Guerlain's Historical Cosmetics

Pierre-Francois-Pascal Guerlain was born in 1798 in Abeville. In 1817, he began a career as a "commited merchant" in the House of Briard, which manufactured and sold perfumes. Soon, he was hired by the House of Dissey et Piver, a cosmetic and perfume house, where he worked as a salesman and helped create perfumes.

In 1828, at the age of just 30, Pierre-Francois-Pascal Guerlain opened his first boutique, at 42 rue de Rivoli,an arcade-lined street located in the heart of Paris. Fortunately, this was also the location of the fashionable Hotel Meurice, a favorite haunt of the British high society.

To exploit this fact, he used his knowledge of popular British toiletry products from his days as a salesman, Guerlain began his business by importing upscale products from Britain, but he was soon developing his own, original, trendsetting formulas for toilet waters, scented toilet vinegars, soaps, creams, pomades, cosmetics, perfume extraits and perfume essences for handkerchiefs. many of the products bore English writing on the labels. He used imported ingredients for cosmetics: cochineal from Goa, alum and vermilion from China, and myrrh and rose water from Persia.

He created recipes similar to those from Dissey et Piver, namely Serkis de Sultanas, which they sold as Serkis de Serail, a skin whitening cream, the so called Secret of the Harem. Other products such as Cream de Perse, a Persian face cream, was also produced by both houses.

These swanky products were all the rage with the British aristocrats, especially the young Queen Victoria for whom Guerlain created the perfume Bouquet de la Reine Victoria in honor of her ascension to the throne.

Not long after the Guerlain boutique was opened in 1834, he offered his products to the French market, and it was a most popular and natty place for ladies to purchase the latest skincare and cosmetics.

A fashionable Parisian lady during the 19th century may have used Guerlain's perfumed vinegars to scent her apartment with the Vinaigrillon Seville, which she could also use to heal cuts or sores on her body.

The lady would have also used Guerlain's famous Savon Sapoceti, a rich soap, made up of whale blubber to cleanse her body and whiten the skin. It could be had in either a jasmine, ylang ylang, frangipani, heliotrope, benzoin, acacia, verbena, gardenia, honey or rose, or even one of Guerlain's special perfumed blends, Fleurs de Alpes, Huile d'Amande, or Marcehal Duchesse.

A long soak infused with L'amidon de Guimauve, a starch made from the marshmallow plant, would have softened the bath water.

When she wanted to remove superfluous hair on her face, neck or arms, she could mix some of Guerlain's Epilotoire with a bottle of its Prepared Water to create a hair removing paste.


After bathing and depilating her unwanted hair, she may have dusted her body with Poudre d'Amande in a cloud of pulverized almonds.

To cleanse her face she may have used Laits d'Iris ou de Concombres, a cucumber and iris infused milk from a glass bottle, followed by the citron based astringent, L'Essence de Cedrat or Eau de Pearl to tone her skin and shrink her pores.


By massaging Crème à la Fraise, in a white porcelain jar with a small strawberry molded on the lid, or Creme Emolliente au Suc de Concombres, a cucumber cream, from white porcelain jar, this would moisturize and freshen her face.

To lighten her skin's complexion she may have used some Lotion de Golwond, or the cold cream made up of snails, Creme Froide de Limaçons or the pearly white cream of Blanc de Perles. If she had a blemish a little dab of Creme Camphrea, a so-called miracle cream, from a tin pot would help, it was promoted to make your skin look like one of the porcelain dolls from your childhood.



Before bed, she may have slathered on night cream, possibly Creme Lenitive, an analgesic cream to smooth the skin and to make to maintain its elasticity, and to fade age spots or freckles, she would use Creme Patti or Creme Nivea, both from white porcelain jars.

To clean her teeth, she would use Tresor de la Bouche, a vegetable powder based tooth powder she would moisten with water, it was advertised as preventing tooth decay and would not harm the enamel on the teeth.

To ensure that her mouth was freshened, she would have swished with either L' Elixir de Guerlain, a balsamic antiseptic mouthwash to keep her gums and teeth strong and healthy, or Alcoolat Cochlearia et de Cresson, a watercress infused mouthwash..

To give her complexion a little color, she may apply Serkis de Sultanas, the secret formula of the harem queens. This would be followed by a dusting of Poudre de Lys or Poudre de Cypris culled from its decorated cardboard box with a swansdown puff to cut down on the shine and give her an alabaster like complexion.

To bring a natural glow to her visage, she may have rubbed a little liquid blush, Bloom of Roses on her cheeks with a cotton ball, or swiped a little powdered Rouge au Carmin de Chine or Rouge de Damas on the apples of her cheeks which was pressed into a small glass mortar decorated with gold.

A genteel lady would have used Roselip, a subtle rose-tinted lip balm housed in a tiny Sevres porcelain pot, but a more adventurous lady may have applied a little Rose du Moulin, a rosy lip colour with her finger from a small green glass tub or Extrait de Rose from a glass bottle.

The more daring woman may have even lined her eyes with La Pyrommee, an Arabian style kohl powder for the eyes kept inside an ivory tube decorated with an eye motif. Advertising of the era told a story that Pierre-Francois-Pascal Guerlain learned the secret formula from an Armenian Pasha who gave it to the ladies of his harem

To keep her body moisturized and supple throughout the day, she may have rubbed on some Creme Nivea to her arms and legs and during winter or harsh, windy weather, when her skin needed more protection, a thicker emollient the Cold Cream of Roses would have made sense.

 If she was a nursing mother, she may have applied Baume de la Ferte, a balm made from the tannins in Bordeaux wine, benzoin, beeswax and almond oil, to soothe her chapped nipples, the antiseptic qualities of the benzoin and wine tannins would promote healing. Years later in the 20th century, the formula for this balm would be used to restore flexibility to the lips.

She may have then used Crème de Perse to soften her hands, removed her cuticles with Pate d'Amande au Miel, a honey and almond paste, and applied a little Huile de Rosat to give a rosy gloss to her nails..

