At its heart, Hasu-no-Hana reveals the exquisite beauty of the Japanese lotus lily, a symbol of purity and renewal. Its delicate floral notes of iris and ylang ylang are complemented by hints of chypre, adding depth and complexity to the composition. As the fragrance unfolds, warm and sensual amber facets emerge, enveloping the wearer in a luxurious embrace.

The dry, woody base of vetiver, sandalwood, patchouli, and cedar anchors the scent, providing a solid foundation for the opulent floral accords of jasmine and rose to shine. With its irresistible allure and enduring appeal, the newest version of Hasu-no-Hana will remain a timeless classic, especially beloved by those who appreciate the artistry and craftsmanship of fine perfumery.

• Top notes: bergamot, bitter orange
• Middle notes: rose, jasmine, ylang ylang, iris
• Base notes: vetiver, patchouli, oakmoss, cedarwood, sandalwood, tonka bean

Phul-Nana:

Shem-el-Nessim:

• Top notes: orange, lemon, lily of the valley, narcissus
• Middle notes: rose, iris, jasmine, violet, vetiver, carnation
• Base notes: vanilla, tonka bean, hawthorn, amber, musk

King's Salute:

King’s Salute, the latest addition to Grossmith’s esteemed Royal Collection, pays homage to the King Charles' deep-rooted passion for plants and gardening, a passion that echoes Grossmith’s historic connections to lavender. The fragrance captures the aromatic essence of the King's beloved Highgrove garden, where beds of Mitcham lavender and thyme flourish abundantly.

Launched on Coronation Day, the King's Salute fragrance embodies a significant occasion in British history, capturing the spirit of celebration and tradition associated with royal events. This carefully timed release further emphasizes the connection between the perfume and significant milestones in the monarchy, enriching its narrative and appeal to enthusiasts of both perfumery and royal history.

The scent opens with a burst of bright citrus notes and robust lavenders, setting a celebratory tone that embodies the spirit of the occasion. As the fragrance evolves, it reveals a heart of valuable green iris and savory thyme, accented by bracing hints of black pepper and camphoraceous cardamom, adding depth and complexity to the composition. Throughout the wear, the herbal lavender note remains prominent, serving as a nod to Grossmith's heritage and the King's botanical interests.

In the base, subtly sweet tonka, velvety cashmeran, powdery musks and balsamic amber provide a warm and inviting foundation, rounding out the scent with a touch of elegance and sophistication. The distinctive purple label of King’s Salute is a fitting tribute to its royal inspiration, complemented by the Royal Mail First Class postage stamp, a symbol of continuity and tradition chosen by King Charles himself.

With King’s Salute, Grossmith continues its legacy of crafting exquisite fragrances that reflect both history and modernity, offering an invigorating sensory journey that honors the royal heritage and celebrates the beauty of nature.

• Top notes: bergamot, elemodor, blackcurrant, black pepper
• Middle notes: lavender, lavandin, thyme, iris, cardamom
• Base notes: oakmoss, amber, cashmeran accord, musk, coumarin

The Black Label Collection:

The launch of the Black Label Collection in 2012 marked a new chapter in Grossmith's fragrance offerings, showcasing a series of original perfumes crafted with creativity and expertise. It's fascinating to learn that the Brooke's daughter Eleanor, played a role in designing the packaging for this collection, adding a personal touch to the brand's presentation.

The Black Label Collection likely represents a blend of modern innovation and timeless elegance, reflecting Grossmith's ongoing commitment to crafting exceptional fragrances that resonate with contemporary sensibilities while honoring its rich legacy. The Black Label is available as 50ml and 100ml Eau de Parfum clad in black and gold emballage. A special gift set of the four fragrances is also available: 4 x 10ml eaux de parfum.

 

Floral Veil:

Launched in 2012, this fragrance presents a captivating blend of exuberant citrus and green notes, juxtaposed with a rich floral heart. The initial burst of citrus and green accords provides a refreshing and invigorating opening, while the lush floral bouquet of fresh geranium, rose, ylang ylang, sultry tuberose, and the creaminess of vanilla orchid adds depth and complexity to the composition. Finally, the warm and smooth base notes of cashmeran, amber, and musk create a luxurious and enveloping finish, balancing the coolness of the top notes with a sense of warmth and sophistication.

Floral Veil promises to envelop wearers in a delicate and ethereal aura, reminiscent of a gossamer mist of the soft distillation of flower petals. The description alone evokes a sense of lightness and femininity, offering a captivating olfactory experience. As for the name, Amanda Brooke said she was inspired by a nostalgic recollection, a diaphanous veil attached to her beloved mother's hat.

