Liu by Guerlain c1929

Liu by Guerlain, launched in 1929 and created by Jacques Guerlain, draws its inspiration from the haunting beauty and tragic romance of Puccini's opera Turandot. In the opera, Liu is the name of a slave girl who plays a pivotal role in the dramatic love story. The plot of Turandot revolves around the cold and cruel Princess Turandot, who has vowed to remain unmarried unless a suitor can solve three riddles. Failure results in execution. Prince Calaf, entranced by her beauty, takes on the challenge. Liu, a slave girl deeply in love with Calaf, represents the tender heart of the opera. Her selfless devotion leads her to sacrifice her life for his, embodying unwavering loyalty and deep, tragic love.

The name Liu is taken from the opera's original Italian libretto, though the character and name have Chinese roots. Pronounced "LU," the name evokes simplicity, grace, and quiet strength. Liu, in the context of the opera, symbolizes purity, selflessness, and unrequited love, images that resonate through the ages. For a perfume, the name "Liu" conjures emotions of delicate elegance, soft femininity, and quiet power—traits that would have appealed to the women of the time, seeking a reflection of their own grace and inner strength.

Women of the late 1920s, emerging from the flapper era and the tumult of World War I, were embracing more freedom and confidence in their personal lives. A fragrance like Liu, named after a character who was at once loyal and tragically romantic, would evoke an air of mystery and tenderness. It allowed women to connect to something poetic and timeless, while also embracing a new era of modernity, where the art of scent was evolving rapidly. The name would have evoked imagery of far-off, exotic lands and timeless emotions, appealing to the sophisticated, worldly woman of the late 1920s.

In scent, Liu captures the essence of its namesake through its classification as an aldehydic floral. Aldehydes were seen as daring, fresh, and modern notes in perfumery at the time. Liu was Guerlain’s first fragrance to use aldehydes in such a bold measure, competing with other iconic aldehydic florals of the period, such as Chanel No. 5 (1921), Arpège by Lanvin (1927), L’Aimant by Coty (1927), and Evening in Paris by Bourjois (1929). These perfumes revolutionized the way women perceived scent—shifting from simple, single-note florals to more complex, sophisticated compositions. The aldehydes in Liu add a sparkling, almost abstract quality to the fragrance, opening it with a burst of brightness that feels crisp and effervescent, yet intangible, like a gleam of light or the soft shimmer of silk.

The 1920s were a time of innovation and excitement in many fields, including perfumery. Aldehydes, once considered experimental, became a symbol of modernity, giving fragrances a crystalline sharpness and a radiant lift that natural ingredients alone couldn't achieve. This innovation allowed perfumes to last longer on the skin, giving them an almost ethereal presence. For Liu, the aldehydes act as a vehicle to transport the wearer into an imagined world of elegance, art, and high romance, much like the opera that inspired it.

The use of aldehydes in perfume was groundbreaking because they provided an artificial brilliance that enhanced natural floral notes. By blending aldehydes with the soft, creamy floral heart of roses, jasmine, and ylang-ylang, Liu captures a unique balance between delicate, old-world romance and the sparkling energy of modernity. The scent evokes a sense of grandeur and timelessness while being utterly contemporary for its time.

During this period, women were eager to embrace new experiences, whether through fashion, travel, or scent. The world was opening up, and perfume houses like Guerlain tapped into the sense of excitement and adventure. With Liu, Jacques Guerlain paid homage to the artistry of opera while embracing the era’s fascination with far-flung places, exotic inspirations, and the allure of the modern woman. Through the careful use of aldehydes, Liu represented a new dawn in perfumery, both a nod to the past and a bold step into the future.

Fragrance Composition:

So what does it smell like? It is classified as an aldehydic floral fragrance for women.

• Top notes: aldehydes, bergamot, neroli
• Middle notes: orange blossom, rose, jasmine, ylang ylang, orris, rosemary
• Base notes: vanilla, sandalwood, amber

I tested a vintage 1990s sample and it started off with sharp aldehydes, then the jasmine and ylang ylang became more prominent followed by a drydown of vanilla and a woodsy note.