Her hair would be cleansed with L'Eau de China, to condition her hair, she would have used the Veritable Moelle de Boeuf, a pomade made up of beef marrow to promote hair growth.
To complete her hairdressing, hen she would have applied some l'Eau Lustrale, a liquid hair groom which would have gave it a lustrous shine. A touch of either Veritable Graisse d'Ours or Graisse d'Ours Liquéfie, pommades made of bear's grease, would help keep that jaunty cowlick from popping out from her coiffure in addition to strengthening and prevent color fading of the hair.

Before heading outside she may have applied Pate a L'Huile d'Amandes de Pistache, a pistachio paste made with almond oil, to make skin supple or Creme Huve de la Providence to her face to protect it from the sun's rays.

Her toilette would be complete with a splash of Esterhazy Bouquet, a cologne rumored to have aphrodisiacal qualities was a blend of orange blossom, rose, vetiver and vanilla. Her copy of Le Journal des Elegances, a fashionable magazine of the time, even had its pages of a special edition sprinkled with the famed essence.

Fashionable cosmetic and skin care products were:

19th century:

• Cold Cream of Roses (1828) 
• Veritable Graisse d'Ours (bears grease hair pomade, c1830) 
• Veritable Moelle de Boeuf (beef marrow pomade c1830) 
• Savon Sapoceti (soap, made up of whale blubber, c1830 -1960) 
• Guerlain's Saponaceous Ambrosial Cream (emollient shaving cream soap for men, c1835) 
• Guerlain's Shaving Cream (made of almond oil and the finest perfume, c1839) 
• Crème à la Fraise (strawberry face cream, c1840-onward) 
• Bloom of Roses (liquid blush, 1840) 
• Otto Rose Soap (soap perfumed with otto of roses, c1840) 
• Rouge au Carmin de Chine (blush, 1840) 
• Rouge de Cour (Court Rouge, a blush,1840) 
• Rouges de Carthame (Safflower Rouge, a blush, 1840) 
• Rouge de Damas (Damascus Red, a blush, 1840) 
• Creme Emolliente au Suc de Concombres (cucumber face cream) 
• L'Essence de Cedrat (Citron based facial astringent) 
• L'amidon de Guimauve (bath water softener made up of marsh mallow starch) 
• Laits d'Iris ou de Concombres (cucumber and iris milk, cleanser) 
• Lotion de Golwond (a skin bleach) 
• Creme Froide de Limaçons (a cold cream, made from snails) 
• Blanc de Perles (Pearl White, a skin lightener) 
• Creme Camphrea (a zit cream, c1870) 
• Creme Lenitive (an analgesic cream to smooth the skin and to make to maintain its elasticity) 
• Creme Nivea (skin bleaching cream) 
• Creme Patti (skin lightener) 
• Tresor de la Bouche (a vegetable powder based tooth powder) 
• L' Elixir de Guerlain - Dentifrice Antiseptique (antiseptic mouthwash) 
• Alcoolat Cochlearia et de Cresson (a watercress infused alcoholic mouthwash) 
• Serkis de Sultanas (a tinted face cream) 
• Pate d'Amande au Miel (Honey and almond paste) 
• Poudre de Lys (face powder) 
• Poudre de Cypris (Cypress Powder, a face powder c1890) 
• Poudre de Cygne (Swan's powder, a face powder) 
• Poudre aux Fleurs (Powder of Flowers, face powder ) 
• Alba Pulvis (white face powder) 
• Roselip (rose tinted lip balm) 
• Extrait de Rose (liquid lip tint) 
• Baume de la Ferte (nipple balm made from Bordeaux wine tannins, benzoin, beeswax & almond oil, c1878) 
• Ne M'Oubliez Pas (the first lipstick from 1870) 
• La Pyrommee (kohl, a powdered eye liner, from 1878-1940) 

20th century:

• Lotion Vegetale (a hair dressing first made around 1900, came in various scents) 
• Secret de Bonne Femme Creme Pour le Visage (face cream, scented with Apres L'Ondee perfume, 1904-2001) 
• Rose du Moulin (Moulin red, a blush, a play on the name Moulin Rouge, made from 1907-1950) 
• Rouge d'Enfer (Rouge Inferno, first indelible lipstick c1924) 
• La Poudre C'est Moi (face powder scented with Shalimar, created in 1925) 
• Stilboide Fluide (a hair dressing, used to add lustre and fix the hair, created in 1923. It was perfumed with Jicky, L'Heure Bleue, Shalimar, Mitsouko, Fleur de Feu,Sous Le ent and Hegemonienne ) 
• Creme au Citron (a lemon scented moisturizing face cream c1930) 
• Huile Pour Brunir (tanning oil, 1936) 
• Cremaliment (1941) 
• Emulsion Ambrosia (anti aging serum c1950) 
• Creme Super Nourissante No.2 (1952) 
• Hydroserum (1955) 
• Creme Hydrante Pour Le Corps (Body Moisturizer in various scents, Shalimar, Ode, Mitsouko, L'Heure Bleue, Chant D'Aromes, Chamade) (1959) 

Bloom of Rose

Milk of Cucumbers

Creme Froide de Limacons

 

 

Secret de Bonne Femme

La Mode, 1838:

"Guerlain, located on Rue de Rivoli, remains our favorite perfumer. He offers wonderful products, perfect for the winter months. To combat chapped skin, there’s Oléine Emulsive for frostbite, and Baume de la Ferté, which is ideal for young hands busy with writing tasks. For keeping the smooth hairstyles of women intact, even in the chilly January air, there’s Crème Sidonia. A visit to Guerlain is full of delightful discoveries for both buying and gifting. Resting in his shop feels like sitting near a field of roses or under the shade of orange trees."

La Mode, 1838:

"In the world of perfumery, the perfumer plays a crucial role in extending the beauty of spring into the winter months. They capture and prolong the enchanting scents of flowers, ensuring that their fragrances continue to delight throughout the snowy season. To achieve this, a perfumer must study the finest and most delicate aspects of nature, immersing themselves in the intense aromas of roses, lilies, tuberoses, and orange blossoms.

