Grace Elizabeth Arnone Hummel
Perfume Historian | Independent Researcher | Writer | Antique Dealer & Collector
Welcome to My World of Parfums Dana
Welcome, and thank you for visiting!
My name is Grace Elizabeth Arnone Hummel, although many in the fragrance community know me as Cleopatra, the founder and author of Cleopatra's Boudoir. I am an independent perfume historian, researcher, writer, antique dealer, and longtime collector with more than twenty-five years of experience studying and documenting the history of perfumery, antique perfume bottles, cosmetics, and the decorative arts associated with fragrance and beauty.
Since establishing Cleopatra's Boudoir in 1999, I have devoted much of my work to researching, documenting, and preserving the histories of perfume houses, discontinued fragrances, rare bottles, and forgotten creations. What began as a personal fascination with antique scent bottles has developed into an extensive historical research project encompassing thousands of fragrances, manufacturers, advertisements, and related artifacts.
Today, my research extends across several specialized perfume history websites, each devoted to preserving a different chapter of the fragrance industry's extraordinary past.
My Dana perfume website is dedicated to the history and heritage of Parfums Dana, one of the most fascinating names in twentieth-century perfumery. Founded in Barcelona, Spain, in 1932 by Javier Serra, Dana developed an international reputation for distinctive fragrances, memorable advertising, and beautifully presented perfumes that appealed to generations of women.
Although Dana is especially remembered for its celebrated fragrance Tabu, the company's history encompasses a much broader collection of perfumes, cosmetics, scented toiletries, and decorative presentations. Its creations reflect changing fashions, evolving ideals of femininity, and the transformation of the perfume industry during the twentieth century.
From the dramatic sensuality of Tabu to the youthful appeal of Ambush, the romantic character of Emir, and the sophisticated personalities of its many other fragrances, Dana offers a remarkable perspective on the relationship between perfume, advertising, and popular culture.
My purpose is to explore and preserve this extraordinary legacy, documenting the company's celebrated perfumes, forgotten creations, original bottles, historical advertisements, packaging variations, cosmetics, and the perfumers, designers, and entrepreneurs who helped establish its reputation.
Documenting the Fragrance Legacy of Parfums Dana
The history of Parfums Dana represents a particularly fascinating chapter in the development of modern international perfumery.
Established in Barcelona in 1932, Dana emerged during a period of extraordinary creativity and competition in the fragrance industry. European perfume manufacturers were developing increasingly sophisticated compositions, while advances in packaging, advertising, and international distribution made fashionable fragrances available to a growing audience.
The company's early development was closely associated with the entrepreneurial vision of Javier Serra, who sought to establish a distinctive perfume house capable of competing in the international fragrance market.
Dana's most famous creation, Tabu (1932), became one of the defining fragrances of the twentieth century. Created by the celebrated perfumer Jean Carles, Tabu was an intensely sensual oriental fragrance whose rich, warm, and provocative character distinguished it from many of its contemporaries.
The perfume's name, meaning "taboo," suggested forbidden attraction and unconventional romance, themes that became central to its advertising identity.
Tabu's dramatic marketing, particularly its association with the passionate imagery of the violinist and his companion in the painting Kreutzer Sonata by René Prinet, helped establish one of the most recognizable advertising identities in vintage perfumery.
The fragrance enjoyed extraordinary longevity and became familiar to generations of consumers through its distinctive bottles, advertisements, gift sets, and scented toiletries.
Yet Dana's fragrance history extends far beyond Tabu.
Among the company's other memorable perfumes are Emir, Ambush, 20 Carats, Canoe, and Chantilly, the latter two becoming associated with Dana through later developments in the company's portfolio.
These fragrances reflect different periods of Dana's commercial history and demonstrate the variety of fragrance styles, advertising approaches, and consumer markets the company sought to reach.
Some Dana fragrances were promoted as luxurious expressions of sophistication and romance, while others appealed to younger consumers or emphasized freshness, glamour, individuality, and modern femininity.
The company's historical catalog also included numerous lesser-known perfumes, scented powders, soaps, bath preparations, deodorants, cosmetics, gift sets, and specialty presentations.
Many of these products have disappeared from the marketplace, surviving primarily through advertisements, catalogs, packaging, and occasional vintage bottles discovered in private collections.
I am particularly interested in documenting these forgotten creations and reconstructing the broader history of Dana's fragrance and beauty collections.
Through my Dana website, I hope to preserve not only the histories of individual perfumes but also the artistic, commercial, and cultural developments that established Dana as an influential name in twentieth-century perfumery.
My Research and Historical Approach
I often describe myself as a perfume historian and detective, because much of my work involves uncovering forgotten information and reconstructing histories from scattered pieces of evidence.