Scent Profile:

The opening of Liu begins with a burst of aldehydes, an unmistakable effervescence that sparkles like the fizz of champagne. There’s a crisp, metallic sharpness to the aldehydes, as if the air itself has been kissed by a cool, clean breeze. It's vibrant yet elusive, imparting a shimmering quality that dances on the skin, lifting the fragrance into a dream-like state. 

As the aldehydes begin to settle, they intertwine with the citrus tang of bergamot, providing a bright, zesty edge. The bergamot is fresh, tart, and slightly bitter, reminiscent of peeling a citrus fruit in the early morning sun, its oils releasing a soft, sparkling mist. Neroli enters the scene, softening the sharpness with its delicate, honeyed floral quality. The neroli feels luminous, sweet but with an underlying green freshness, like orange blossoms picked just as they are starting to bloom.

As Liu transitions into its heart, the floral symphony unfolds. Orange blossom leads the way, continuing the theme of citrusy florals with a creamy, almost waxy sweetness. Its scent is intoxicating and enveloping, warm and glowing like sunshine on petals. 

Rose follows, blooming gracefully in the composition. The rose here is full-bodied and lush, carrying a velvety richness that feels both timeless and regal. Its deep, romantic scent lingers, adding a soft powdery touch that blends effortlessly with the jasmine. The jasmine in Liu is sultry and heady, its sweet, indolic aroma infusing the fragrance with an intoxicating sense of sensuality. It smells like a warm evening breeze wafting through a jasmine-covered garden, evoking a sense of timeless beauty.

Ylang ylang joins the floral bouquet, adding a lush, creamy dimension to the scent. It has a tropical, almost fruity quality, but with a depth that feels exotic and luxurious, like the silky petals of the flower itself. It mingles with the orris, which adds a slightly powdery and root-like earthiness, grounding the floral exuberance with a whisper of violet-like coolness. 

Rosemary, an unexpected herbal touch, cuts through the florals with its green, resinous sharpness, bringing an invigorating contrast to the composition, like the scent of fresh herbs crushed between your fingers in a sun-drenched Mediterranean garden.

As the fragrance dries down, the warmth and sweetness of vanilla emerge. The vanilla is creamy and smooth, offering a comforting sweetness that lingers on the skin like the embrace of soft velvet. It’s not cloying but rather delicate and refined, blending seamlessly into the sandalwood. The sandalwood is rich and creamy, its soft, woody aroma adding a grounding, almost milky warmth that feels meditative and serene. Together, they create a luxurious base, rich with texture and warmth.

Finally, amber glows softly in the background, adding a resinous warmth and a slight honeyed sweetness that feels golden and sensual. It wraps the composition in a smooth, balmy glow, like the fading warmth of sunlight at dusk. The scent of Liu evolves beautifully on the skin, transitioning from the sparkling brightness of aldehydes and citrus to the rich floral heart and a warm, comforting base, leaving behind an unforgettable trail of sophistication and timeless elegance.

Harper's Bazaar, 1931:

"Liu whispers that her jests lack joy . . . that the sorrows of sophistry — dark as Erebus — cloud her heart. Yet for her glamour and her gallantry Liu is hers — by the genius of Guerlain."

Marie-Claire, 1937:

 "Liu by Guerlain: The king of perfumes, heady, subtle and fresh at the same time. Dominant note: indescribable. Silent, modest, she likes to go unnoticed. And yet, without her, the lives of those she loves would be a desert. Its discreet fragrance of rare quality."

La Femme Chic, 1945:

 "Liu by Guerlain conceals its luminous clarity within a black crystal Chinese bottle, giving it an air of exotic enchantment. Yet, it's hard to imagine a perfume more quintessentially Parisian... unless, of course, one envisions a meeting of Mandarin princesses and Parisian aristocrats in a rarefied realm of elegance—an idea that is entirely plausible. Connoisseurs describe Liu as a fragrance with 'rising scents.' The jasmine, which takes center stage in its composition, lends the perfume a velvety softness, an abundance of floral richness, and a delicate sweetness."