GUERLAIN, seeing that flowers are fading with the good weather, is busy inventing new eaux, new essences, and new bouquets.

When Guerlain sends out its representatives, they are directed to the most poetic and cherished regions—like the fields of Provence, the islands of Hyères, the plains of Italy, and the gardens of Naples and Palermo. Since smooth hair has replaced curly styles, there has been a need for a product that provides shine and hold. Ancient pomades and oils were inadequate for the sleek and polished look required. Guerlain has addressed this need with Crème de Cydonia, a revolutionary product that gives hair a brilliant and smooth finish, solving a longstanding problem for both hairstylists and women.

Crème de Cydonia represents a complete revolution in hair care, surpassing older products and providing a tasteful and effective solution. Guerlain’s Eau Lustrale has also gained popularity for its benefits to hair care, with demand rising both in France and abroad. 

No matter how much he rubs his forehead and strains his genius, he won't do better this winter than his Oléine Émulsive."

 

 

"

La Mode, 1838:

"We can’t finish listing the fashion trends we noticed last week without mentioning Guerlain's perfumes. Whether in the countryside, at the waterside, or in Paris, we recognized them this summer when flowers seemed to compete with the skilled perfumer. But now that the roses have faded, the orange blossoms are being brought into greenhouses, and the tuberose, heliotrope, and carnations have finished scenting the gardens, fashionable society is returning to Guerlain's store for its delightful fragrances, seeking refuge from the autumn winds and winter chill.

Recently, we saw eight beautiful, heraldic carriages parked in front of the store. As the icy breath of January approaches, the crowds will gather under the arcades, remembering with gratitude the soothing Oléine Émulsive and seeking the Baume de la Ferté, without which faces would become weathered and chapped."

Some photos used in this blog were culled from Beautesse.at

Sapoceti c1828

Created in 1828, Sapoceti,  was a rich soap made of whale blubber. It was meant to cleanse not only the body, but to whiten the skin as well. Guerlain registered this as a trademark in 1926, again in 1967 and the trademark finally expired in 1987.

Quand Vient La Pluie c2007

Quand Vient La Pluie: ("When the Rain Begins"): launched in 2007, a limited edition fragrance for women. It was created in cooperation with two noses, Thierry Wasser and Sylvaine Delacourte.

The perfume was created as an homage to the successful Apres L'Ondee (“After the Rainstorm”) perfume, but as co-creator Sylvaine Delacourte explains, "to treat Après l'Ondée in a more contemporary way, with an intenser and more addictive base."

Vintage 1930s Guerlain Perfume Tester Rack

Vintage 1930s Guerlain perfume tester rack, would have sat on the Guerlain counter either at one of their boutiques or at the department store where they were sold. The rack is made up of wood and metal and measures 9" in length and is 2 1/2" wide.  It can hold up to six glass tester bottles. Each bottle stands 2 3/4" tall and features a glass stopper with a full length dauber. Two of the bottles have labels for Shalimar (c1925) and Sous Le Vent (c1933).

Photo by ebay seller looknforperfs

Additional tester bottles that would have been used in this rack.

Vega (c1936), L'Heure Bleue (c1912) and Jicky (c1889)

Photo by drouot

Rococo À la Parisienne by Guerlain c1879

Rococo À la Parisienne by Guerlain, launched in 1879, reflects a masterful blending of historical allusion and modern allure. Created by Aimé Guerlain, the perfume’s name is a tribute to the opulent and whimsical aesthetic of the Rococo period, but with a distinctly Parisian flair. The term "Rococo" originates from the combination of two French words—rocaille, meaning rock or stone, and coquille, referring to the crescent-shaped decoration of cockleshells. These terms evoke the intricate designs often seen in Rococo art and architecture, which were characterized by their lightness, elegance, and elaborate ornamentation. By choosing the name "Rococo À la Parisienne," Guerlain conjures a sense of luxurious, playful sophistication deeply connected to both French cultural heritage and the romantic, fashionable sensibilities of Paris in the late 19th century.

The phrase "À la Parisienne," meaning "in the Parisian style," brings a sense of modernity and urban chic to the name. Together, "Rococo À la Parisienne" evokes images of a world where decadence meets refinement. The name is steeped in French language and culture, combining historical opulence with the contemporary elegance of Paris, the epicenter of fashion and art during the late 19th century.

The word "Rococo" alone summons visions of ornate interiors, delicate pastel colors, gilded furnishings, and scenes of aristocratic leisure. By combining it with "À la Parisienne," the fragrance suggests a modern, urban interpretation of these baroque ideals. The imagery of seashell motifs, rock formations, and playful curves found in Rococo design translate into a perfume that would be light, delicate, yet exuberant—a scent that plays with contrasts of softness and sharpness, sweetness and depth. In fragrance terms, this could be imagined as a blend of powdery florals, soft citrus, and perhaps a delicate musk or amber, capturing both the light-heartedness and richness of the Rococo era.

Jacinthe by Guerlain c1833

Jacinthe by Guerlain, launched in 1833, carries with it a name rich in historical and botanical significance. The word “Jacinthe” is French for “hyacinth,” derived from the Greek word “Hyakinthos.” In Greek mythology, Hyakinthos was a youth loved by the god Apollo, whose death was mourned by the transformation of his blood into a flower. This classical association imbues the name with a sense of timeless beauty and sorrowful romance.

In the 19th century, the hyacinth flower was celebrated for its vibrant colors and intoxicating fragrance. Guerlain’s choice of “Jacinthe” for their perfume evokes images of lush, blooming gardens bursting with the rich, heady scent of these flowers. The name conjures emotions of elegance and refinement, suggesting a fragrance that is both opulent and sophisticated. It resonates with the delicate, yet powerful presence of the hyacinth, known for its striking beauty and strong, sweet aroma.

