Saturday, March 30, 2024

Pre d'Automne 1883

Pré d’Automne, launched by Guerlain in 1883, is a name that translates from French as “Autumn Meadow” — pronounced "pray doh-tom". Even in sound, the phrase flows softly, evoking a whisper of wind through dry grasses and the mellow sunlight of late September. The choice of name perfectly captures the emotional resonance of the season — that fleeting transition between summer’s warmth and winter’s chill, a time when nature exhales one last golden breath before its long sleep. To the women of the late 19th century, Pré d’Automne would have suggested something at once natural and refined — the beauty of the countryside distilled into elegance, a perfume that conjured a wistful calm rather than opulence.

The 1880s were a time of great cultural transformation in France, poised between the elegance of the Belle Époque and the scientific modernity shaping the coming century. Paris, still the undisputed capital of luxury, was flourishing under the influence of art, fashion, and innovation. The women who wore Guerlain were elegant yet independent, balancing traditional femininity with newfound freedom — cycling in their long skirts, visiting salons, and collecting the latest fashions from Worth or Doucet. In perfumery, this was the dawn of a revolution: natural essences were beginning to merge with new synthetic molecules, allowing perfumers to evoke impressions and emotions never before achievable with raw materials alone.

The name “Pré d’Automne” would have held special meaning in this context. At a time when city life was rapidly modernizing, the perfume offered an olfactory escape to the pastoral, a retreat into the quiet of nature. It evoked soft grasses warmed by the sun, fallen petals mingled with dried hay, and the gentle musk of earth after rain. For women accustomed to heavier floral or resinous perfumes, this composition would have felt fresh, serene, and intimately personal — a reflection of the new aesthetic emerging in the 1880s, where delicacy and naturalism were favored over grandeur.

Classified as a Floral Woody Musk with a powdery and faintly chypre nuance, Pré d’Automne rested on a structure both classical and forward-looking. The top notes of petitgrain and bergamot gave a brisk green and citrusy freshness, recalling the crisp air of early autumn. The heart of cassie, rose, and ionone formed the fragrance’s floral core — a soft bouquet of blossoms and golden pollen. Cassie, with its balsamic, honeyed quality, lent warmth and nostalgia, while ionone, one of the new synthetic discoveries of the era, contributed its unmistakable violet-powder note, linking floral sweetness to a woody base. The foundation of ambrette, coumarin, and musk grounded the perfume in warmth and sensuality — ambrette imparting a soft, skin-like musk, while coumarin (isolated from tonka beans only a few years earlier) added a sweet hay-and-almond richness that evoked autumn leaves and fields at dusk.

Within the context of its time, Pré d’Automne was both familiar and pioneering. “Meadow,” "prairie," or "field" perfumes had been a mainstay of 19th-century perfumery, appearing in nearly every formulary of the period, yet Guerlain’s interpretation elevated the theme through artistry and innovation. While others relied solely on natural tinctures of orris and tonka, Guerlain began weaving in modern synthetics, allowing the fragrance to feel airier, more diffusive, and enduring — qualities that would later define the modern perfume.

In scent and in sentiment, Pré d’Automne bridged two worlds: the romantic naturalism of the 19th century and the scientific sophistication of the 20th. It smelled not of an idealized bouquet, but of the living world — sunlight fading on meadow grasses, a breeze carrying traces of flowers and dry earth, and the quiet, wistful poetry of autumn captured in a bottle.


Fragrance Composition:


So what does it smell like? Pré d’Automne is classified as a floral woody musk fragrance — with a powdery and slightly chypre nuance due to the ionone–musk–coumarin base.

  • Top notes: petitgrain, bergamot, rose geranium, acacia
  • Middle notes: orange blossom, jasmine, cassie, rose, orris, ionone
  • Base notes: ambrette, tonka bean, coumarin, musk


Scent Profile:


Pré d’Automne unfolds like the soft breath of an autumn wind across a sunlit meadow — a gentle mingling of green, floral, and powdery tones that drift between freshness and nostalgia. Its beauty lies not in dramatic contrasts, but in seamless transitions, as each note melts gracefully into the next. What Guerlain composed here is an olfactory landscape, painted in tender shades of gold and violet, echoing the hush of the season’s waning light.