 

Bottles:

Presented in the Tabatiere flacon (parfum), the Montre flacon (eau de cologne), the Goutte flacon (eau de toilette), the quadrilobe flacon (parfum), the Amphore flacon (parfum), the parapluie flacon (parfum), the flacon de guerre (parfum) and various spray flacons over the years, also available in the ancillaries: talcum powder, lotion vegetale, stilboide fluide, soap, bath oil, etc.

Flacon Tabatiere (Snuff) c1927-1972

The Flacon Tabatière (Snuff Bottle) was in use from 1927 until 1972. Originally crafted to hold extraits of the fragrance Liu, the bottle was designed by Raymond Guerlain. This striking flacon was made of opaque black crystal and was adorned with a gold label positioned vertically down the front. Its black glass stopper featured a recessed center, in which a round paper label displayed the name Guerlain in stylized script, embossed in black and gold. The design of the bottle was inspired by traditional Chinese snuff bottles, as well as 18th-century Chinese tea caddies. Produced by the renowned Cristalleries de Baccarat (design #679), it was also manufactured over the years by Pochet et du Courval. This bottle was exclusively made in black crystal and was patented in the USA by Bernard D'Escayrac, who served as Vice President of Guerlain, Inc. in New York at the time.

Baccarat:

• 80cc/80ml/2.7 oz - 7.8cm (limited edition of only 6000 Single copies, often unsigned) 

Pochet et du Courval:

• 30cc/30ml/1 oz - 5.9cm/2.32" (1934, export version) 
• 40cc/40ml/1.35 oz - 6.4cm/2.52" (1937) 
• 80cc/80ml/2.7 oz - 7.8cm/3.07" - changed to 75ml/2.5 oz limited edition of 3000 copies (1994) 
• 125cc/125ml/4.2 oz - 9cm/3.54" 
• 250cc/250ml/8.4 oz - 11cm/4.33"

Flacon Bouchon Quadrilobe (Quatrefoil Stopper) c1908-Present:

The Flacon Bouchon Quadrilobe (Quatrefoil Stopper) has been in use from 1908 to the present, making it one of Guerlain’s most iconic and enduring bottle designs. Crafted by five different glass manufacturers over the years—including Baccarat, Pochet et du Courval, St. Gobain Desjonquères, Cristalleries de Nancy, Cristal Romesnil, Verreries Brosse, and BSN-GD Flaconnage—it has been used to house extraits for numerous Guerlain perfumes. Some later versions were adapted to hold eaux de toilette or eaux de parfum. Baccarat’s version is labeled flacon #24.

Originally created in 1908 for the fragrance Rue de la Paix, the flacon has since become known as Guerlain’s ‘house bottle,’ a vessel synonymous with the brand. The labels on these bottles, known as etiquette laurier due to their laurel leaf borders, were used for most fragrances, except Coque d’Or, Dawamesk, Liu, and Fleur de Feu, which featured a more modernist design.

Due to the bottle’s long production history, many glassworks had to modify their original molds over time, affecting both the bottle and its stopper. The transition from ground glass stoppers to those with plastic plugs (plastemeri) also altered the overall capacity and dimensions of the bottles. According to Atlas & Monniot, it would be "unreasonable" to catalog all the small changes made over the decades, noting that "an original mold may have been modified up to five times for a bottle of the same capacity with only slight differences in size."

Flacon de Guerre (War Time Edition) c1938-1945:

 

Pochet et du Courval created this bottle to house extraits of Shalimar, Jicky, Guerlinade, Fleur de Feu, Mitsouko, L'Heure Bleue, Liu, Kadine, Verveine,Vague Souvenir, Champs Elysees,  Geranium d'Espagne, Jasmiralda, Lilas, Bouquet de Faunes, Guerlilas, Gavotte, Coque d'Or, Imperial Russe, Fleur Qui Meurt, Gardenia,  and others.