My research draws upon original perfume advertisements, vintage newspapers, trade journals, manufacturers' catalogs, department-store publications, patents, trademarks, business directories, archival photographs, museum collections, and surviving examples of antique and vintage perfume bottles and packaging.
I devote particular attention to establishing accurate introduction dates, identifying original bottle designs, documenting historical fragrance descriptions, and tracing changes in perfume presentations over time.
Whenever possible, I rely upon contemporary documentation rather than repeating information that has circulated without a verifiable historical source.
This approach is especially important when researching Parfums Dana, whose international development, changing manufacturing arrangements, acquisitions, and extensive product lines can make the identification and dating of vintage fragrances particularly challenging.
A Dana perfume may have appeared in several bottle designs, concentrations, sizes, or packaging styles depending upon the period and country in which it was sold.
Some fragrances remained available for decades, while others were discontinued, reformulated, reintroduced, or incorporated into the company's portfolio through later business arrangements.
For example, the historical origins of fragrances such as Canoe and Chantilly must be distinguished from their later association with Dana. Their presence in Dana's product catalog does not mean that they were originally created by the company.
My research seeks to clarify these distinctions and place each fragrance within its proper historical context.
When investigating fragrance compositions, I distinguish between descriptions published by the original manufacturer, contemporary advertising language, later interpretations, and my own observations of surviving vintage perfumes.
I also recognize that perfumes change with age. Evaporation, oxidation, storage conditions, and the natural deterioration of aromatic materials can significantly alter the character of an old fragrance. Surviving samples may offer valuable historical clues, but they do not necessarily represent precisely how a perfume smelled when originally manufactured.
My goal is to present historically grounded research that allows readers to understand Dana's perfumes as they were originally created, marketed, and experienced.
A Historical Resource for Dana Collectors and Researchers
I created my Dana perfume website for anyone who shares an interest in the company's extraordinary fragrance heritage, whether they are dedicated collectors, fragrance enthusiasts, antique dealers, writers, or researchers investigating the history of twentieth-century perfumery.
Visitors may use my articles to identify and date vintage Dana perfume bottles, compare historical labels and packaging, research discontinued fragrances, locate original advertisements, and learn more about the perfumers, designers, manufacturers, and business figures associated with the company.
I am particularly interested in documenting details that are frequently overlooked in modern fragrance references, including obscure product variations, original prices, early advertising descriptions, rare bottle presentations, and fragrances or toiletries that have disappeared from the marketplace.
Because Dana developed an extensive range of fragrances, cosmetics, and scented products, its surviving advertisements, catalogs, and packaging provide a valuable record of changing beauty practices and consumer preferences.
My research also examines the company's decorative powder boxes, vanity accessories, miniature perfume bottles, gift presentations, promotional novelties, and distinctive packaging, all of which contributed to Dana's recognizable identity.
For collectors, these historical details can help establish the approximate age, origin, and significance of a particular bottle or presentation.
For researchers, they can illuminate broader developments in perfume manufacturing, international distribution, fragrance advertising, commercial branding, and the relationship between luxury and more accessible perfumery.
I hope my Dana website serves as an accessible historical archive, bringing together information that might otherwise remain scattered among old publications, private collections, institutional archives, and difficult-to-find documents.
My Work Within the Perfume Community
Over the years, I have been fortunate to have my historical perfume research referenced, acknowledged, and appreciated by fellow collectors, authors, journalists, and institutions.
My writing has appeared on Fragrantica and in The Perfume Magazine, and I have previously served on Sniffapalooza's Fragrance Advisory Board and participated in Allure magazine's Beauty Panel. I have also been associated with the International Perfume Bottle Association (IPBA) and authored more than two hundred educational guides devoted to vintage perfumes and collecting.
My research has been cited or acknowledged in books and publications, including Lizzie Ostrom's Perfume: A Century of Scents, as well as historical and academic works examining perfume, decorative arts, and material culture.
Cleopatra's Boudoir has also received recognition from fragrance writers and collectors who have found its historical information useful.
The Beauty Bible blog affectionately described Cleopatra's Boudoir as a "Temple to Ancient Perfumes", recommending it to fellow fragrance enthusiasts.
Amelia of The Vintage Perfume Vault generously described my work as "a hero of the free information movement on the Internet and especially in the area of vintage perfume, without parallel."
Scent Grail has also characterized my research as a "gold mine about dating vintage perfumery."
I am sincerely grateful for these acknowledgments. My work has always been independently undertaken, motivated by curiosity, a love of history, and the belief that valuable historical information should be preserved and shared.
It is especially rewarding to know that research originally undertaken out of personal interest has become useful to collectors, authors, historians, and fellow enthusiasts seeking information about vintage perfumery.