Interpreted through scent, “Jacinthe” would likely offer a lush floral experience, capturing the essence of hyacinth’s heady, sweet fragrance. This would be complemented by the subtle, green undertones that characterize the flower, providing a fresh yet complex olfactory experience.

During the early 19th century, the fragrance market was dominated by floral and aromatic scents. Jacinthe would have stood out for its emphasis on a singular, distinctive floral note. The period was marked by a growing interest in botanical perfumes, and while many perfumeries of the time included hyacinth in their offerings, Guerlain’s Jacinthe would have been distinguished by its quality and refinement. The fragrance reflects a broader trend towards luxurious, well-crafted perfumes that emphasized both natural beauty and intricate composition.

Guerlain’s Jacinthe would have appealed to women of the era who valued sophistication and exclusivity in their personal fragrances. It would have been seen as a symbol of refinement and grace, aligning with the 19th-century trend of showcasing one’s social status through carefully selected and luxurious scents.

Gardenia by Guerlain c1857

Gardenia: Originally created around 1857, then relaunched in 1935?

Plagia by Guerlain c1904

Plagia by Guerlain, launched in 1904, carries a name that intrigues with its complex layers of meaning and historical context. The term "Plagia" translates to "plagiarism" in French, a provocative choice that likely reflects Guerlain's awareness of the growing trend of competitors mimicking their successful creations. By naming the perfume "Plagia," Guerlain might have been making a subtle comment on the imitation of their original fragrances by other perfumers, thus drawing attention to their own innovation and authenticity amidst a sea of replicas.

However, the name "Plagia" could also carry botanical connotations. Guerlain was known for experimenting with various plant extracts, and "Plagia" may be a nod to Plagianthus, a genus of plants known for its aromatic qualities. This dual interpretation of the name could evoke images of both intellectual property and natural beauty, reflecting Guerlain's commitment to both innovation and nature.

In terms of scent, the name "Plagia" might suggest a fragrance that stands out distinctly from its competitors—one that blends the allure of originality with the richness of botanical influences. Women of the early 20th century, a time characterized by a burgeoning interest in sophisticated and novel fragrances, would likely have viewed "Plagia" as a symbol of Guerlain's mastery and creativity. The period was marked by a growing appreciation for unique and high-quality perfumes, and "Plagia" would have appealed to those seeking an exclusive and distinguished scent experience.

The early 1900s were a time of significant change and experimentation in the perfume industry. As new trends emerged and the market became increasingly competitive, Guerlain's choice to name a perfume "Plagia" underscores both their confidence in their own creations and their recognition of the evolving landscape of fragrance innovation.

Bouquet de Faunes by Guerlain c1922

Bouquet de Faunes by Guerlain, launched in 1922 and created by Jacques Guerlain, embodies a deeply evocative name and concept. The name "Bouquet de Faunes" is French and can be translated as "Bouquet of Fauns" (pronounced boo-kay duh fawn), immediately conjuring imagery of mythological creatures from classical antiquity. In Greek and Roman mythology, fauns were nature spirits, often associated with forests, pastoral life, and untamed freedom. These playful, mischievous beings represented sensuality and indulgence, living in harmony with the earth and natural surroundings. The word "bouquet," meaning a collection or arrangement, in this context suggests an olfactory gathering of nature's wild scents, deeply rooted in nature but with a touch of luxury and sophistication.

The name itself evokes a sense of intrigue and seduction. "Bouquet de Faunes" feels primal yet refined, hinting at both the wildness of the fauns and the elegance of a crafted bouquet of scent. This duality would likely have been interpreted in scent through a combination of raw, earthy, and animalic notes like leather and musk, interwoven with floral and oriental accords that represent sophistication. One can imagine the perfume embodying the untamed beauty of the woods—like mossy undergrowth, fragrant blossoms, and the leathery warmth of well-worn skin—all balanced by a refined oriental richness that captivates.

As a floral oriental fragrance dominated by leather and musk, Bouquet de Faunes plays with the contrasts between the wild, animalistic elements and the soft, delicate florals that are synonymous with femininity and refinement. The leather note evokes the warm, smooth texture of fur, while musk, with its sensual, slightly animalistic undertones, adds a layer of depth, echoing the connection to the untamed nature of fauns. The florals and oriental accords soften these more primal aspects, giving the fragrance a luxurious, enveloping character that feels both grounded and ethereal.

The perfume, created specifically to scent furs, would likely have appealed to women of the time period who sought to enhance their furs with a fragrance that mirrored the opulence of their garments. Furs, especially in the 1920s, were symbols of wealth, status, and femininity. By perfuming their furs with a scent like Bouquet de Faunes, women were not only masking any natural odors associated with the fur but also adding another layer of luxury to their experience. The scent would envelop them as they moved, creating a lingering aura of sophistication and power.

Mitsouko c1919

Mitsouko: (Mystery) Created by Jacques Guerlain in 1919. The creation of Mitsouko was inspired by the heroine of Claude Farrčre's novel 'La bataille', a story of an impossible love between Mitsouko, the wife of Japanese Admiral Togo, and a British officer. The story takes place in 1905, during the war between Russia and Japan. Both men went to war, and Mitsouko, hiding her feelings with dignity, waits for the outcome of the battle to discover which of the two men will come back to her and be her companion.

Iris Blanc by Guerlain c1890

Guerlain's Iris was first launched in 1839, and like many early perfumes, it was crafted from natural ingredients, specifically focusing on the elegant and powdery scent of the Florentine orris root. Though discontinued at an unknown date, Iris became part of the foundation of Guerlain's reputation for using exquisite botanical materials. In 1890, a variation was introduced, named Iris Blanc, meaning "White Iris" in French. The choice of this name evokes a refined and pure vision of the iris flower, suggesting both the noble beauty of the plant and the prestige associated with its scent.

