Historical Cosmetics & Perfumes

A Brief History

The House of Guerlain is one of the oldest perfume houses in the world. It was founded in 1828 when Pierre-Francois Pascal Guerlain opened up his first perfume store on 42, Rue de Rivoli in Paris. Pierre-Francois composed and manufactured custom perfumes with the help of his two sons, Aime & Gabriel. His unique approach was to personalize perfume for a specific person, place or event. Honore de Balzac commissioned his own eau de toilette during the writing of Cesar Birotteau, and the periodical La Sylphide, le Journal des Elegances, scented each issue with a different fragrance by Guerlain.

Guerlain catered to the high society of Paris, and obtained a very loyal following. The perfume house was so successful that Guerlain decided to open a flagship store at 11, Rue de la Paix in Paris in 1840. I found some old Guerlain perfume labels that have the address correctly listed as 11 rue de la Paix. I found a reference to the shop being at this address in the publication Galignani's New Paris Guide for 1851 (may have been old information).

A 1847 publication lists the address as 15 rue de la Paix. (Bradshaw's continental monthly continental railway, steam navigation & conveyance guide. June 1847)

The house reached its pinnacle in 1853 when Pierre-Frangois-Pascal Guerlain introduced his newest fragrance, Eau de Cologne Imperiale as a wedding present to the Empress Eugenie of France, the wife of Napoleon III. It was contained inside of a flacon decorated with imperial bees, the upper portion of the flacon recalls the column in the place Vendôme in Paris. It's herbal-citrus appeal quickly became her favorite fragrance and its popularity in turn gained Guerlain the prestigious title of His Majesty's Official Perfumer of France. This in turn led him to create perfumes for other royals such as Queen Victoria of England, the Empress Sissi of Austria, the Queen of Belgium and Queen Isabella of Spain as well as other crowned heads of royalty.

Pierre-Francois passed away in 1854 and his sons inherited the perfume house. Aime became the master perfumer, a tradition that would be upheld for the next master perfumer in lineage. Gabriel managed and further expanded the house. Aime created several fragrances for the perfume house, these include Fleur d'Italie, Rococo, and Eau de Cologne du Coq and his greatest creation, Jicky.

In 1873, Guerlain received a medal of merit at the Universal Exposition held in Vienna .

In 1875, Aime Guerlain sought to patent his "Woman Flags" logo for the house of Guerlain in Great Britain.

Aimé Guerlain, President of the Chambre Syndicale de perfume; juror exhibitions of 1878 and 1889, participated in the Moscow exhibition in 1892.

In 1914, Guerlain moved to 68, Champs-Elysees Paris.

The business was then handed down to Gabriel's sons, Jacques & Pierre Guerlain. Jacques became the third master perfumer and created many fragrances in his lifetime. His creations include Eau de Coq, L'Heure Bleue, Apres L'Ondee, Shalimar, Vol de Nuit, Ode, and Mitsouko. These perfumes were so successful that some are still sold today. Jacques grandson, Jean-Paul Guerlain is the fourth-generation master perfumer and has authored several perfumes and men's colognes including Vetiver, Habit Rouge, Samsara, Nahema, Jardins de Bagatelle and many others.

A Day in the life of a wealthy Parisian Lady:

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 Maréchale 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 freshen her skin throughout the day, she would have used a scented vinegar. For a long time the use of vinegars had been admitted in the toilette. It was a means of salubrity which contributed to cleanliness and health, a preservative against contamination and bad air. White distilled vinegars were considered the very best quality. Vinegars were perfumed and made in two ways, either by distillation or by infusion, two equally good means; but distillation was preferable, because it gave strength and whiteness to the vinegar.

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. Another anti-blemish product was the Eau de Guerlain, containing tincture of benzoin, distilled water of cherry laurel and unfortunately extract of lead, it was said to be a remover of pimples and red splotches.

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 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 color 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 styled 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, and rubbed Poudre Oriental on her nails to polish them to a high shine, then 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, then she would have applied some l'Eau Lustrale, a liquid hair groom which would have gave it a lustrous shine. A touch of Grasse d'Ours Liquefiee, a pomade 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 juice 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, named after Adelina Patti)
• 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) to refresh and soften the skin.
• Poudre de Cygne (Swan's powder, a face powder) to refresh and soften the skin.
• 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, c1830)
• Ne M'Oubliez Pas (the first lipstick from 1870)
• La Pyrommee (kohl, a powdered eye liner, from 1878-1940)
• Grenadine (amyntic liniment) to tone and soften the skin, prevents chapped skin.
• Eau Lustrale, a fragrant water to cleanse and beautify the hair
• Ruspini's Odontalgic Elixir for the mouth and teeth
• Crème saponine d'ambrosial

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)
• Poudre Super Dulci also spelled as Superdulci (face powder 1912-1949)
• 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)

....