The top notes open with the crisp brightness of petitgrain, extracted from the leaves and twigs of the bitter orange tree. The finest petitgrain comes from Paraguay, prized for its luminous clarity and balance between citrus zest and green woodiness. It releases a slightly bitter freshness — like crushed leaves rubbed between the fingers — its natural linalool and linalyl acetate lending both brightness and roundness. This is softened by bergamot, that sparkling gem from Calabria, whose oils are unlike any other in the world — more nuanced, floral, and less tart than common citrus. Bergamot contains linalyl acetate, limonene, and bergapten, a trio that gives it that airy yet sensual effervescence, linking the green sharpness of petitgrain to a sunny, golden warmth. 

Threaded through this citrus canopy is rose geranium, rosy yet with a cool, minty edge, carrying hints of citronella and green stems. It bridges the citrus and floral realms perfectly, its geraniol and citronellol brightening the composition while evoking the freshness of a dew-laden meadow. Lastly, a whisper of acacia — honeyed, powdery, and faintly almond-like — softens the opening, hinting at the floral heart to come. Acacia absolute, often sourced from Morocco or Egypt, adds a creamy, warm pollen-like sweetness that tempers the green notes with a breath of tenderness.

As the fragrance warms, the heart notes unfold like late afternoon sunlight filtering through petals. The first to bloom is orange blossom, luminous and radiant, its essence from Neroli oil carrying the clean sparkle of the Mediterranean. Its principal molecule, linalool, gives a translucent brightness, while nerolidol and indole lend depth and a faint animalic undertone that brings the composition alive. Jasmine soon follows, rich and creamy, its source likely Grasse, where jasmine grandiflorum was cultivated for its opulent sweetness and balance between fruit and musk. Jasmine’s natural benzyl acetate and indole molecules weave a texture that feels at once pure and sensual — like warm skin kissed by sunlight.

Cassie, another flower of acacia origin (specifically Acacia farnesiana), introduces a balsamic warmth tinged with spice and leather. Cassie absolute, sourced from southern France and Egypt, is complex — containing methyl salicylate, anisic aldehyde, and ionones, which give it its characteristic mimosa-hay tone. Here, it softens the florals, grounding their sweetness with an ambered, almost suede-like quality. Rose blooms next, full and velvety, likely Bulgarian or French in character — the former prized for its honeyed, slightly lemony tone, the latter for its dry, green freshness. The rose’s citronellol, geraniol, and phenylethyl alcohol bring emotional warmth and an air of romance, the very soul of a Guerlain floral.

Supporting this opulent bouquet is orris, the powdered heart of the violet root, aged and dried for years before yielding its precious butter. The orris note imparts a soft, buttery texture and a violet-powder facet from its natural ionones and irones — molecules that lend both sweetness and a cool, woody floral tone. Guerlain amplifies this effect with synthetic ionone, one of the most important discoveries of 19th-century perfumery. Ionone captures the fragrance of violets — airy, nostalgic, and slightly melancholy — while enhancing the natural materials’ longevity. In Pré d’Automne, this use of ionone bridges natural orris and floral absolutes, creating the powdery “chypre-like” haze that defines the perfume’s heart.

As the fragrance deepens into its base notes, a sensual warmth takes over. Ambrette seed, often called the musk of the plant world, exudes a soft, skin-like warmth with fruity nuances of pear and wine. It comes from the seeds of Abelmoschus moschatus grown in India, and its main compound, ambrettolide, lends a subtle animalic smoothness without heaviness. Tonka bean joins in with its comforting almond-sweet aroma — the smell of sun-warmed hay mixed with vanilla and tobacco. The tonka bean, sourced from Venezuela or Brazil, is rich in coumarin, a molecule that became iconic in perfumery for its ability to add depth, sweetness, and an addictive warmth. Guerlain cleverly reinforces this with added coumarin, a synthetic counterpart that enhances the tonka’s natural tone and gives the fragrance its slightly chypre-powder finish.