The phrase Iris Blanc would have conjured images of pristine, ethereal beauty. "Iris" is rooted in Greek mythology, symbolizing the rainbow and acting as a bridge between heaven and earth, while "Blanc" represents purity, light, and innocence in French. The imagery suggests a delicate fragrance that conveys elegance, refinement, and a sense of purity. Women of the era would likely have associated Iris Blanc with sophistication, grace, and exclusivity, elevating it as a desirable luxury item among the fashionable elite. The idea of a "white" fragrance also evoked freshness and clarity, hinting at a softer and more delicate interpretation of the traditional Iris perfume.

The scent of Iris Blanc would likely have been interpreted as a powdery, floral bouquet, tempered by soft, woody undertones from the orris root. The fragrance might have expressed a lightness and subtlety, reflecting the sensibilities of late 19th-century women, who were drawn to refined, understated scents that complemented their elegant attire and mannerisms. During this time, perfumes were closely tied to the growing trend of personal grooming and hygiene, with more women seeking fragrances that signified sophistication and social standing.

The late 19th century was a period of increasing urbanization, cultural flourishing, and advances in the arts, with Paris at the heart of European style and taste. Iris Blanc, launched in 1890, would have been a reflection of the era’s fascination with delicate, yet luxurious products. Women would have been captivated by its imagery of the rare and prized white iris, perhaps viewing it as a symbol of feminine purity and grace during a time when perfume was becoming a personal and social statement.

Sous Le Vent by Guerlain c1932

Sous le Vent, launched by Guerlain in 1932, was a perfume deeply inspired by the Caribbean and its sun-soaked, wind-swept landscapes. Its name, "Sous le Vent", which translates from French as "Under the Wind" or "Southern Breezes," captures the essence of the downwind breeze that blows through the Leeward Islands. Pronounced "SOO-LUH-VON", the name alone evokes images of warm, fragrant air, gently carrying the scents of mimosa blossoms, salty sea breezes, and the rich, sun-baked earth of the tropics. This perfume conjures the romance of travel and exotic escapes, of mimosa-covered hills and sandy shores kissed by the ocean's mist. It is a scent designed to carry the wearer far away, to distant lands where nature's beauty intertwines with the freedom of the wind.

The scent itself is an aromatic chypre, a category known for its complexity, often combining fresh citrus and herbaceous notes with earthy, mossy bases. Sous le Vent is infused with the lush, seductive sweetness of mimosa, a flower synonymous with the tropics, complemented by the fresh tang of woods and the salty spray of the sea air. These elements blend to create a fragrance that is both exotic and familiar, sensual yet grounding, much like the southern breeze it was named after. The inspiration for the perfume was drawn from a Caribbean cruise, which Jacques Guerlain had taken, sparking his imagination with the intoxicating landscapes and vibrant atmosphere of the region. The wind, laden with the scent of tropical flora and salty sea air, is captured in this perfume, evoking a sense of freedom and adventure. It carries with it the dream of escape and relaxation, far from the complexities of urban life.

The perfume's creation for Josephine Baker, an American-born French entertainer, adds yet another layer of depth to its story. Baker, famed for her glamorous stage presence and her embodiment of both freedom and sensuality, was a symbol of the Jazz Age's spirit of liberation. She was also deeply connected to France, where she became an icon, admired for her talent and her bold, unapologetic persona. Sous le Vent was designed to reflect Baker’s vivaciousness, her exotic allure, and her ability to enchant audiences. As a woman who often performed in extravagant, tropical-inspired costumes, such as her famous banana skirt, she represented a kind of liberated femininity that was both playful and powerful, qualities echoed in the perfume.

 

Vetiver by Guerlain c1839

Guerlain's Vetiver, first launched in 1839, was one of the early perfumes that embraced the natural, earthy qualities of the vetiver plant, offering a fragrance that could appeal to both men and women. The choice of the name Vetiver reflects the main ingredient of this scent—an aromatic grass native to India. The word "vetiver" comes from Tamil, an ancient South Indian language, in which "vetti ver" translates to "dug-up roots," highlighting the plant's strong, earthy characteristics. For Guerlain, naming the perfume after this key ingredient was a natural choice, as it conveyed both the raw, organic origin of the scent and the refined interpretation of nature that the house sought to achieve.

Vetiver evokes images of sun-baked fields, earthy roots, and an enduring connection to the natural world. The aroma of vetiver is often described as woody, smoky, and green, with deep, grounding undertones that bring to mind the scent of damp earth after rain or the warmth of weathered wood. In scent, Vetiver is interpreted as both fresh and earthy—a harmonious balance between nature’s vitality and the grounded calmness of the forest floor. The fragrance is invigorating yet soothing, making it a versatile choice for both men and women, and unusual for its time in that it did not adhere to strictly feminine or masculine boundaries.

Women of the early 19th century, a time when gender distinctions in fragrance were more rigid, would have found Vetiver a bold choice. This was an era marked by romantic ideals, with women typically gravitating towards sweet, floral, and powdery fragrances. A perfume called Vetiver, rooted in earthy, green, and woody notes, would have offered an exciting contrast. For women who sought individuality, sophistication, and a connection to nature, Vetiver provided a refreshing departure from the norm, signaling a sense of adventure and perhaps an understated confidence. The idea of wearing a scent with such natural, unadorned roots would have been seen as elegant yet daring, appealing to the progressive sensibilities of certain women of the time.

The 1839 launch of Vetiver occurred during a period of heightened appreciation for natural ingredients and botanical extracts in perfumery. Guerlain, already established as one of France’s premier fragrance houses, was at the forefront of this movement. The early 19th century was also a time of significant change across Europe, marked by the rise of Romanticism—a cultural shift that placed greater emphasis on nature, emotion, and individuality. This cultural context would have made Vetiver particularly resonant, as it captured both the raw beauty of the natural world and the growing desire for authenticity and personal expression. Women who wore Vetiver in this era may have seen it as more than just a fragrance, but as a symbol of their connection to these evolving cultural ideals.

 It was still being sold into the late 1950s.

