Gerald Pocius places development of material culture theories in the domain of folklore. In folkstudies creation and identification of an object with a particular maker have remained a prevalent area of inquiry and study. Focusing on a limited number of hand produced objects, the context in which the object came to light, practices and identification of the maker, manufacturing techniques and the materials used provided useful information about technological development, trade relations and social values (Pocius, 1997). In the study of mass produced, commercially available products methods resulting in identification of manufacture processes and connoisseurship are not as relevant. Due to global technical developments the information exists as public knowledge and manufacturers label their wares. Commercially available, mass produced products are not as easily unpacked and the widely used material culture methodologies of Prown, Zimmerman and E.McClung Flemming are difficult to apply and not as relevant as theories and methodologies related to design history. All designs reflect cultural values. In contemporary society 'consumption processes' are more important than production processes in shaping social identity and explaining social behavior (Compton, 1996:113). As a consequence the consumer has become a more suitable case for study than the producer as the consumer is the ultimate author of meaning in any advertisement (O'Barr, 1994:8).

The study of perfume bottles encompasses both the advertising, mass consumption market and social theory of gender and acceptability. Each of these areas bring a different viewpoint to consumer culture and mass produced commercial goods. A systematic study has not been undertaken to amalgamate all of these factors into a study of perfume bottle design. My research into this area will fill a void and provide a starting point for future scholars in this discipline. In this study package design is analyzed. Perfume bottles over the last forty years reflect changing gender identities through bottle shape and top design. Design reflects a change in the status of perfumes from luxury items in 1968 to toiletry items in 1994, through bottle shape and material of construction. More specifically, an increase in the use of opaque plastics demonstrate perfumes as readily accessible and easily replaced items. Industry analysts acknowledge that the transformation of perfumes from luxury items to daily use items has been calculated and engineered (Goldman, 1992:43). From the 1920's , the ingredients and packaging of new perfumes have reflected the preoccupation of each decade (Craik, 1994:167).

For more information on perfume history, visit history *. For information on glass history, visit A Short History of Glass. *

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