In 1969, Leon Leyritz, a renowned French sculptor, brought his artistic vision to the world of perfumery through a unique creation for Jean Desprez's iconic fragrance, Bal à Versailles. Leyritz, whose celebrated works include sculptures gracing the Paris Opera House, was tasked with designing a vessel worthy of the luxurious essence it would contain. His masterpiece for Desprez took the form of a striking statuette of Janus, the Roman god with two faces—a symbol deeply rooted in mythology, representing duality, beginnings, and transitions.
This design choice was both symbolic and elegant. Janus, with his ability to look simultaneously to the past and the future, reflected the timeless nature of Bal à Versailles, a fragrance that paid homage to the grandeur of Versailles while being firmly planted in the present. The sculpted bottle, with its two contrasting faces, also embodied the duality within the fragrance itself—rich, sensual, and opulent, yet also refined and delicate. The Janus figure, carved with Leyritz's signature attention to detail, added an air of classical sophistication to the perfume presentation, aligning perfectly with the aura of regal luxury that Bal à Versailles exuded.
Beyond its artistic merit, the Janus statuette also held practical value as it was designed to hold the precious perfume in a bottle concealed within the sculpture, merging form and function seamlessly. This collaboration between sculptor and perfumer elevated Bal à Versailles from a mere fragrance to a work of art, a collector's piece that appealed to both connoisseurs of fine perfume and admirers of high art.
Bottle:
In 1969, Jean Desprez sought to elevate the legacy of his renowned fragrance Bal à Versailles by introducing a limited edition flacon, a bottle that would be as memorable as the perfume it held. According to Suzanne Wolfe, the company’s Paris attorney at the time, Desprez often drew his inspiration from the opulence of the Palace of Versailles. Every autumn, he would roam its vast halls, galleries, and gardens, immersing himself in its artistry and grandeur. This tradition of exploring the Palace gave him access to priceless artworks, which consistently sparked new ideas. Wolfe recalled that whenever Desprez found something that captured his imagination, he would have it reproduced—whether it was for his personal Christmas cards or for more ambitious projects, such as his perfume bottles.
One particular visit to Versailles led Desprez to a revelation. During his strolls in the Palace gardens, he came across a Janusette motif on the marble statues that dotted the park. This ancient Roman figure of Janus, the god with two faces, captivated him. The duality and symbolism of the god, who looks both to the past and the future, resonated deeply with Desprez, inspiring him to bring the concept to life through his perfume flacon. He took this vision to his close friend and renowned sculptor, Leon Leyritz, who had previously designed decor for the Paris Opera House and worked with famous figures like the musician Maurice Ravel. Leyritz, an aging but highly respected artist by the late 1960s, was the perfect collaborator for such a project. Desprez entrusted Leyritz to capture the essence of the Janus figure in the flacon’s design.
The collaboration between the two friends resulted in a bottle that was as much a work of art as it was a functional perfume vessel. Dennis Desprez, Jean Desprez’s son, reflected on the creation in a 1975 interview, noting Leyritz’s extensive artistic background and his long-standing friendship with his father. Leyritz, having designed for prestigious venues like the opera house and held numerous exhibitions, was able to translate the grandeur of Versailles and the mythic qualities of Janus into a flacon that embodied the timeless elegance and dual nature of Bal à Versailles. The bottle became an iconic piece, merging art, history, and perfume in a limited edition that encapsulated Jean Desprez’s love for Versailles and his dedication to the artistry of perfumery.
Suzanne Wolfe, reflecting on Jean Desprez's passion for his craft, described the Janusette flacon as “extravagantly expensive,” a testament to its meticulous artistry and the rarity of its design. However, Wolfe noted that Desprez himself seemed unconcerned with the commercial viability of the bottle. She remarked, "I don't think he cares if he sells any," emphasizing that for Desprez, the joy and fulfillment came not from sales but from the creative process itself. The creation of the Janusette flacon was a passion project, driven by Desprez’s deep love for art and his desire to push the boundaries of traditional perfume presentation.
Wolfe’s insight reveals the mindset of a true artist, one who prioritizes innovation and expression over profit. Desprez, whose perfume Bal à Versailles was already world-famous, didn’t need the Janusette flacon to elevate the fragrance's reputation. Instead, the project was a reflection of his desire to experiment with new ideas, to challenge himself artistically. For him, the Janusette was an exploration of aesthetics, a way to merge historical influences with his vision of luxury.
The Janusette was not just a perfume bottle but an embodiment of Desprez’s philosophy—that artistry and creativity could stand alone, without the pressures of commerce. Wolfe’s words underscore how Desprez found immense satisfaction in the process of crafting something unique, using Bal à Versailles as a vehicle for his imaginative and boundary-pushing ideas. The Janusette flacon was simply one of many such creations born out of his passion for artistic challenge, a manifestation of the joy he found in the journey of design rather than its final outcome.