Finally, musk completes the perfume’s trail — not the animalic kind of old but a soft, embracing musk that feels like the memory of warmth on skin. Together, ionone, musk, and coumarin form the fragrance’s unmistakable signature — a silky, powdery base that lingers like sunlight on linen. This triad not only extends the perfume’s longevity but transforms its natural ingredients into an impressionistic whole, where floral, woody, and musky nuances dissolve into one another.

In sum, Pré d’Automne smells like the turning of a season — the mingling of freshness and decay, of blossoms giving way to dry grass. Its composition captures the poetic calm of late autumn: the rustle of leaves, the sweetness of distant flowers, and the faint hum of earth before winter’s rest. Through its blend of nature and early synthetic artistry, Guerlain distilled not merely the scent of a meadow, but the emotion of standing within it — serene, nostalgic, and beautifully transient.


Fate of the Fragrance:

Discontinued, date unknown. Still being sold in 1900.

Saturday, March 2, 2024

Cyperus Ruber 1848

Cyperus Ruber by Guerlain, launched in 1848 as part of the Jardin d’Hiver Collection, embodied the refined naturalism and intellectual elegance that defined mid-19th-century perfumery. The name itself, Cyperus ruber, is Latin—pronounced roughly "see-PEH-roos ROO-bair"—meaning “red cyperus” or “red sedge.” Guerlain’s choice of name reflects both scientific curiosity and poetic imagination. During this period, perfumers and botanists alike were fascinated by the classification and study of exotic plants, and the use of Latin binomials lent fragrances an air of scholarly sophistication.

The imagery evoked by Cyperus Ruber is one of quiet richness and earthy sensuality—a blend of damp, sun-warmed soil, aromatic roots, and fine herbs drying in the afternoon light. The red sedge, a relative of the papyrus and vetiver families, was known for its fibrous roots, which released a warm, woody, and faintly spicy aroma when crushed. This connection would have positioned Cyperus Ruber as an elegant, earthy composition—an olfactory bridge between the botanical world and the cultivated refinement of the salon.

The year 1848 was one of revolution and transformation across Europe, marking the end of the July Monarchy and the dawn of the Second Republic in France. Amid social upheaval, fashion and art clung to ideals of beauty, nature, and order. In perfumery, a turn away from the heavy animalic scents of amber and musk had begun; Guerlain’s Jardin d’Hiver collection symbolized this new aesthetic—one of natural grace, botanical authenticity, and scientific artistry.

Women of the time, drawn to the intellectual and poetic resonance of nature, would have found Cyperus Ruber intriguing and sophisticated. Its name suggested cultivated taste and a sense of modern refinement, rather than overt sensuality. It would likely have appealed to women who favored understated elegance over ostentation—those who found beauty in subtlety and intellect in fragrance.

In scent, Cyperus Ruber would have unfolded as woody, rooty, and gently spicy, reminiscent of vetiver and papyrus but softer and more rounded. Hints of dried herbs and faint resin might have deepened the base, giving the perfume an aura of grounded serenity. Within the context of mid-19th-century perfumery, this composition would have stood out as unusually modern—less floral, more botanical, and aligned with a growing fascination for natural essences. It represented not just a fragrance, but a quiet statement of refinement: the perfume of someone who found poetry in the earth itself.


Jardin d’Hiver Collection:


Guerlain’s Jardin d’Hiver Collection, launched in 1848, represents a remarkable celebration of botanical singularity and refined artistry. Each fragrance within the collection is devoted to a single floral or plant note, captured with painstaking care to highlight its unique character and essence. The collection’s Latin-styled names—Tilia microphylla, Lathyrus odorans, Mimosa fragrans, Cyperus ruber, and the most recent addition (1853), Mimosa Esterhazya—lend an air of classical sophistication, evoking the scholarly prestige and aristocratic refinement associated with the study of plants and natural sciences. These names, both precise and exotic, signal the high level of craft and attention devoted to each fragrance, appealing to a clientele who valued knowledge, taste, and exclusivity.

At the 1851 Universal Exposition, these perfumes competed not merely as products of luxury, but as demonstrations of technical mastery and artistic innovation. Each extrait is a distillation of a single botanical note, conveying the essence of the plant in a way that is at once vivid, nuanced, and enduring. Tilia microphylla, for instance, would have unfolded with the delicate, honeyed softness of its linden blossoms, while Mimosa fragrans exudes a sunlit, powdery warmth, evocative of early spring mornings. Cyperus ruber, with its earthy, subtly green facets, contrasts with the intensely floral sweetness of Lathyrus odorans, creating a spectrum of olfactory experiences within a unified concept.