Why Dana's History Matters to Me
Among the many historic perfume houses I have researched, Dana holds a particularly interesting position because its history illustrates how a fragrance company could successfully combine artistic perfumery, imaginative advertising, and broad commercial appeal.
The company's celebrated perfume Tabu is especially fascinating because of its bold identity and remarkable longevity.
Introduced during the early 1930s, when the perfume industry was undergoing significant artistic and commercial changes, Tabu presented a deliberately provocative image of fragrance.
Its rich composition, dramatic name, and passionate advertising distinguished it from more conventional perfume marketing of the period.
I find it particularly interesting that a fragrance introduced so many decades ago could remain familiar to successive generations of consumers.
For some, Tabu evokes memories of mothers, grandmothers, dressing tables, and the distinctive scents of an earlier era. For others, it represents an important example of the bold oriental fragrances that helped shape twentieth-century perfumery.
Yet my fascination with Dana extends well beyond Tabu.
I am equally interested in the company's lesser-known fragrances and the ways its products reflected changing fashions and cultural expectations.
Perfumes such as Ambush, Emir, and 20 Carats reveal different aspects of Dana's commercial identity, from romantic sophistication to youthful glamour and the changing ideals of femininity.
The company's advertisements are particularly compelling because they provide a vivid record of how fragrances were presented to consumers during different decades.
A forgotten advertisement may reveal how a perfume was originally introduced to the public. An early department-store catalog can establish when a particular fragrance or presentation was available. A surviving bottle may help identify an unfamiliar stopper, label, or packaging variation. Even a brief reference in a historical trade publication can provide an important clue about a product's introduction or distribution.
Each discovery contributes another piece to our understanding of Dana's extensive history.
I find the stories behind these perfumes every bit as fascinating as the fragrances themselves.
Every rediscovered Dana perfume represents another chapter in the history of twentieth-century perfumery, and every surviving advertisement, bottle, or document offers an opportunity to preserve that story for future generations.
Dana, Tabu, and the Art of Provocative Perfume Advertising
One of the aspects of Dana's history that I find especially significant is the company's innovative use of advertising to establish the identity of its fragrances.
During the twentieth century, perfume manufacturers increasingly recognized that fragrance advertising needed to communicate emotions, aspirations, and personal identity.
Because scent cannot be directly experienced through a printed advertisement, manufacturers relied upon evocative names, dramatic imagery, romantic narratives, and distinctive packaging to suggest the character of a perfume.
Dana's Tabu provides one of the most memorable examples of this approach.
The perfume's provocative name immediately suggested forbidden attraction, while its rich fragrance composition reinforced an image of sensuality and emotional intensity.
The use of René Prinet's painting Kreutzer Sonata, depicting a passionate embrace between a violinist and a woman, became an enduring visual symbol of the fragrance.
This imagery was especially effective because it communicated the perfume's romantic and provocative personality without requiring a detailed explanation of its ingredients.
The association between Tabu and this dramatic artwork helped create a recognizable advertising identity that endured for decades.
I am particularly interested in tracing how Dana's advertisements evolved over time, including changes in illustration, photography, typography, slogans, and the representation of femininity.
The company's advertising offers valuable insight into changing attitudes toward romance, sophistication, sexuality, independence, and modern beauty.
Other Dana fragrances adopted different approaches, reflecting the company's efforts to appeal to varied audiences and changing consumer tastes.
By studying these historical advertisements alongside surviving perfume bottles and packaging, I hope to provide readers with a deeper understanding of how Dana used visual storytelling to establish and maintain its fragrance identities.
Dana's International Heritage and Changing Commercial Identity
Another aspect of Dana's history that I find particularly fascinating is the company's international development.
Although Dana originated in Barcelona, its fragrances became associated with markets far beyond Spain, including the United States, where the company developed a substantial presence.
The international expansion of perfume manufacturers during the twentieth century created new opportunities but also introduced complexities involving manufacturing, distribution, trademarks, and changing business ownership.
These developments can be especially important when researching vintage Dana perfumes.
A fragrance sold in one country may have appeared in different packaging from the same product marketed elsewhere. Bottle labels, manufacturer addresses, distribution information, and other markings may provide valuable clues about where and when a particular item was produced.
Changes in company ownership and manufacturing arrangements can also influence the historical identity of a fragrance.
Some perfumes originally introduced by one manufacturer later became associated with another company through acquisition, licensing, or other commercial arrangements.
For this reason, I believe it is essential to distinguish the original creator of a fragrance from the company that subsequently manufactured or distributed it.
My research seeks to document these relationships whenever reliable historical evidence is available.