Historical information culled from period publications:

 

Reports of the Board of Exposition of 1900, specifically from Class 90 – Parfumerie, referencing the House of Guerlain:

"The list would be too long to name all the specialties of the House of Guerlain, which dates back to 1788. We will mention only a few of the many products that their display included. Among the older creations: Excellences, Héliotrope Blanc, Pré d’Automne, Eau de Cologne Impériale, Poudre de Cypris, and Pâte Royale. Among the most recent creations: Gavottes, a very summery perfume; Le Jardin de Mon Curé; Le Bon Vieux Temps; Eau de Cologne Hégémonienne; and a Pot Pourri aux Plantes Marines. Also shown was Voilà Pourquoi J’Aimais Rosine. All these perfumes were displayed on consoles and guéridons (small round tables), with some bottles left uncovered to demonstrate the intrinsic quality of the products."

Description and Context:

This excerpt offers a rare glimpse into Guerlain’s exhibition at the 1900 Exposition Universelle in Paris, a world’s fair that showcased the pinnacle of art, design, science, and industry at the turn of the century. Guerlain, by then already a well-established perfume house dating its origins to 1788, was recognized for both its heritage and its innovation.

Their display featured a thoughtful combination of heritage classics and contemporary novelties, emphasizing the continuity of excellence. The older perfumes listed—such as Excellences, Héliotrope Blanc, Pré d’Automne, and the iconic Eau de Cologne Impériale (created in 1853 for Empress Eugénie)—represented the house’s longstanding tradition of refined perfumery. Poudre de Cypris and Pâte Royale further underscored their expertise in cosmetic preparations.

Among the newer introductions, perfumes like Gavottes (noted as a light, summer fragrance), Le Jardin de Mon Curé (which translates to "My Priest’s Garden," suggesting a rustic or old-fashioned floral theme), and Le Bon Vieux Temps ("The Good Old Times") reflect the nostalgic and poetic naming conventions popular at the time. The inclusion of Eau de Cologne Hégémonienne and a marine-themed Pot Pourri indicates Guerlain’s willingness to explore fresh, modern inspirations, possibly aligning with the emerging interest in naturalism and seascapes at the dawn of the 20th century.

Also highlighted is a charming perfume titled Voilà Pourquoi J’Aimais Rosine ("That’s Why I Loved Rosine"), a romantic, almost literary name that might have resonated with visitors’ sentimentality or a cultural reference known at the time.

The perfumes were thoughtfully displayed on consoles and guéridons, elegant furnishings suited to a refined presentation. Notably, some bottles were left uncovered, allowing viewers to appreciate the products “à nu”—in their bare form—suggesting transparency, confidence in quality, and an appeal to the senses beyond packaging alone.

In summary, this passage not only provides a partial catalog of Guerlain’s offerings in 1900 but also reveals the brand’s marketing philosophy: a blend of timeless prestige and modern elegance, expressed through evocative names, artistic presentation, and an emphasis on the sensory richness of the perfumes themselves.

 

Journal des Demoiselles, 1879:

"EAU DE COLOGNE AND EXTRACTS by the House of GUERLAIN, 15 Rue de la Paix.
If we do not see the name of Monsieur Guerlain appearing at the top of the list of awards granted by the jury of the Exposition Universelle, it is because he was a member of that jury and, in that capacity, was not eligible for competition. This choice alone honors Monsieur Guerlain and places him at the forefront of the industry he had the privilege of representing.

The Eau de Cologne and fragrance extracts from this house attracted the attention of both French and foreign chemists and manufacturers through the excellence of their composition. These concentrated extracts release, in a small volume, a delicate fragrance that contains neither musk nor strong odors. To become scented, there is no need to bathe in it—just a single drop suffices. This represents progress—almost a discovery—which makes foreign markets dependent on the laboratory at Rue de la Paix. 

This year once again, Guerlain’s success was affirmed, as he saw his orders double. It is the reward for sustained effort and constantly renewed experimentation. One cannot judge the fragrance of an extract from the bottle alone—it must be applied to a handkerchief, and as it evaporates, one can then appreciate its sweet and lasting scent. 

The Eau de Cologne offers a fresh and pleasant perfume, excellent for use on the temples, where it helps to relieve headaches. The concentrated extracts Pao Rosa (from the Brazilian rosewood), de Serre, and the Bouquet Impérial Russe—soft and enduring—are currently in fashion and deserve the admiration they receive from high society everywhere. The Bouquet de la Comtesse d’Edla was recently created by Monsieur Guerlain for the royal consort. Composed of flowers from Portugal and the mountainous landscapes surrounding the ancient Château of Cintra—King Ferdinand’s favorite residence—it has given Guerlain one of his most exquisite creations: Extrait de Cintra.

We also remind readers that there is nothing better for chapped lips and hands—even open frostbite—than the Baume de la Ferté. A small box costs 1 franc 25 centimes."