The Bottle:
Jean Desprez drew inspiration from the statues of Janus, the ancient Roman god of transitions and duality, found in the gardens of the Château de Versailles. Traditionally, Janus is depicted as a man with two faces, symbolizing the past and the future, but in a creative twist, Desprez reimagined the figure as a woman for his limited edition flacon. Each of the two faces in the design represented the seasons—spring and summer—a subtle nod to rebirth and growth. Below the bust, a delicate flower was placed, adding an element of femininity and nature, while the shoulders featured intricate spiral shapes accented with ivy leaves, further evoking the lush beauty of Versailles' iconic gardens.
To create the flacon's striking crown, Desprez sought out a skilled goldsmith in the Marais district of Paris. The goldsmith hand-chiseled each crown in 18kt gold vermeil, with an openwork design that depicted cascading foliage. Atop this golden structure was a fountain of sterling silver, representing water in motion—a powerful symbol of life and renewal. The craftsmanship required precision, as each crown and fountain was individually created by hand, making each bottle a unique work of art.
For the body of the flacon, Desprez turned to the renowned National Porcelain Manufacture of Sèvres, a historic institution founded by Louis XV. Desprez had a long-standing relationship with Sèvres, who had previously crafted exquisite bottles for two of his other fragrances, Votre Main and Escarmouche. To bring Desprez's vision to life, Sèvres used their signature “Biscuit de Sèvres”, a white matte finish that mimics the appearance of unglazed marble. This luxurious material gave the flacon an elegant and timeless look, reminiscent of classical sculpture. A total of 100 of these exceptional bottles were produced, each standing 7.5 inches tall and proudly marked with the Sèvres name.
The presentation of the flacon was equally grand. Desprez searched all of France for the finest casemakers, eventually selecting a jeweler's presentation case crafted from rich red morocco leather. The two-door case was hand-tooled with gold leaf detailing and lined with plush red velvet and white satin, ensuring that the bottle would be housed in a setting as sumptuous as the flacon itself. This attention to detail, from the intricate design of the bottle to the luxurious presentation case, exemplified Desprez's dedication to artistry and refinement. The Janusette flacon was more than just a perfume bottle—it was a masterpiece, a tribute to the craftsmanship and history that defined both Versailles and Desprez's creative legacy.
In 1969, the release of the limited edition
"Janusette"" Sèvres porcelain flacon marked a significant moment in the world of luxury perfumery. Priced at an eye-watering $850—a figure that translates to approximately $7,516.20 in today's (2024) money—this exquisite creation was an extravagance, even for those accustomed to fine goods. Such a sum was far beyond the reach of the average consumer, positioning the flacon as a symbol of ultimate exclusivity and opulence. This wasn't merely a bottle of perfume; it was a work of art, adorned with 18kt gold, sterling silver, and housed in a red morocco leather box, hand-tooled in gold leaf. The box alone spoke to the level of craftsmanship and luxury, as each one was meticulously created to complement the bottle within. With only 100 flacons produced, and each individually numbered, this was truly a collector’s item, meant for a select few.
Wolfe, the Paris attorney for Jean Desprez, emphasized its appeal to the elite: "It's Jackie's [Onassis] perfume; it's Elizabeth Taylor's perfume. It's kind of an 'in' fragrance for the international jet set." These names—Jackie Onassis and Elizabeth Taylor—embodied the glamour and sophistication of the time, and their association with Bal à Versailles elevated the perfume’s mystique even further. For the glittering jet set, this flacon was a status symbol, a token of their membership in an exclusive club that appreciated artistry, luxury, and history.
The flacon held one and a quarter ounces of pure parfum, with the added practicality of being refillable—a rarity for such a high-end piece. At the time, one ounce of this precious perfume cost $75, which equates to around $663.19 today, a sum far more accessible in comparison to the steep price of the limited edition flacon. The refillable aspect highlighted Desprez's blend of artistry and practicality—while the Janusette flacon was undeniably extravagant, it was also designed to be functional, ensuring that the perfume could continue to be enjoyed for years to come.
In an era when luxury was defined by not just wealth, but by connections to art, history, and culture, the Janusette flacon encapsulated all these elements. It was a masterpiece of design, an homage to Versailles, and a coveted possession for those who sought to express their status not just through what they wore, but through the experiences and objects that surrounded them.
Vogue, 1969:
"Jean Desprez has put one and one-quarter ounces of their famous and precious Bal a Versailles perfume into a precious flacon called Janusette. A two-headed statuette of creamy Sevres porcelain, it's crowned with eighteen-karat gold and a sterling silver cover."