By tracing Dana's international development and changing product lines, I hope to provide collectors and researchers with a clearer understanding of the company's place within the broader history of the perfume industry.
The Importance of Original Formulations and Vintage Presentations
One subject of particular importance to me is the preservation of information about original perfume formulations and historical bottle presentations.
Many Dana fragrances remained commercially available for decades, but their compositions, packaging, and manufacturing arrangements sometimes changed considerably over time.
These changes may reflect evolving consumer preferences, ingredient availability, regulatory requirements, manufacturing practices, or new commercial directions.
For collectors and perfume historians, distinguishing between different periods of production can be essential to understanding the history of a particular fragrance.
An early bottle of Tabu, for example, may represent a different historical experience from a later version sold under the same name.
Similarly, vintage examples of other Dana fragrances may differ in presentation or aromatic character from subsequent formulations.
I am especially interested in documenting these distinctions through original advertisements, dated packaging, bottle markings, historical catalogs, and contemporary descriptions.
This research helps preserve information about fragrances as they existed during particular periods, rather than treating their names as representing a single, unchanging product.
It also allows collectors to better understand the significance of vintage bottles and the historical context in which they were produced.
My intention is not to suggest that every earlier formulation was necessarily superior to a later version, but to recognize that each belongs to a particular moment in perfume history and deserves to be understood on its own terms.
Rediscovering Dana's Forgotten Fragrances
Although Tabu remains Dana's most recognizable historic creation, the company's extensive catalog contains numerous fragrances that have received comparatively little attention.
Some enjoyed considerable popularity during their original periods of production but have since disappeared from the marketplace.
Others were produced for shorter periods or marketed through particular retailers, countries, or distribution arrangements.
I find these forgotten fragrances especially rewarding to research.
Their histories often survive in scattered advertisements, department-store catalogs, trade publications, trademark registrations, and occasional examples of original packaging.
A single advertisement may reveal a previously undocumented perfume name. A surviving gift set may establish that a fragrance was accompanied by matching powder or toiletries. A bottle label may identify a manufacturer or distributor whose involvement was previously unknown.
By assembling these fragments of evidence, it becomes possible to reconstruct portions of Dana's historical catalog and preserve information that might otherwise be lost.
I believe that the lesser-known fragrances of a perfume house deserve the same careful attention as its celebrated classics.
Together, they provide a more complete understanding of the company's creativity, commercial ambitions, and changing relationship with consumers.
Through my Dana perfume website, I hope to bring these forgotten creations back into the historical record and make their stories accessible to future generations of collectors and researchers.
Preserving Perfume History for Future Generations
Historical perfume research is an ongoing process. New documents emerge, previously unknown advertisements are discovered, and surviving objects sometimes challenge long-accepted information.
For that reason, I regard my website as an evolving archive rather than finished histories. I continually seek additional evidence, revisit earlier findings, and expand articles as new information becomes available.
My intention is not to speak on behalf of Parfums Dana or to present my website as an official company archive.
This is an independent historical research project, created out of a longstanding appreciation for the artistry of perfumery and a desire to make its history more accessible to collectors, researchers, and fragrance enthusiasts.
I hope readers will find the information useful, whether they are identifying an inherited perfume bottle, investigating a discontinued Dana fragrance, studying historical advertising, or simply enjoying a journey through the company's remarkable past.
Above all, I believe that perfume deserves to be studied not merely as a beauty product, but as an important part of artistic, commercial, and cultural history.
A Personal Thank You
I am deeply grateful to the readers, collectors, historians, and fellow fragrance enthusiasts who have supported my work throughout the years.
Your questions, discoveries, contributions, and encouragement continue to inspire my research. Some of my most rewarding experiences have come from helping someone identify a treasured vintage perfume, rediscover a fragrance associated with a cherished memory, or uncover an overlooked detail about a historic perfume house.
I am especially appreciative of those who generously share photographs, advertisements, catalogs, personal recollections, and other historical materials that contribute to a fuller understanding of vintage perfumery.
My greatest hope is that the information preserved through my Dana website will remain a useful reference for today's fragrance enthusiasts and for the perfume historians and collectors of tomorrow.
Thank you for visiting and joining me in exploring the fascinating fragrance heritage of Parfums Dana.
Happy collecting!
Grace Elizabeth Arnone Hummel
Cleopatra
Founder of Cleopatra's Boudoir
Independent Perfume Historian, Researcher & Writer
Southern New Jersey, USA
Contact: reinedeparfum@gmail.com
Preserving the past, one perfume at a time.
This website is an independent historical and educational resource. It is not affiliated with, endorsed by, or officially associated with Dana, its current or former trademark owners, or any affiliated companies. All trademarks and brand names remain the property of their respective owners.
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