Description and Context:

This article offers a rich and evocative portrait of Guerlain’s prestige and innovation in the late 19th century, emphasizing not just the quality of its products but also the esteem in which the house and its founder were held. The occasion was the 1878 Exposition Universelle in Paris, a world’s fair that served as a major stage for industrial and artistic achievement. Although Monsieur Guerlain (likely Aimé Guerlain at this time) did not receive an award, it was only because he served as a jury member, placing him beyond competition—an implicit recognition of his expertise and leadership in the perfume industry.

The Eau de Cologne and extrait perfumes from Guerlain were noted for their exceptional refinement. The article emphasizes that these extracts were highly concentrated, yet required only a drop to impart a lasting and delicate fragrance—free of musk and heavy base notes, which were often used to extend longevity. This minimalist purity was praised as a technical breakthrough, something so refined and efficient it was described as almost revolutionary.

Of particular note are the named extrait perfumes highlighted in the article. These included:

• Pao Rosa – a fragrance made from Brazilian rosewood (Aniba rosaeodora), known for its soft, floral-woody scent.
• De Serre – possibly referencing a floral fragrance associated with greenhouses or conservatories (from the French serre).
• Bouquet Impérial Russe – a soft, lingering perfume suggestive of Russian nobility and Eastern refinement.
• Bouquet de la Comtesse d’Edla – composed specifically for Elise Hensler, Countess of Edla and morganatic wife of King Ferdinand II of Portugal. The article tells us this perfume was inspired by Portuguese flowers and the landscapes around the Château of Cintra (Sintra), a royal residence. This perfume is further distilled into the Extrait de Cintra, a luxurious homage to its origin.

The article also touches on application methods, instructing that the perfume should be judged not in the bottle, but when evaporating from a handkerchief, a common practice of the time. This method reveals the perfume's true bouquet—its full aromatic unfolding.

In a separate but related note, the article endorses Guerlain’s Baume de la Ferté, a medicinal balm recommended for chapped lips, cracked hands, and even open frostbite wounds—a rare but telling nod to Guerlain’s continued commitment to both beauty and practical care. It sold at the time for 1 franc 25 centimes, making it accessible compared to Guerlain’s perfumes, which catered to the upper classes.
Altogether, the Journal des Demoiselles article not only affirms Guerlain’s technical excellence but positions the house as culturally influential, tied to royalty, international admiration, and the refined sensibilities of the Belle Époque elite.

The Court Magazine & Monthly Critic and Lady's Magazine, & Museum ..., Volume 10, 1842:

"Fortunately, the abrupt seasonal changes and the whims of temperature—once so harmful to the skin—are no longer much of a concern now that we have Guerlain’s lotion, which preserves the skin’s freshness, radiance, and even youthfulness so well.

This lotion, moreover, is not the only reason why the skilled perfumer of high society has earned the admiration of the fairer sex. The benefits of his Emulsive Oleine are already so well known that we need not dwell on them further.

Let us also not forget to recommend among Guerlain’s most remarkable products, Cydonia, which gives hair a beautifully glossy ebony-black hue, along with Oxéolé and his eau de toilette, whose remarkable effects we have praised more than once before.

Of the many perfumes we owe to our favorite chemist, some stand out in particular: Scotia Flora, Caprifolium, Geranium, Extrait de Myrthe, and Extrait de Portugal, to name but a few.

Mayer’s gloves are as perfectly refined as Guerlain’s perfumes. That is why Guerlain is the preferred supplier to all the royal courts. And if anyone were to doubt his superiority, he could easily point to his success in England and Russia, two countries where true elegance is held in the highest esteem."

Description and Historical Context:

This passage, written in 1842, is part advertisement and part cultural commentary, reflecting the reverent admiration that Guerlain commanded even in its early years. The house was then under the direction of Pierre-François-Pascal Guerlain, who had founded the brand in 1828. By the time this article appeared, he was already being hailed as “the perfumer of fashion,” with a reputation that extended well beyond France.

The article opens with praise for Guerlain’s lotion, described as a modern solution to the damaging effects of weather and seasonal fluctuations. In the mid-19th century, such concerns were very real—climate was widely believed to influence not only the skin but general health. Guerlain’s lotion is credited with preserving youth, glow, and freshness, offering women a sense of control over their appearance in a changing environment.

Another highlight is his "Oléine Emulsive", a product likely formulated from olein (a fatty compound derived from olive oil or other sources), emulsified to create a rich, nourishing skin treatment. Its benefits were so widely known that the writer finds no need to elaborate, indicating that Guerlain’s skincare products were already household names among the fashionable elite.

The review then turns to "Cydonia," a hair product that reportedly gave the hair a glossy, jet-black finish—suggesting either a tinted pomade or a darkening tonic. This was a highly desirable effect in the 19th century, particularly when raven hair was associated with youth, health, and allure.