Rita by Guerlain c1883

In 1883, Guerlain unveiled Rita, a fragrance named in honor of Margherita “Rita” of Savoy, the Queen consort of Italy during the reign of her husband, Umberto I. Guerlain, known for crafting bespoke perfumes for the elite and aristocratic, chose this name to reflect his continued tradition of personalizing scents for royalty. The name "Rita" is a diminutive of "Margarita," which itself derives from the Latin "Margaret," meaning "child of light." This choice was more than a nod to the Queen’s name—it evoked a sense of elegance and refinement, resonating with the qualities of her character and stature.

The name "Rita" conjures images of simplicity and grace, embodying a timeless charm that connects to the classical roots of Margaret. It evokes feelings of warmth and luminosity, aligning with the light and delicate nuances expected in a fragrance crafted for a queen. In scent, the queen was partial to the scent of sweet violets, so Rita would likely be interpreted as a sophisticated blend, combining understated elegance with a touch of opulence to reflect the royal persona it was meant to honor.

For women of the late 19th century, a perfume named Rita would have symbolized both exclusivity and refinement. It represented not just a luxurious product, but also an intimate connection to the Queen herself, embodying the height of fashionable elegance and sophistication. During this period, Guerlain's dedication to creating personalized fragrances for heads of state and nobility was a testament to his esteemed position in the world of perfumery.

    

Ambre by Guerlain c1839

In 1839, Pierre-François Pascal Guerlain chose the name "Ambré" for his fragrance, reflecting the deep allure of ambergris. The term "Ambré" is derived from the French word for amber, which itself comes from the Arabic "anbar," referring to ambergris, a rare and highly prized material in perfumery. The name evokes images of warm, golden hues and the richness of ancient treasures, suggesting a fragrance that embodies luxury and opulence. The word "Ambré" conjures the allure of deep, resinous warmth, hinting at a scent that is both sensual and enduring.

In scent, "Ambré" captures the essence of ambergris with its complex, rich, and somewhat animalic character. Ambergris, known for its sweet, musky, and slightly marine quality, imparts a warm, resinous depth to the fragrance. The scent of ambergris is both exotic and comforting, evoking the sensation of sunlit amber stones warmed by the ocean, blending the tactile warmth of amber with the deep, mysterious undertones of the sea.

For women of the 19th century, a perfume named "Ambré" would have been particularly appealing as it signified an exotic and luxurious olfactory experience. During this period, perfumes were often a symbol of sophistication and social status, and the inclusion of ambergris, a rare ingredient associated with the wealthy elite, would have reinforced the perfume's prestige and exclusivity. Women who wore "Ambré" would have embraced a fragrance that was not only a statement of their refined taste but also an emblem of their connection to the latest in perfume innovation.

The 19th century was a time of significant advancements in the perfume industry, with the introduction of new ingredients and techniques. Guerlain's "Ambré" emerged in an era when natural extracts and animalics were highly valued, and the use of ambergris would have been seen as both modern and luxurious. As the century progressed, the increasing sophistication of synthetic materials began to influence perfumery, but the allure of traditional, natural ingredients like ambergris continued to captivate and inspire.

White Rose by Guerlain c1850

Launched in 1850, Guerlain’s Rose Blanche epitomizes the delicate elegance associated with its name. The title, “Rose Blanche,” derives from the French language, meaning "White Rose," evoking images of purity and refinement. The white rose itself is a symbol of purity, innocence, and grace, qualities that Guerlain sought to encapsulate in this fragrance. The choice of such a name reflects a desire to convey a sense of understated beauty and sophistication, resonating deeply with the refined sensibilities of the mid-19th century.

In its olfactory profile, White Rose is described as capturing the essence of freshly picked roses, reminiscent of a bloom harvested just hours earlier from an English garden. The scent is a pristine representation of the rose’s natural fragrance, suggesting an experience of walking through a garden where the roses are in their prime, exuding a fresh, dewy aroma. This portrayal aligns with the sentiment of the time, where natural beauty and elegance were highly cherished.

Women of the period would have been particularly drawn to White Rose for its embodiment of refined floral purity. In an era where elaborate and opulent fragrances were prevalent, Guerlain’s choice to highlight the simple, yet luxurious scent of freshly picked roses would have offered a refreshing contrast. The 19th century was a time when fragrances were becoming more sophisticated, moving from heavily animalic and complex compositions to lighter, more refined floral scents. Guerlain’s White Rose aligned with this trend, offering a pure and classic fragrance experience.

During its launch in 1850, White Rose would have been among the fragrances featured in various perfumery manuals and pharmacopeias, reflecting the growing interest in and appreciation for delicate floral bouquets. The fragrance's composition would have initially relied on natural extracts and tinctures, but as the century progressed, the use of newly discovered synthetics began to influence perfume creation. White Rose thus represents a bridge between traditional natural perfumery and the emerging innovations of the time.

Ode c1955

Ode by Guerlain: launched in 1955, created by Jacques Guerlain with assistance of Jean-Paul Guerlain. This perfume is an ode to flowers, especially rose, it is Guerlain's answer to Jean Patou's exquisite Joy perfume and Lanvin's wildly popular Arpege.

Cuir de Russie by Guerlain c1875

Cuir de Russie by Guerlain, launched in 1875 and created by Aimé Guerlain, is a fragrance steeped in both tradition and exoticism. The name itself, Cuir de Russie, is French, meaning "Russian Leather." This title hints at the fragrance’s inspiration, rooted in the luxurious, smoky, and rich scent of fine leather traditionally associated with Russia, especially the leather used in boots, saddles, and other equestrian equipment of Russian soldiers. Guerlain’s choice of this name aligns with a sense of aristocratic elegance and an aura of mystery, tapping into Western Europe's fascination with Russia's vast empire and its exotic luxury.

The phrase Cuir de Russie conjures powerful images of horse-drawn sleighs racing across snowy Russian steppes, the warm and supple leather of saddles polished to a shine, and the rugged sophistication of the Russian aristocracy. The name evokes emotions of opulence, strength, and a kind of wild, untamed beauty. It also carries an air of adventure, as Russia in the 19th century was still a land largely unknown to much of Europe, fueling romantic ideas of exploration and the exotic.