• 10cc/10ml/0.388 oz (1939-1945) 
• 20cc/20ml/0.676 oz (1939-1945) 
• 30cc/30ml/1 oz (1938-1945) 
• 40cc/40ml/1.35 oz (1938-1945) 
• 82cc/82ml/2.77 oz - 10,3cm/4.06" (1938-1945) 
• 125cc/125ml/4.2 oz (1938-1945) 
• 250cc/250ml/8.4 oz (1938-1945) 
• 500cc/500ml/16.9 oz (1938-1945)

 

Flacon Borne (Boundary Stone) c1931- 1960s:

Made by Pochet et du Courval to house extraits of Shalimar, Mitsouko, Liu, L'Heure Bleue, Geranium d'Espagne, Rue de la Paix, Cuir de Russie, Chypre, Sous le Vent, Vega, Jicky, L'Heure Bleue, Sillage and others.

• 82cc/82ml/2.7 oz - 10,5cm/4.13" (1931), ground blue glass truncated stopper in the shape of a French policeman's cap 
• World War II Version, all clear glass, without cobalt blue band.

Flacon Lanterne (Lantern) c1935-1943:

Flacon created by Pochet et du Courval to hold extraits of Jicky, Rue de la Paix, Cuir de Russie, Jasmine, Sous le Vent, and others. The bottle was reissued in 1999 to hold a limited edition extrait of Guet Apens.

• 10cc/10ml/0.338 oz - 5.4cm/2.13" (size reserved for export) 
• 30cc/30ml/1 oz - 7.3cm/2.87" (size reserved for export) 
• 80cc/80ml/2.7 oz - 9.7cm/3.82" (1935-1943) 
• 125cc/125ml/4.2 oz - 11.5cm/4.53" (reissued in 1999 125ml/4.2 oz - 12cm/4.72" for Guet Apens) 
• 250cc/250ml/8.4 oz - 14cm/5.51" (1935-1943)

Flacon Amphore (Amphora) c1955-1982:

Used for extraits of Ode, Shalimar, Chant D'Aromes, Liu, Jicky, L'Heure Bleue, Mitsouko, Muguet, Chamade, Atuana, Apres L'Ondee, Fleur de Feu, Sous le Vent, Vol de Nuit, Une Fleur and more. Bottle made by both Baccarat and Pochet et du Courval.

Baccarat Flacons:

• 40cc/40ml/1.35 oz - 14,5cm/5.71" (1955) 
• 80cc/80ml/2.7 oz - 18,3cm/7.2" (1955) 

Pochet et du Courval:

• 15cc/15ml/0.5 oz - 11.5cm/4.53" (1959) ground glass rosebud shaped stopper, changed to plastic rosebud screwcap in 1978. 
• 20cc/20ml/0.676 oz - 11.5cm/4.53" (1955): gilt ground glass rosebud stopper

Flacon de Sac (Purse Bottle) /Parapluie Flacon (Umbrella Bottle) c1952-1978:

A purse vial made by various glass manufacturers: Pochet et du Courval, Brosse and Saint Gobains Desjonqueres, (1952-1978). The first presentations were encased in boxes which coordinated with the perfume's name and style. Later presentations omit the box and the flacon is housed inside of a leather case.

Bottle held extraits of Shalimar, Ode, L'Heure Bleue, Mitsouko, Jasmin, Vega, Jicky, Sous le Vent, Chant D'Aromes, Chamade, Vol de Nuit, Liu and possibly more:

• 7cc/7ml/0.237 oz - 7.8cm/3.07"

Flacon Goutte (Teardrop) c1923-2001:

Bottle created by Pochet et du Courval to hold eaux de toilette only. Bottle also made by different manufacturers over the years. Created as the standard Eau de Toilette presentation. The frosted glass stopper is made of two cockle shells; the label depicts two dolphins known as ‘Etiquette Dauphin’.