Oxéolé and Guerlain’s Eau de Toilette are described as having “marvelous effects,” which the publication had apparently endorsed on prior occasions. These likely served dual purposes as fragrant refreshers and gentle skin tonics.

A number of floral and botanical scents are listed among Guerlain’s offerings, each one reflecting a different olfactory theme:

• Scotia Flora – Possibly a romanticized scent inspired by the floral landscape of Scotland.
• Caprifolium – Latin for honeysuckle; a sweet, climbing vine with intensely fragrant blossoms.
• Geranium – A green, rosy note that was highly favored in 19th-century perfumery.
• Extrait de Myrthe – Myrtle, symbolic of love and purity.
• Extrait de Portugal – Likely a citrus blend reminiscent of Portugal’s famed orange groves and perhaps neroli.

This array underscores Guerlain’s early mastery of naturalistic perfumes, balancing refinement with botanically inspired themes.

The passage concludes with a comparison to Mayer’s gloves, another highly prestigious luxury item. The writer places both Guerlain’s perfumes and Mayer’s gloves on the same level of refined distinction, tying them directly to courtly and royal tastes.

Guerlain’s role as official supplier to multiple royal courts, including England and Russia, further reinforces the brand’s status as a symbol of international luxury and aristocratic taste. The mention of these two countries—considered benchmarks for fashion and decorum—was meant to affirm Guerlain’s elite positioning and global success.

This 1842 review positions Guerlain as not merely a perfumer, but as a beauty innovator, chemist, and tastemaker. His products—whether for skin, hair, or scent—were already synonymous with modern refinement, science-backed luxury, and European elegance. Through lotions that protected from weather, hair treatments that enhanced beauty, and perfumes inspired by flora and tradition, Guerlain had, by this time, cemented his house as a cornerstone of 19th-century high society.

The enthusiastic tone of the piece shows how deeply cosmetics and fragrance had become part of the aspirational lifestyle of fashionable women—and how brands like Guerlain helped define that experience.

 

L'Artiste: Journal de la Littérature et des Beaux-Arts, 1856:

"Therefore, that melancholic face will not ask Guerlain for his Rouge de Damas, nor his Rouge de la Cour, nor his Rouge Plessis. Yet, that pale face will take a little eau de rose for the lips or some carmine pomade—for a fresh, rosy mouth is one of beauty's most captivating features. The whiteness of the camellia and the lily is achieved with Lait de Perles, Diapasm Oriental, Crème de Lis, and Poudre de Lis—all unique preparations crafted by Guerlain, who devotes himself exclusively to the beauty of women.

Guerlain is more than a perfumer; he is a man of science who turns to nature and chemistry for infallible solutions. He understands the virtues of each plant, the powers of every flower. Each of his products is made with a purpose. Eau des Alpes is intended for the toilette: it is a balsamic water distilled with plants and flowers known for their tonic and refreshing properties. It exhales a fresh, soft fragrance that invigorates the skin and delights the senses. There are still more eaux de toilette, for Guerlain is generous in his creation of coquetry talismans. Among them are Eau de la Reine, Eau de Judée, Esprit de Fleurs de Cédrat, Eau de Lavande Royale, Guerlain’s Lotion, Russian Eau de Cologne, Strawberry Water, and Rose Water.

Most Guerlain fragrances are also well-suited to dandies and fashionable gentlemen. Yet there are some specific creations made especially for facial hair—beards, mustaches, and sideburns—such as Crème d’Ambroisie pour la Barbe, Stilboïde de Pologne to shine and smooth facial hair, and Magyar Nemzeti Bajusz Kenőcs, a Hungarian pomade for grooming the mustache and side-whiskers."

This 1856 article is both promotional and poetic, placing Guerlain at the center of 19th-century beauty culture. It presents the house not merely as a vendor of perfumes and powders, but as a kind of scientific atelier devoted to elevating human appearance—particularly that of women—through the expert use of botanicals and chemistry.

The passage begins by addressing the face of a melancholic woman, which is said not to request the more traditional rouges—Rouge de Damas, Rouge de la Cour, or Rouge Plessis—but instead seeks subtler, natural enhancements such as eau de rose or pommade carminée (carmine-tinted lip pomade). This signals a growing shift in beauty ideals of the time: from overtly painted faces to fresher, more natural expressions of youth and vitality.

Guerlain’s products like Lait de Perles (Pearl Milk), Diapasm Oriental, Crème de Lis (Lily Cream), and Poudre de Lis (Lily Powder) are presented as essential to achieving the alabaster complexion associated with aristocratic beauty. These preparations reflect a broader 19th-century ideal of delicate, luminous skin, often likened to camellia petals or lilies—symbols of femininity, chastity, and refinement.

