In an era when the carriage was the main mode of transportation for the nobility, even a short trip was a carefully planned process. For ladies of noble birth, each outing became a kind of ritual of care, presentation and demonstration of status. Fragrances played a special role in this – they were selected as carefully as jewelry or the fabric of the dress.
Preparation for the trip included a whole series of actions related to the aromatization of the body, clothes and the carriage itself. Everything had to create a harmonious olfactory impression, because the smell was perceived as an extension of the image and personal space. Below we will analyze the main stages of this preparation – from skin care to the treatment of the carriage interior.
Body care before departure
Preparation began with cleansing and scenting the skin. Despite limited access to water in some palace settings, grooming procedures were an important part of the morning routine.
Most often, the so-called “dry baths” were used:
● rubbing the skin with aromatic alcohols (based on rose water or lavender);
● rubbing with cotton napkins soaked in mint or sage infusions;
● light massage with perfumed oils (musk, myrrh, jasmine);
● applying powder with an iris scent to mattify the skin.
The procedure not only cleansed the body, but also formed the first layer of aroma that was revealed under the clothes when moving. The body odor had to be delicate, not interrupting the perfume.
The finishing touch was the application of a thick cream or balm to the neck, shoulders and wrists – the areas where the perfume lasts the longest, especially in the closed space of the carriage.
Hair and hairstyle aromatization
Hair is a carrier of scent that interacts particularly actively with air movement. Therefore, special attention was paid to it when preparing for a trip.
The main methods of hair aromatization included:
● dusting a wig or natural hair with powder containing notes of rose, amber or bergamot;
● using oil-based perfumes to treat combs and hairpins;
● spritzing with water with lavender or orange essential oils during styling;
● fixing fabric rosettes or ribbons, previously soaked in aroma, into the hair.
Some ladies ordered special perfumes specifically for hair – they had a softer formula and did not dry out the locks. The smell of hair was supposed to be slightly different from the smell of clothes and body, creating a “double accord”.
Amber and tonka were especially popular – their warm, “fluffy” notes lasted the longest in thick hairstyles and blossomed during movement.
Processing of clothes and accessories
In the 18th–19th centuries, fabrics actively absorbed odors, so aromatization of clothes was carried out in advance and with special care.
The following methods were used in the preparation:
● storing clothes in closets with sachets of dried herbs (lavender, rosemary, cloves);
● steam ironing with the addition of essences to lightly fix the scent on silk and velvet;
● sprinkling hems and cuffs with a special “clothing water” with a light aroma (for example, based on orange blossom);
● Applying perfume to the inner linings rather than the outer side of the fabric for a delicate trail.
Fans, gloves and scarves were always scented separately. Scented gloves were especially popular – the leather was soaked in incense, sandalwood or musk at the production stage.
This is how a “shell” of scents was created that did not interfere, but on the contrary, emphasized the main accents of the perfume composition.
Aromatization of the interior space of the carriage
The carriage, especially the closed one, quickly filled with smells: leather, wood, varnish, grease. To make the atmosphere inside harmonious, it was aromatized in advance.
The following methods were used:
● placing sachets under seats or in upholstery pockets;
● wiping the internal wooden elements with a cloth soaked in aromatic water;
● drops of lavender or citrus oil on pillows for freshness;
● installation of “perfume apples” – ceramic balls with aromatic filling.
Many noble ladies had a “permanent smell” of the carriage, recognizable to those around them. This increased the feeling of privacy and continued the image created before leaving.
During the cold season, heated bricks wrapped in scented fabrics were placed inside – they both warmed and emitted a scent, filling the carriage with coziness.
Perfume: choosing a composition for the road
Heavy evening fragrances were not used for the road. The main principle is a comfortable scent that develops in motion and does not tire in a confined space.
Preference was usually given to:
● fresh citrus compositions with lavender and neroli;
● light floral aromas (jasmine, rose, lilac);
● woody and herbal infusions for balance;
● musky bases that lasted long on skin and fabric.
The scent was selected taking into account the time of day, route, and season. For example, in the summer, green, moist notes were more often chosen, in the winter – soft spicy or vanilla.
A bottle of perfume was always taken with you – it was placed in a pocket with protective padding so that if necessary, a refreshing scent could be added upon arrival.
Final touches before planting
Immediately before landing, the lady completed the aromatic composition, adding elements that opened up with movement or close contact.
Recent activities have included:
● applying a drop of perfume to gloves (for handshakes);
● aromatization of the fan with a light wave over the bottle;
● using scented handkerchiefs hidden in a muff or clutch;
● additional spraying of the upholstery or curtain by the window – “for a farewell trail”.
The route was also taken into account: if a long journey lay ahead, more stable formulas were preferred. For short trips, a playful, quickly disappearing composition was allowed.
These final touches formed a “fragrant portrait” that the lady carried with her like a business card, creating the first and last impression at the same time.
For a noble lady, fragrance was not only an element of care, but also a means of self-expression, especially in a road situation. Preparation for a trip turned into a whole ritual, where the smell of clothes, body and even the carriage itself had to sound consistent. Elegance was measured not by the volume of the train, but by the subtlety of the combination and the ability to leave behind a cloud that was remembered longer than the appearance.
This culture of multi-layered aromatization is an art that perfumers and reconstructors are returning to today, trying to recreate the authentic scent of past centuries and their moving beauty.
Questions and Answers
The carriage was a closed space, and its smell was perceived as an extension of the lady’s image.
Light, delicate compositions: lavender, citrus, greenery, musk.
These accessories were close to other people and their scent enhanced the impression of the lady.