Different manufacturers:

• 50cc/50ml/1.7 oz - 8 to 9cm/3.15" to 3.54" (1973) replaced by 50ml - 8.9 cm (1983-1988) 
• 100cc/100ml/3.4 oz - 12 to 13cm/4.72" to 5.12" (1938) replaced by 100ml - 12.5 cm (1983-1994) 
• 250cc/250ml/8.4 oz - 16 to 17cm/6.3" to 6.69" (1923) replaced by 250ml - 16.8 cm (1983-1995) 
• 500cc/500ml/16.9 oz - 20 to 21cm/7.87" to 8.27" (1923-2001) 
• 1 liter - 25 to 26cm/9.84" to 10.24" (1923-1999) 

Stoppers:

• 1923-1973: ground glass 
• 1973-1980: glass with plastic dowel 
• 1980-1987: gilded glass with screw on plastic dowel 
• 1987-2002: glass with plastic dowel 

Labels:

• 1923-1979: newsprint dolphin label 
• 1980-1987: black and gold oval label 
• 1987-2001: no label, silkscreened serigraphy on bottle instead

Flacon Montre (Watch) c1936 - 1999:

Flacon created by Pochet et du Courval to hold eaux de cologne, first used with Cachet Jaune in 1936, also held various other scents such as Shalimar, Mitsouko, Jicky, Fol Arome, Chamade, Chant D'Aromes, Liu, L'Heure Bleue, Vol de Nuit, Sous Le Vent, Chypre 53, Parure and more. 

• 50cc/50ml/1.7 oz - 11cm/4.33" (1936-1950) 
• 64cc/64ml/2.16 oz - 12.5cm/4.92" (1972-1979) changed 60ml 
• 100cc/100ml/3.4 oz - 14.6cm/5.75" (1936-1999) 
• 125cc/125ml/4.2 oz - 16cm/6.3" (1960-1972) 
• 200cc/200ml/6.7 oz - 18.5cm/7.28" (1936-1999) 
• 400cc/400ml/13.5 oz -9.5" (1936-1972) 
• 500cc/500ml/16.9 oz - 24.3cm/9.57" (1936) 
• 1 liter/1000ml - 30cm/11.81" (1936) 
• 2 liter/2000ml - 37.5cm/14.75" (1970) 
• 3 liter/3000ml - 42cm/16.54" (1979) 

Stoppers:

• 1936-1972: ground glass stopper 
• 1972-1979: gold screw-cap stopper 
• 1979-1999: plastic stopper 

Flacon Capsule c1920-1971:

Pochet & Du Courval created this bottle to hold Lotion Vegetale in various scents, such as L'Heure Bleue, Jicky, Shalimar, Mitsouko, Chant D'Aromes and others. Lotion Vegetale was a hair dressing created in 1900; this presentation was launched in 1920.

• 250ml/8.4 oz- 14,5cm/5.71" ground glass stopper with metal capsule flacon, discontinued in 1955 
• 250ml/8.4 oz - 12-13cm/4.72" -5.2" - (1955) new size and with screw cap 
• Newspaper type label from 1920-1966 
• Oval label used from 1966 to 1971

Talcum "Lyre" Poudreur Flacons c1947-1980s:

Beautiful frosted glass talcum powder bottles were in the shape of a lyre or guitar. they held six scents: Shalimar, Mitsouko, Vol de Nuit, Liu, Fleur de Feu and L'Heure Bleue. Talcum powder in the frosted bottle was introduced in 1947, it was being put up in a white plastic canister in the late 1960s, then it was sold in a turquoise canister in the 1980s.

Limited Edition Eau de Toilette c1984:

Limited edition 1.7 oz eau de toilette spray. This bottle was also used for a limited edition eau de cologne in the same year.

Fate of the Fragrance:

Still available for sale in the 1980s. Discontinued (date unknown).

1994 Reformulation & Reissue:

In 1994, it was reissued as a 75ml parfum as limited edition in its original tabatiere bottle, but the juice was reformulated with modern ingredients. Then it was discontinued.