• Top notes: citrus, lemon, green notes, cassis
• Middle notes: geranium, rose, ylang ylang, tuberose, vanilla orchid
• Base notes: musk, cashmeran, amber

Amelia:

 Amelia is a tribute to Simon Brooke's great grandmother, who played a crucial role in his rediscovery of the lost perfume house. Amelia, adds a layer of familial connection to the collection, infusing it with a sense of heritage and tradition. This feminine fragrance exudes softness and elegance, beginning with alluring top notes of green neroli and creamy osmanthus. As it unfolds, an exquisite floral heart emerges, characterized by a torrent of rose, peony, and costly jasmine blossoms, scattered abundantly over the balsamic warmth of resinous amber. The fragrance evolves into a rich and voluptuous base, featuring notes of patchouli, honeyed sandalwood, dry vetiver, and diaphanous cashmere musks, ensuring a lasting and captivating olfactory experience. 

• Top notes: neroli, osmanthus
• Middle notes: rose, peony, jasmine, amber
• Base notes: patchouli, sandalwood, vetiver, cashmere musks 

Golden Chypre:

Golden Chypre offers a modern take on the timeless chypre fragrance family, Grossmith describes it as evoking the imagery of autumn sunlight dancing on golden leaves The scent opens with a burst of piquant spice from cardamom and nutmeg, interwoven with effervescent citrus notes. An appealing blend of rose, herbaceous geranium, and a wild cherry note from heliotrope adds depth and balance to the lively opening, while patchouli contributes a warm and earthy element. The fragrance gradually transitions into a smoky drydown of vetiver and leathery labdanum, seamlessly merging into a sensual base of woods, amber, and soft powdery musks.

Golden Chypre perfectly encapsulates the vibrant warmth and fleeting beauty of the season. With its rich and evocative composition, it paints a sensory picture of crisp air, earthy forests, and the soft glow of sunlight filtering through the crinkling foliage. Each scent captures the essence of fall, inviting wearers to immerse themselves in a golden-hued world of nostalgia and tranquility.

• Top notes: bergamot, orange, cardamom, nutmeg
• Middle notes: rose, geranium, heliotrope, patchouli, vetiver
• Base notes: woods, amber, labdanum, musk

Saffron Rose:

Saffron Rose is a sophisticated woody amber fragrance, weaving together the luxurious aroma of costly saffron and the captivating essence of velvety roses to craft an opulent olfactory experience. The tapestry unfolds, sprinkling a blend of spicy saffron and warm cinnamon, complemented by the delicate sweetness of a lush rose garden. At its heart, a smouldering brazier of myrrh, amber, labdanum, oud wood, and tobacco, infuses the composition with a mesmerizing smokiness and balsamic tracery. As the scent evolves, it settles into a complex, musky aroma of castoreum, a raw energy imparting a deeper, more primal element, adding depth and richness to the long-lasting sumptuous base of creamy precious woods.

• Top notes: saffron, rose, cinnamon
• Middle notes: myrrh, oud wood, tobacco
• Base notes: castoreum, sandalwood, labdanum, amber

Exclusive Creations:

Sylvan Song:

"Sylvan Song," made exclusively for Fortnum & Mason, legendary purveyors of high quality goods. It  celebrates the shared heritage and values between Grossmith and Fortnum & Mason. Reflecting the essence of verdant woodland, this fragrance is a balanced blend of tradition, quality, and veritable Englishness. Just as Grossmith's use of rare and natural materials evokes distant shores, Fortnum & Mason's sourcing of teas and coffees attracts customers from around the globe. With "Sylvan Song," Grossmith pays homage to these connections, creating a scent that captures the timeless beauty of the flourishing English countryside.

The opening is brightened by a vivacious accent of bergamot, which adds an effervescent touch to the overall scent. A sumptuous cascade of fresh jasmine, rose, and ylang ylang petals contribute to the fragrance's rich and luxurious bouquet. Incense adds a smoky and mystical quality to the fragrance, while earthy patchouli and guaiac wood enhancing its depth and complexity, evokes the dappled shade under rustic evergreens. Musk adds a soft and sensual touch, tonka bean brings a creamy sweetness with hints of vanilla, and benzoin offers a warm and balsamic aroma. Together, they create a cozy and inviting base for the perfume, leaving an echo of warmth and dulcet tones.

• Top notes: bergamot
• Middle notes: jasmine, rose, ylang ylang
• Base notes: patchouli, vetiver, guaiac wood, benzoin, musk, incense, tonka bean