Perhaps most significantly, the article describes Guerlain as "more than a perfumer"—a man of science. This aligns with the growing 19th-century fascination with chemistry and pharmacognosy (the study of medicinal plants), which many perfumers were beginning to incorporate into their work. Guerlain is described as someone who “knows the virtue of every plant and the power of every flower,” suggesting that his creations are both purposeful and effective, not simply luxurious indulgences. The mention that "each product has a goal" emphasizes function as much as fragrance—these were preparations to preserve youth, invigorate the senses, or enhance beauty, not just adorn the body.

The list of Guerlain’s eaux—Eau des Alpes, Eau de la Reine, Eau de Judée, Esprit de Fleurs de Cédrat, Eau de Lavande Royale, and others—represents a cabinet of scented wonders, each with a romantic or geographical name to stir the imagination. These were positioned as “talismans of coquetry”—small luxuries that women could wield to enhance charm, seduction, or simple pleasure. The poetic name Eau des Alpes, a tonic distilled from alpine plants, evokes the purity and freshness of mountain air. Esprit de Fleurs de Cédrat references the citron blossom, prized for its uplifting citrusy aroma. Eau de Judée and Eau de la Reine likely played on exoticism and royal associations, respectively. This language suggests Guerlain was not just selling perfume, but a sensory fantasy—bottled elegance with a story.

While much of the emphasis is placed on women, the article also notes that many of Guerlain’s perfumes were suitable for dandies and fashionable men. A few products were even formulated specifically for facial hair, reflecting the popularity of well-groomed beards, mustaches, and side-whiskers during the mid-Victorian period. Among them:

• Crème d’Ambroisie pour la Barbe – An ambrosial cream for softening or styling the beard.
• Stilboïde de Pologne – Possibly a glossy pomade or oil of Polish inspiration.
• Magyar Nemzeti Bajusz Kenőcs – A Hungarian national pomade for mustaches and sideburns; the name itself is a charming nod to European trends.

These grooming products align with the dandy culture of the time, wherein male vanity and attention to detail in personal appearance were celebrated rather than mocked.

This 1856 article reflects how Guerlain had already transcended perfumery, establishing itself as a leader in scientific beauty, refined elegance, and gendered personal care. The piece praises Guerlain not only for its fragrances and powders but also for its innovation, botanical expertise, and its keen understanding of what made women (and men) feel beautiful.

Guerlain’s work is framed as both art and science, rooted in nature yet elevated by chemistry. Its products are tools of transformation—“talismans of coquetry”—meant not merely to adorn but to empower through beauty.

La Femme et la Famille et Le Journal des Jeunes Personnes, Volume 2, 1868:

"Perfumery is one of those things that can be either fundamentally hygienic or entirely harmful. That is why it is important to choose perfumes of good quality. We confidently recommend the house of Guerlain, located on rue de la Paix, for its perfumes, soaps, pomades, essences, and eaux de toilette. This well-known establishment offers only the finest products to its clients.

There one finds a complete selection of all the pastes, powders, bottles, and boxes that rightly belong on the dressing table of a refined lady. During this season of intense heat, delicate complexions are especially prone to developing freckles. For this reason, we advise our readers to use Lait Antéphélique de Candès, the most effective remedy against such blemishes that can mar even the loveliest of faces. This milk is diluted with water before application. Its reputation has now become European, and shipments are even sent to every part of the world. A bottle of lait antéphélique sells for five francs, and the Parisian depot is located at Candès, 26 rue Saint-Denis.

Red-blond hair remains quite fashionable in Paris—though natural redheads are rare. The fad for fiery red hair has not yet passed, and some brunettes even dye their hair just to change their natural black locks into a reddish hue. However, the result often does not suit their features. Dyed black hair tends to turn a dark mahogany color that clashes with both complexion and eye color. I would never, dear readers, as you well know, encourage such ridiculous whims.

Avoid hair dye altogether. But if you are in search of fine and wholesome perfumery—soaps, pomades, poudre de riz, elixirs for the teeth, scented vinegar for the bath, or perfumes for the handkerchief—then turn to the house of Guerlain on rue de la Paix, whose products are as hygienic as they are pleasurable to use."

This 1868 article serves as both an endorsement of Guerlain and a subtle guide for middle- and upper-class women in choosing products that balance hygiene, health, and refinement. The article opens with a cautionary statement: perfumery can either be beneficial or harmful. This echoes the 19th-century concern with health and purity, especially in relation to the body and complexion. It also reflects a time when not all cosmetic products were manufactured under safe or standardized conditions, so sourcing from reputable houses was crucial.

Guerlain is recommended “with confidence” for a full range of beauty and hygiene goods: Perfumes, Soaps, Pomades, Essences, Eaux de toilette. The article emphasizes the completeness of Guerlain's offerings, noting that the brand provides every item one might need to properly furnish a lady's dressing table. This speaks to Guerlain's identity not just as a perfumer but as a full-service beauty supplier.

