Richard Hudnut’s choice of the name Rose of Omar in 1912 for his perfume was inspired by the romantic allure of The Rubáiyát of Omar Khayyám, the famous collection of Persian quatrains by the 11th-century poet. In this context, Rose of Omar alludes to the poem’s themes of fleeting beauty, sensual pleasures, and a contemplative embrace of life, symbolized by the rose. The name “Omar” is pronounced as oh-MAHR, evoking an exotic, faraway charm. By tying the fragrance to the legendary Persian poet, Hudnut infused the scent with an image of luxurious, dreamlike mystique that resonated with the era’s fascination for the East.
Rose of Omar would have conjured images of lush, aromatic gardens under moonlight, mingling with an air of introspection and elegance. For women in the early 20th century, this name would have suggested a fragrance inspired by the wisdom and beauty of ancient Persia, aligning with the popular Orientalist aesthetic of the time. The fragrance would likely evoke a sense of refined seduction—like wearing a poetic relic from a distant land that whispered of enchanting beauty.
The scent of Rose of Omar is centered around rose, which was a staple note in perfumery, beloved throughout the 19th and early 20th centuries for its delicate yet impactful character. Perfume houses competed fiercely to present new interpretations of rose, crafting names that distinguished their fragrances within a crowded market. Rose of Omar stood out with its name and inspiration, capitalizing on the Western allure of Orientalism, which saw the East as mysterious, sensual, and opulent.