In terms of scent, Cuir de Russie would be interpreted as a bold and evocative fragrance that marries the smokiness of leather with rich, warm notes. Leather scents traditionally evoke images of strength and durability, but Guerlain would likely have softened the composition with floral or spicy accents to ensure it retained an air of elegance, making it wearable and alluring for men but also women of the era. Notes of birch tar, commonly used in the tanning process of Russian leather, would give the fragrance its distinctive smoky profile, while hints of florals like rose or iris would lend a feminine touch, balancing the rawness of the leather.

For women in 1875, a perfume named Cuir de Russie would have represented a departure from the typical floral and powdery fragrances of the time. This was a period marked by an increasing interest in exotic scents and materials, as Europe expanded its global reach. The daring name and scent profile would have appealed to women with strong personalities, those who embraced bold fashion choices and sought to stand out in a society where refinement was paramount. At a time when most women were expected to adhere to certain standards of femininity, wearing a leather-based fragrance might have signaled independence and a sense of adventure.

Quand Vient l'Ete by Guerlain c1910

Quand Vient l'Été by Guerlain, launched in 1910 and created by Jacques Guerlain, carries a name that translates to "When Summer Comes" in French. Pronounced "Kwan Vee-ahnt L'E-tay," the phrase evokes the essence of a lush, sunlit season, full of warmth and promise. This name conjures images of long, golden afternoons, where the air is heavy with the scents of blooming flowers and the earthy richness of summer’s bounty.

The fragrance itself, classified as a floral tobacco scent for women, reflects this evocative summer imagery. The floral notes represent the vibrant and fresh qualities of the season, while the addition of tobacco adds a layer of depth and sophistication. Tobacco, often associated with a rich, smoky warmth, contrasts intriguingly with the delicate floral elements, creating a scent that captures the multifaceted nature of summer—its beauty, complexity, and indulgence.

During the early 20th century, when Quand Vient l'Été was introduced, women’s fragrances were evolving beyond traditional floral notes. The inclusion of tobacco in a women’s perfume was somewhat unconventional at the time, reflecting a broader shift in fragrance trends. Tobacco's presence in the fragrance added a touch of sophistication and a hint of rebellion, aligning with the changing social dynamics where women were increasingly exploring new realms of personal expression.

The period in which this perfume was launched was marked by significant social changes, including the growing acceptance of women in more public and assertive roles. While widespread smoking by women was not yet prevalent, the inclusion of tobacco in a fragrance could be seen as a subtle nod to this emerging trend and an attempt to capture a more nuanced, sophisticated essence of femininity. Guerlain’s choice of name and ingredients likely aimed to evoke the complexity and allure of summer, blending traditional floral elegance with a modern twist.

As its name suggests, this fragrance celebrates the joys of summer and portends happiness of sunny days. When the temperature rises, it leaves the body give way to sun ...

 

Cachet Jaune by Guerlain c1937

Cachet Jaune, launched in 1937 by Jacques Guerlain, is steeped in romantic symbolism and personal significance. The name, which translates from French as "Yellow Seal," (pronounced ka-shay zhawn), is a tribute to a love story where letters were sealed with yellow wax—a color that signifies warmth, optimism, and affection. It was also a favorite of Jacques Guerlain's mother, lending the fragrance an intimate connection to family and memory.

Sealing wax was once a practical and elegant method for securing and authenticating letters and documents, used for centuries before envelopes became common. A stick of wax would be melted and dripped onto the paper's fold, where an emblem or monogram seal would be pressed into the soft wax, leaving a distinctive mark of ownership or identity. In this case, the "yellow seal" evokes images of deeply personal, perhaps secretive, correspondence—love letters that carried intimate emotions and promises, sealed not just with wax, but with the weight of sentiment. The practice of sealing letters with colored wax was not only functional but also became a form of art, especially during the early 20th century, where wax seals in vibrant colors were often used to embellish letters.

The fragrance name Cachet Jaune conjures a romantic, almost wistful mood, bringing to mind quiet moments of writing or receiving love letters, each sealed with care and intention. It evokes the image of a woman sitting by candlelight, penning heartfelt notes to her lover, with each letter sealed with yellow wax, a token of tenderness and anticipation. The name also taps into the elegance and refinement of the 1930s, a period when social norms still valued handwritten correspondence, and where small details like a wax seal held deep meaning.

In scent form, Cachet Jaune mirrors these emotions. Classified as a floral amber fragrance for women, it is softened and enriched with spices and vanilla, creating an aura of warmth and intimacy. The floral notes would have symbolized femininity and grace, while the amber accord added a depth that reflected a sense of timeless beauty. The heavy use of vanilla, a sweet and comforting note, would have wrapped the scent in a feeling of nostalgia, much like the memory of a cherished letter. To a woman in the late 1930s, wearing a perfume called Cachet Jaune would likely evoke a sense of connection to both past traditions and personal romantic experiences, tying her own emotions to the classic art of letter writing.

Chypre 53 by Guerlain c1909

Chypre 53 by Guerlain: launched in 1909. Created by Jacques Guerlain.

Chamade c1969

Chamade was created by Jean-Paul Guerlain in 1969, and it was inspired by the Francoise Sagan's novel “La Chamade”. In the time of Napoleon, ‘chamade’ was a very fast drumbeat that called to retreat.

"Chamade—The start of a love story is something as small as a moment's heartfall. Guerlain named Chamade after that moment."

Nahema c1979

Nahema by Guerlain: launched in 1979. Created by Jean Paul Guerlain.

Chant d'Aromes c1962

Chant D'Aromes: created in 1962, the first Guerlain fragrance made specifically for young girls.

Created by Jean-Paul Guerlain who was inspired to create it with an early love of his in mind.

It took more than 450 experiments five Guerlain noses (Jean-Pierre's Jean-Jacques', Jean-Paul's, Marcel's, Raymond's) and seven long years to make Chant d'Aromes an overnight success.