• Top notes: aldehydes, neroli, bergamot
• Middle notes: jasmine, rose de mai, rosemary
• Base notes: iris, vanilla, woody notes, amber

From Guerlain:

"The exotic inspired Shalimar, is a strong trend of the first quarter of the century. -Art Deco -introduces the taste of the addition, research; Asia fascinates as much as we gradually discover Japan, whose openness to the West began in the era Meiji period, at the end of the 19th century. Japanese and Chinese female silhouettes, and their clothes to straight cuts, will influence the Western fashion designers and artists, beginning with Puccini and Madame Butterfly.

The opera Turandot will confirm this fascination with Asian heroines, their sense of the sublime and the sacrifice, with the character of Liu. This young servant in love with Prince Calaf will prefer to die rather than reveal his nickname: -Love- It is in homage to this figure who embodies the virtues of women's only Jacques Guerlain created in 1929, the perfume Liu. Its Baccarat bottle, black glass, inspired by a Chinese tea box that once belonged to the Guerlain family, contains a delicately floral and powdery perfume."

2005 Reformulation & Reissue:

In 2005, it was reissued as a limited edition in its original tabatiere bottle, but the juice was reformulated. It is classified as a green floral fragrance for women.

• Top notes: aldehydes, bergamot, neroli
• heart notes: rose de mai, jasmine 
• Base notes: vanilla, woods, iris, amber

From Guerlain:

"Liu is one of the Exclusive Collections, fragrances for perfume enthusiasts rare, sensitive to the noble materials and the refinement of the details. The Exclusive Collections are available in France exclusively in Parisian Guerlain Boutiques and now on your online shop Guerlain.  

A great lover of opera, Jacques Guerlain could only mesmerized by Puccini's Turandot. Difficult to resist the charm of Liu, a beautiful heroic wife, for whom he composed this poem olfactory aldehydes interpret one of their best roles. They dominate the head and announce such cymbals, the entrance to the rose and jasmine deploying brilliantly fresh air of sensuality. As a musical work, the fragrance has to have a calm and voluptuous extension. Pari held because very soon gives vanilla its carnal accents to those of the iris and wood.  

The fragrance is magnified in the iconic bottle with "Bees" in a proprietary format of 125ml.  Reissue of 1929.  Floral aldehyde. Rare, feminine, timeless. 

• Top notes: aldehydes  
• Heart notes: rose, jasmine 
• Base notes: vanilla, woody, iris

After L'Heure Bleue which introduced for the first time aldehydes in the composition of perfumes, Jacques Guerlain again uses these synthetic molecules to compose Liu. A timeless and legendary fragrance, in which aldehydes are "singing white flowers".

It now only exists as an Eau de Parfum in the exclusive 'Les Parisiennes' collection, housed in a 125 ml bee bottle.

"A great lover of opera, Jacques Guerlain created Liu as an homage to Turandot in 1929. Liu was a beautiful and desirable young woman who, even under torture, will not reveal the secret of her master's name: Love ... Real poem dedicated olfactory femininity."

In 2012, Guerlain released, the Liu Perfumed Shimmer Powder for Face and Body (37.5g),

"The star product of the Guerlain Liu Christmas collection, this show-stopping, limited edition loose powder dresses the body with sensuality. Drawing its inspiration from Jacques Guerlain's iconic Liu Eau de Parfum from the 1920's, this precious beauty ritual softly illuminates the body with a mysterious, refined and festive air. The black lacquered bottle is a talisman all of its own. Styled in the image of the original Liu perfume bottle, which in turn was inspired by traditional Japanese tea trays, this legendary fragrance is transformed into a desirable objet d'art."

2021 Reformulation & Reissue:

Launched in the spray version of the Bouchon Coeur flacon.

• Top notes: aldehydes, neroli, bergamot
• Middle notes: jasmine, rose, rosemary
• Base notes: iris, vanilla, woody notes, amber