The seasonal concern of freckles, especially affecting “delicate complexions” in the heat, reflects the period’s obsession with unblemished, pale skin. The recommended solution, Lait Antéphélique de Candès, is noted for its effectiveness and international acclaim—offering a practical skincare routine that reinforces ideals of female beauty linked with cleanliness and uniform skin tone.

The piece then shifts to a critique of a popular hair trend: the craze for red-blond hair, which was fashionable in Paris during the mid-19th century. Some brunettes, it says, resorted to dyeing their hair to follow the trend, often resulting in an unnatural “mahogany” hue that clashed with their features. The author criticizes this as a vain and misguided pursuit, emphasizing that readers should maintain natural beauty rather than succumb to fleeting fads. This commentary subtly reinforces the idea that true elegance comes from refinement and discretion, not from excessive artifice. 

In the closing lines, the author returns to a recommendation of Guerlain for a wide array of well-crafted, hygienic, and sensorially pleasing products, including: Poudre de riz (rice face powder), Tooth elixirs, Scented bath vinegar (used to refresh and lightly perfume the skin), and Handkerchief perfumes. The message is clear: Guerlain's products are a marriage of luxury and health, appealing not just to vanity but also to well-being.

This 1868 article frames Guerlain as a trusted, holistic source for high-quality personal care—a house that not only satisfies beauty standards but also maintains a commitment to hygiene and good taste. It promotes Guerlain’s role in shaping daily grooming rituals for fashionable women, affirming the brand’s status as a symbol of tasteful, health-conscious luxury. The commentary on red hair dyes adds a cautionary tale about the excesses of fashion, reminding readers that elegance lies in natural beauty enhanced by trustworthy, gentle products—precisely the kind offered by Guerlain.

Journal des demoiselles, 1875:

"I believe I promised you during our August visit to explain what Monsieur Guerlain’s scent atomizer is. The atomizer consists of an elegant crystal bottle with a long neck, into which is inserted a glass tube attached to the stopper. This tube is connected to a rubber bulb that communicates with the tube. When the bulb is pressed, air is forced into the bottle, which in turn propels the liquid as a scented mist. This atomizer is used to freshen the air in a room, or for personal use—a fine mist can be applied to the clothes without any fear of staining, as the vapor is so light and impalpable. It can also be directed to the hands and face, providing a very pleasant sensation of freshness. The large model of this atomizer costs 15 francs.

The fragrances in use during this season include Verveine, Cedrat, Portugal, and Eau de Cologne—in short, all the light, refreshing scents.

The use of cosmetics is not always a matter of vanity; often it is hygiene that compels one to resort to soothing preparations that calm the complexion, particularly when it is marred by redness. If, for example, I recommend cucumber juice cream as excellent for the skin and for treating sudden facial redness, I don’t believe I’m encouraging coquetry—after all, the smell of cucumber is more of an inconvenience than a delight. This cream is priced at 3 francs per jar. Strawberry cream and grenadine cream are also very good preparations, which can be used with full confidence—as can all products from the house of Guerlain, located at 15 rue de la Paix. The former costs 4 francs, and the latter 5 francs per jar."

This article from Journal des Demoiselles, a publication aimed at well-bred young women and their guardians, provides practical guidance on a new innovation in scent delivery and skincare by the house of Guerlain, a name already synonymous with quality and elegance by the 1870s.

Guerlain’s pulvérisateur à odeurs (scent atomizer) is described in detail, marking it as a technological novelty in domestic and personal fragrance use. The apparatus involved a glass flacon, internal tube, and rubber squeeze bulb—a forerunner to modern spray perfume bottles. Its purpose was twofold:

To refresh the air in enclosed spaces (suggesting an early use of fragrance as an ambient luxury); To lightly perfume the body and garments without the risk of staining them—this was a major selling point given the importance of clothing and presentation for women of the era. The fine mist produced gave a sensory experience of coolness and light perfume, likely providing momentary relief during hot seasons or while dressing.

The article emphasizes that seasonal appropriateness of scents was already considered: Verbena, citron, Portugal (likely a type of orange blossom or citrus blend), and eau de Cologne are cited as ideal summer choices—zesty and fresh, not cloying. These selections reflect a 19th-century appreciation for light, naturalistic aromas, which were considered elegant and suitable for daily wear.

The article makes a point to defend the use of cosmetics as hygienic rather than vain, a common justification in women’s magazines of the period. Cucumber cream is praised for treating redness and sensitive skin. While its scent was considered undesirable, its effectiveness was paramount, suggesting a shift toward dermatological value in cosmetics. The mention of sudden facial redness may allude to issues like rosacea, sun exposure, or even emotional blushing—all common concerns for women trying to maintain a pale, even-toned complexion. Strawberry cream and grenadine cream were likely mildly astringent or emollient skin treatments that provided a pleasant scent and skin-smoothing effects. These fruit-derived preparations likely contained natural fruit acids or juices known for their toning and brightening properties. The confidence placed in them (“can be used with full trust”) reinforces Guerlain’s reputation for safety, efficacy, and refinement. 