Réalités - Issues 330-335, 1973:
JANUSETTE – To honor the legacy of the Queen of France, nothing was deemed too beautiful, too delicate, or too refined. Champagne and the finest Burgundy wines were once presented to her in specially crafted bottles, stamped with her royal coat of arms—each one distinct, unlike any other. Her fragrance, too, was a luxury enjoyed by only a select few of the nobility.
In homage to this rich tradition, the perfumer Jean Desprez sought to recreate that sense of exclusivity and regal beauty. For his renowned perfume, Bal à Versailles, which had already achieved global acclaim, he designed a flacon of unparalleled opulence. This creation, unequaled in its richness and grandeur, was a true collector’s jewel. Only one hundred privileged women would own it, with each bottle meticulously numbered from 1 to 100.
Only the city of Paris—with its legacy of craftsmanship—could offer such an extraordinary gift. In an age dominated by mass production, only the city’s master artisans, rooted in ancient traditions, could achieve such precise and painstaking craftsmanship. The sculptor Léon Leyritz, whose work graces the Paris Opera, was commissioned to design the stunning statuette of the god Janus, a symbol of spring and summer. The design drew inspiration from the statues adorning the gardens of the Château de Versailles.
To bring Desprez’s vision to life, the Sèvres Porcelain Manufacture, founded by King Louis XV, agreed to produce the flacon from its famed Biscuit de Sèvres. This unglazed porcelain, with its matte white finish, mimicked the look of fine marble. In the heart of the Marais, the city’s aristocratic quarter, Desprez discovered a goldsmith working from a hidden courtyard within a centuries-old palace. For weeks, this master craftsman hand-chiseled the delicate silver fountain and the 18kt gold crown that adorned the statuette of Janus.
And, for such a magnificent treasure, only the most exquisite case would suffice. The finest jeweler in Paris was commissioned to create a luxurious red morocco leather box, adorned with gold leaf and crafted with the utmost precision. Desprez could have produced hundreds or even thousands of these bottles, but he chose not to. To do so, he believed, would have betrayed the spirit of the royal and exquisite tradition he sought to preserve.
Wolfe revealed that Jean Desprez initially envisioned a limited production of just 30 Janusette bottles. However, after some consideration, he was convinced that expanding the edition to 100 would be more appropriate. Wolfe articulated the philosophy behind this choice, stating, “To have created thousands of Janusettes would have gone against the spirit of a royal tradition.” With a touch of regret, she added, “Jean Desprez extends his apologies to all the women who won't have the opportunity to own one of these 100 collector's items,” emphasizing the exclusivity and artistry of the flacon.
As the years progressed, by 1975, the demand for the Janusette remained strong, with only 10 bottles left unsold from the limited edition of 100. The exquisite flacons had already found homes in prestigious markets across the globe, including the United States, Ireland, England, Spain, Japan, and the Near East. Interestingly, even amidst a period of rising perfume prices, Parfums Desprez chose not to adjust the original price of $850 for the Janusette. Dennis Desprez elaborated on the philosophy behind this decision, asserting, “This isn't about business—it's something we do as art for art's sake.” His words reflect a commitment to the integrity and artistry of the fragrance, valuing the creation itself over commercial success.
Veja e leia - Issues 278-290, 1974:
Jean Desprez launched his perfume "Bal à Versailles" in the early 1960s. Alongside the standard packaging featuring a bottle with a lyre-shaped lid, he also created a limited series of numbered bottles. These special bottles were designed as statuettes, crafted by the sculptor Léon Leyritz, and depicted a Greek deity in porcelain adorned with a gold crown. Despite their high price of $5,000 each, these exquisite bottles sold quickly.
In 1989, Parfums Jean Desprez took a significant step by commissioning artisans in Limoges to replicate the iconic flacon of their esteemed fragrance. This decision likely stemmed from the prohibitive costs associated with continuing production at the renowned Sèvres Porcelain Manufacture, which had originally crafted the exquisite bottles. The new Limoges bottles were designed to maintain the elegance of the original, but with a distinct mark on the base reading "Jean Desprez Paris Limoges," indicating their new origin.
Despite the change in bottle makers, the flacons remained elegantly housed in the exquisite red leather boxes that had become synonymous with the brand. These cases, adorned with fine gold detailing, preserved the luxurious presentation that collectors and fragrance enthusiasts had come to cherish. The choice to reproduce the flacon, albeit through different artisans, ensured that the spirit and aesthetic of the original design were upheld, allowing Parfums Jean Desprez to continue offering a piece of their storied heritage to the discerning public.
The reissued Janusette, which was launched in 1989, had a retail price of $1,500. When adjusted for inflation, this amount translates to approximately $3,899.21 in 2024. This significant increase reflects not only the changes in the economy over the years but also the enduring value and desirability of the Janusette flacon as a collector's item. The premium price underscores its status as a luxurious piece of art, connecting both to the heritage of Jean Desprez and the craftsmanship of Limoges artisans who replicated the original design.
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