Belle-France c1892 and Belle Epoque c1999

Belle-France: created by Aime Guerlain in 1892, a feminine extrait.

Eau de Fleurs de Cedrat c1920

Eau de Fleurs de Cedrat: a citrus aromatic fragrance for women, originally named Esprit de Fleurs de Cedrat, later named Cedrat, a citron based extrait created in 1870, a later incarnation produced the then named Eau de Cedrat, launched in 1880, created by Aime Guerlain.

Guerlinade by Guerlain c1921

Guerlinade, introduced by Guerlain in 1921, was a significant creation by Jacques Guerlain, emblematic of the brand's signature style. The name "Guerlinade" is a blend of "Guerlain" and the suffix "-ade," which is often used in French to denote a product or essence. Pronounced "Guer-lin-ahd," it evokes a sense of sophistication and craftsmanship synonymous with the House of Guerlain. The term suggests a bespoke creation, deeply connected to the Guerlain identity and its rich heritage in perfumery.

The fragrance Guerlinade is defined by its iconic accord, which became the hallmark of Guerlain's olfactory creations. This accord, consisting of rose, jasmine, vanilla, and tonka bean, represents what is often described as the "soul" of Guerlain's perfumes. In scent, Guerlinade exudes a deep, complex warmth that blends the romantic and timeless qualities of rose and jasmine with the comforting sweetness of vanilla and the subtle, nutty richness of tonka bean. The result is a fragrance that feels both lush and intimate, capturing a sense of classic elegance and enduring appeal.

In the early 1920s, when Guerlinade was launched, the world of perfumery was experiencing significant evolution. This period marked a transition from the opulence of the Belle Époque to the modernism of the Roaring Twenties. Women of the time, who had become more liberated and fashion-forward, would have found Guerlinade to be a sophisticated and luxurious choice, aligning with their evolving tastes and the desire for distinctive, high-quality fragrances.

Verveine by Guerlain c1840

Verveine: created by Aime Guerlain in 1840, originally an extrait based on verbena.

Jasmin de Siam by Guerlain c1922

Jasmin de Siam by Guerlain, launched in 1922, is a fragrance deeply embedded in its historical and cultural context. Created by Jacques Guerlain, this scent did not make its debut in the United States until 1924, reflecting the gradual spread of luxurious European fragrances to American shores.

The name "Jasmin de Siam" is a deliberate choice steeped in evocative imagery and exoticism. "Jasmin" is French for jasmine, while "Siam" refers to the historical name for Thailand, a country renowned for its rich cultural heritage. By combining these elements, Guerlain tapped into the allure of the exotic East, invoking visions of lush, tropical landscapes and the opulence of distant lands. The name suggests not only the floral splendor of jasmine but also the mystique and elegance associated with Siamese culture.

The fragrance's name would have conjured images of opulent jasmine gardens, possibly reminiscent of the aromatic blossoms found in Siam. During the early 20th century, the allure of exotic locations was a potent marketing tool, enhancing the perceived value and sophistication of a perfume. For women of the time, Jasmin de Siam would have represented not only a captivating olfactory experience but also a touch of the exotic, embodying the romanticism and luxury of the era.

In terms of its scent profile, Jasmin de Siam likely emphasized the lush, creamy essence of jasmine, enhanced by subtle, exotic undertones to evoke the splendor of Siam. The fragrance's appeal would have been magnified by the broader trend of incorporating exotic elements into perfumes during the period, aligning with the growing fascination with far-off places and their cultural artifacts.

Jasmine was indeed cultivated in Siam, which would have added authenticity to the fragrance’s claims. However, Siam was not a French colony; it maintained its sovereignty, though it had significant interactions with European powers. The choice of "Siam" in the fragrance's name reflects an era when exoticism was a key component in branding and marketing, appealing to the Western imagination's fascination with the East.

Voilette de Madame c1901

Voilette de Madame: (Madam's Veil): Originally created as a wedding present to Jacques Guerlain's friends in 1901, who created Voilette de Madame as a counterpart to Mouchoir de Monsieur. The perfume was first released to the public in France in 1902 and in the USA in 1904.

Sillage by Guerlain c1907

Launched in 1906 and introduced to the U.S. in 1907, Sillage by Guerlain was the creation of master perfumer Jacques Guerlain. The name "Sillage," chosen deliberately, carries a poetic and evocative meaning in French. The word "sillage" itself has a dual significance: it refers to both the wake left behind by a ship as it moves through water and, in the context of fragrance, the trail of scent that lingers in the air as someone walks by. This imagery is both powerful and suggestive, conjuring feelings of mystery, allure, and an enduring presence.

In the realm of fragrance, "sillage" captures the essence of a perfume that remains long after the wearer has passed, leaving a subtle yet memorable reminder of their presence. This name would have appealed to early 20th-century consumers who desired a perfume that communicated elegance and sophistication, evoking both the visual imagery of a graceful ship slicing through water and the invisible yet tangible memory of a lingering scent.

At the time of Sillage’s launch, the world was experiencing rapid industrial growth, and society was moving towards modernity. Women were beginning to assert their independence, navigating a world still dominated by traditional values but with a burgeoning sense of freedom and autonomy. A perfume called "Sillage" would have resonated deeply with women of the era, symbolizing not only their desire for refinement but also their wish to leave a lasting impression in an evolving social landscape. The idea of a fragrance that lingered in the air, trailing behind them as they moved through life, would have held a particular allure, blending romanticism with a modern sense of presence.

Originally crafted as a fragrance for men, Sillage was later adapted for women, its composition evolving to fit the sensibilities of both genders. It is classified as a musky floral fragrance, blending the purity of white flowers with the richness of leather, musk, and woodsy notes, grounded in the signature Guerlinade accord. Later iterations included aldehydes in the top notes, adding a sparkling freshness to the scent. For women of the early 20th century, this sophisticated yet dynamic blend of elements would have symbolized strength and femininity, a reflection of their growing independence during an era of social change.