15 francs for the atomizer would have placed it in the luxury category—accessible to bourgeois and aristocratic clients. The creams, priced at 3 to 5 francs, were also positioned as refined products—affordable but not ordinary drugstore fare. This 1875 article elegantly showcases Guerlain’s dual reputation as a scientific innovator and a guardian of refined beauty rituals. The scent atomizer was not only a technical convenience, but a symbol of modern femininity—clean, delicate, and in control of her presentation. Similarly, the creams reflect a growing fusion of beauty and dermatology, long before modern cosmetics blurred that line. The piece is not just a product endorsement but also a gentle social guide, advising women to take care of their skin, avoid vanity, and trust only reputable houses like Guerlain, who combined nature, science, and elegance at 15 rue de la Paix.

“Odeur de Sainteté” (“Odor of Sanctity”) from Oeuvres (1907), Volume 2, by Count Robert de Montesquiou:

"That borrowed radiance—like something from Racine—she possessed a love of ornamentation, daring to adorn herself to the point of decay. She strove to be pleasing, even to Death itself, hoping to confuse its biting grip when told that it was time for the priest to be called.

But it was not a priest she summoned—only Guerlain. And in place of holy oil and last rites, it was cosmetics alone that fulfilled the function. With solemnity, she began her ritual: Eau de Portugal and Eau de Cologne led the way.

Then came Opoponax and Ylang-Ylang, with their persistent, heady, and watchful aromas. The balms of Ninon (perhaps an allusion to Ninon de Lenclos, famed for her eternal youth) and veloutines followed—those preparations that preserve the peach-like down of childhood skin.

She applied the blush of grape, the paleness of bismuth (a cosmetic pigment), which many a lady’s maid would carefully blend and measure. She brightened her glassy eyes with kohl, and poured belladonna into her hollow eyelids, dilating her pupils to evoke the last dying gaze of Flora in extremis.

Her eyes, heavy and reluctant to close, lingered open longer than they should have, and across her dying face danced in feverish alternation rice powder and hare’s paw (used to apply cosmetics). She layered on glycerin, ointments, rouges, opiates, pencils—beneath all of which her true soul’s light faded out.

She enameled white over her liver spots, painted her lips with red, and veiled her withered limbs in frothy lace, adorned with glittering jewels—a necklace that sparkled, a bracelet that shone. But she was in a race against the Inexorable: Death, who no longer desires us to be beautiful, nor allows us to turn heads or stir hearts—and who casts mocking corrections over all earthly vanities.

Thus, her body thoroughly washed, her face exquisitely prepared, and her hair perfectly arranged—she was satisfied, proud to be beautiful still, even for the worms.

Into the hands of Atkinsons (referencing the perfumery brand, and perhaps dually symbolizing the undertakers or final caretakers), in the arms of fragrance, she returned her body to the God of Tuberose, who creates blissful lilies and joyful hyacinths. And in the floral Nirvana, she went in search of the resurrection of her rose-like flesh."

This poem is a brilliant, decadent, and at times ironic meditation on beauty, death, ritual, and vanity. It merges religious rites with the language and gestures of cosmetics and fragrance, using Guerlain and other perfumery references as stand-ins for sacraments in a secular, sensual religion of beauty.

The subject—presumably a woman facing death—chooses Guerlain instead of a priest, and beauty products instead of sacraments.

Instead of being anointed with holy oil, she anoints herself with: Eau de Portugal, Eau de Cologne, Extracts of Opoponax and Ylang-Ylang, balms and veloutine creams, bismuth powder, grape blush, belladonna, and kohl. These are described with almost mystical reverence, as tools of spiritual and physical preservation, creating a false resurrection of youth and vitality. Floral imagery is abundant—tuberose, lily, hyacinth, roses, verbena—all associated with beauty, decay, and rebirth.

The speaker’s death becomes a kind of initiation into the afterlife through perfume, with the “God of Tuberose” evoking a florid, fragrant eternity. Guerlain is portrayed not just as a perfumer, but as a priest of corporeal glamour, whose products take the place of divine absolution. This aligns with Robert de Montesquiou’s known fascination with aestheticism, artifice, and ritualized beauty—Guerlain represents the holy temple of Parisian elegance. There is deep irony in her devotion to beauty, even on her deathbed, as if mortality could be postponed or beautified with the right potions. Yet the final stanzas make clear that death is unimpressed: it does not care for beauty, and mocks those who try to outwit it with “errata”—a clever metaphor likening death to an editor correcting illusions. The mention of Atkinsons (a British perfume house) may also signal the final handling of the body—undertakers or embalmers. But within the symbolic realm of this poem, it might equally be read as another keeper of fragrant rites, second only to Guerlain.