The collection was designed for the highest echelons of society, intended for women who were not merely consumers of fragrance but arbiters of taste and refinement. These perfumes were not relegated to the dressing table as casual adornments; they were worn as statements of identity and prestige, perfuming the air with subtlety and elegance. In essence, the Jardin d’Hiver Collection embodies the aristocratic ethos of mid-19th century Paris—a union of botanical scholarship, artistic sophistication, and the cultivated elegance expected of the queens of fashion and fortune. Each fragrance is an intimate portrait of a singular flower, captured with the utmost care, and presented as a jewel of olfactory refinement.

Fragrance Composition:



So what does it smell like? The name Cyperus ruber points to a sedge plant related to Cyperus rotundus, or nutgrass, which was known for its aromatic rhizomes used in early perfumery. These roots yield a warm, woody-earthy aroma with dry, slightly smoky, and resinous undertones, similar to vetiver or cypriol (nagarmotha). Guerlain would probably have softened these rooty tones with floral or balsamic notes, in keeping with the Jardin d’Hiver style—a “blended bouquet” rather than a single-note botanical study.

Imagine the scent opening with a delicate herbal freshness, perhaps lifted by bergamot or neroli to give a light, airy introduction. Beneath that, the body would unfold into the dry, aromatic warmth of sedge root, tinged with spice—maybe clove or cinnamon—and faint hints of hay or iris, lending smoothness and powdery refinement. A trace of amber or benzoin resin might round out the base, giving it the polished sweetness typical of early Guerlain compositions.

The overall impression would have been woody, slightly spicy, and resinous, with a suggestion of damp roots, dried herbs, and polished wood furniture in a sunlit conservatory. Compared to the sweeter floral waters of the time, Cyperus Ruber would have felt intellectual, mysterious, and modern, appealing to women (and perhaps men) who appreciated depth and restraint over frivolous charm.


Bottle:



Presented in the carre flacon.


Petit courrier des dames: Journal des modes, 1848:

"By creating the Château des Fleurs, inventing the Jardin d’Hiver, and making flowers fashionable in all the salons of Paris, the trend of perfumery simultaneously returned—after having been somewhat neglected due to the overuse of amber, musk, and vetiver. Yet the perfumes that reappear today bear no resemblance to those bourgeois emanations of old-fashioned coquetry. At Guerlain, 11 Rue de la Paix, however, belongs the right to this thoroughly modern renewal, offering compositions more delicate, more suave, more gentle on the nerves, and more voluptuous to the sense of smell than any other.

Ladies of good society are recognized by these perfumes, just as the high lineage of noble families is recognized by their coats of arms; and when a lock of hair flutters near you, when a magnificent handkerchief falls beside you, or when a fresh, coquettish glove happens to brush near your lips, you can judge by the fragrance emanating from that hair, that handkerchief, or those gloves whether the woman to whom they belong has received at Guerlain the mark of good taste, fashion, and refinement.

New odors composed by Guerlain:
  • Extrait de Lolium agriphyllum 
  • Extrait de Phlomis asplenia, 
  • Extrait d'Azalea melaleuca
  • Extrait de Cyparisse Elaidon
  • Extrait d'Hyemalis anthelia
  • Extrait de Cytise sylvaria 
  • Extrait d'Anthemia nobilis 
  • Extrait de Cyperus ruber  
  • Extrait de Tilia micropluilla
  • Extrait d'Hymenaea nitida 
  • Extrait de Mimosa fragrans
  • Extrait de Caryophilus album 
  • Extrait d'Amyris Polyolens 
  • Extrait de Polyanthe suaveolens  
  • Extrait de Lathyrus odorans  
  • Extrait d'Ocymum dulce 

By bringing to light these entirely new perfumes, Guerlain points out that they can only be found at home, and recommends to be on guard against the imitations that one will try to make."

Guerlain's Talc de Toilette

 Guerlain's Talc de Toilette was housed inside of a tin enameled in blue, off white and black.