In Odeur de Sainteté, Montesquiou uses perfume and cosmetics—especially those from Guerlain—as metaphors for ritual, memory, and the illusion of control over death. The work is both a celebration of the artifice of beauty and a somber acknowledgment of its futility. In the end, perfume becomes a sacrament of farewell, and Guerlain its high priest.

Town topics, the journal of society - Volume 29 - Page 32, 1893:

"My dear Lena, you asked me to see about some small articles de toilette. So I went to Guerlain's and this is what he suggests for you. An etui of "Pyrommee" for the eyes, it certainly makes one's eyes look better and is quite harmless. It contains a little India rubber tampon that you pass gently under and over your eyelashes, but before using it, blow off the black that is too thick or you will have too much on and look as if you had two lovely black eyes. It undoubtedly gives brilliancy to the eyes and does not show in the least, I use it as well for my eyebrows - the least little soupcon - and I am sure you have never noticed it. 

To keep your powder on there is one famous article from Guerlain's called "Creme Patti". The Comtesse de B. always uses it and she is certainly the best arranged woman in France. You put it on all over your face and rub it well in. Don't think it is greasy, for it is not. Her face never looks hot or greasy. Then you wipe it off with a soft towel and put your powder on lightly. 

If you want any rouge - and if you are feeling tired or ill it sometimes necessary try lip salve on your cheeks, tout bonnement, and a little powder on the top of it. Rouge gives such a expression I think, whereas lip salve no one can see - I defy to find you out - and one hates one's little secrets to be to the world. I ordered you yards of heliotrope flannel to put inside the wardrobes, and also on your bodies, as sachet powder invariably comes out and makes a dust. 

A new perfume called "Nice Dear," I thought irresistible. In France we adopt a perfume and stick to it. One's scent is part of one's self, l am sure you will like Nice Dear, to wish not to change again and that you will find with "Creme Patti" and the "Poudre de Blanc de Perles", the salve and the black for your eyes. Time and weather are naught you. Lena dear I swear secrecy...no torture could wrench this secret from my lips."

The letter-style passage reveals the everyday beauty routines of elite women in the 1890s, with a special emphasis on discreet enhancement. The writer, responding to her friend Lena’s request for help in assembling some articles de toilette, visits Guerlain’s celebrated boutique and returns with specific recommendations.

First among them is an étui of “Pyrommée”—a cosmetic preparation for the eyes. The kohl product comes with a small India rubber applicator (referred to here as a tampon), which is gently passed over and under the eyelashes. The author advises that excess pigment be blown off before use to avoid overapplication, cautioning that without this, one might appear to have “two lovely black eyes.” Despite its striking results, the product is described as harmless and invisible when applied correctly. It enhances the eyes' brilliance and can also subtly darken the eyebrows. The author proudly notes she uses it herself with such subtlety that even Lena has never noticed.

To ensure facial powder adheres properly, Guerlain’s “Crème Patti” is recommended—a complexion cream famously used by the Comtesse de B., a Frenchwoman admired for her impeccable grooming. The cream is to be rubbed into the face thoroughly. The writer is quick to dispel any concern that it might be greasy; quite the opposite, it prevents shine and ensures a powdered finish that is cool and composed. After the cream is applied and then the excess wiped off with a soft towel, the face is ready for powder. In this case, Guerlain’s "Poudre de Blanc de Perles" is implied as the powder of choice.

For a natural blush, especially during times of fatigue or illness, the writer recommends using lip salve on the cheeks, topped with a light dusting of powder. This method provides a subtle flush without the telltale signs of rouge. The author claims this trick leaves no visible trace, declaring that no one could detect its use—a subtle defiance against societal judgment, revealing the value placed on discretion in beauty rituals.

She also mentions having ordered yards of heliotrope flannel—a lavender-colored fabric—to line Lena’s wardrobes and garments. Rather than using loose sachet powders, which tend to spill and create dust, scented flannel provides a cleaner and longer-lasting solution for perfuming clothing and linens.

The final touch is a new Guerlain fragrance called “Nice Dear”, which she finds “irresistible.” In France, she notes, it is customary to adopt a personal scent and remain faithful to it, as perfume is considered an extension of one's identity. She expresses confidence that Lena will adore Nice Dear and stay loyal to it, suggesting it as the perfect finishing detail alongside the other selected products.

The passage closes on a note of sisterly intimacy and confidentiality. The author assures Lena that her beauty secrets—particularly the use of lip salve as rouge and the subtle darkening of her lashes and brows—are safe. She vows secrecy, “no torture could wrench this secret from my lips,” highlighting how important it was for women of this era to maintain the illusion of natural beauty while privately relying on expertly chosen products.

In sum, this letter offers a charming and candid window into the grooming habits of fashionable women in the 1890s, showcasing Guerlain’s pivotal role in refined, effective, and elegant beauty rituals. It illustrates how women used cosmetic enhancement not only for appearance but also for identity, social presentation, and quiet self-assurance—all under the veil of discretion.