The choice of Portugal as a botanical inspiration reflects Guerlain’s attentiveness to provenance and authenticity. The flowers of the Portuguese mountains, particularly those surrounding the ancient Castle of Cintra (Sintra), also known as the Castle of the Moors (Castelo dos Mouros), provided the perfumer with a rare and natural palette. These highland blooms, shaped by a temperate climate and mineral-rich soils, imparted subtle nuances—soft yet complex—that distinguished them from the more commonly cultivated European florals. The bouquet likely featured wild roses, jasmine, and mountain blooms whose natural oils contained a richer and slightly spicier character than imported or greenhouse-grown flowers. Guerlain may also have enhanced these natural floral elements with small additions of absolutes and tinctures, allowing the scent to retain the purity of the wildflowers while creating a lasting fragrance suitable for an extrait.
The era in which Bouquet de la Comtesse d’Edla was launched, the late 19th century, was marked by both artistic flourish and aristocratic opulence. The fragrance would have reflected the sophistication of the Belle Époque in Europe, a period when perfumes were highly symbolic, worn as personal signatures and social statements. For women of the time, a perfume named after a royal figure and inspired by the romantic flora of Portugal would have evoked not only the elegance and prestige of court life but also a sense of refined adventure—a scent that transported them to the misty mountains and sunlit gardens of Sintra.
Olfactively, the fragrance can be imagined as a lush floral tapestry. The top notes likely opened with the freshness of morning dew on Portuguese wildflowers, complemented by a delicate citrusy brightness from local bergamot or lemon. The heart would unfold into a rich floral bouquet—jasmine, rose, lily, and perhaps subtle mountain herbs—creating a lively yet gentle harmony. Finally, a base of soft woods and musky undertones would ground the composition, providing warmth and elegance without overpowering the delicate florals. Compared to other perfumes of the period, Bouquet de la Comtesse d’Edla would have been unique for its intimate connection to a specific geographic locale and royal patronage, standing apart from the more generalized floral eaux de toilette common on the Parisian market. It was both a celebration of a distinguished woman and a sensory portrait of the Portuguese landscape, making it a fragrance of rare distinction and timeless allure.
Elise Friedericke Hensler, known in Portuguese as Elisa, led a life that seems to have been plucked from the pages of a romantic novel, blending artistry, culture, and nobility. Born on 22 May 1836 in La Chaux-de-Fonds, in Switzerland’s Neuchâtel Canton, Elise was the daughter of Johann Friederich Conrad Hensler and Louise Josephe Hechelbacher, a Swiss-German family. From an early age, she was immersed in the arts, languages, and cultural refinement, a foundation strengthened when her family relocated to Boston, where she received a remarkable education emphasizing the arts and languages. Her academic achievements culminated in Paris, where she completed her studies and acquired fluency in seven languages, a testament to her intellect and cosmopolitan upbringing.
Elise’s artistic talents soon brought her to the operatic stage. By her late teens, she had joined Milan’s Teatro alla Scala, one of Europe’s most prestigious opera houses. In 1855, at the age of nineteen, she had a daughter, Alice Hensler, whose father remains unknown but was likely a member of Milanese nobility. Alice would later marry Manuel de Azevedo Gomes, a Portuguese officer, creating the bridge between Elise’s European origins and her eventual Portuguese life. Elise’s operatic career brought her to Portugal in 1860, where she performed at the Teatro Nacional São João in Oporto and the Teatro Nacional de São Carlos in Lisbon. Her performance in Verdi’s Un ballo in maschera captured not only audiences but also the attention of King Ferdinand II of Portugal, who was enchanted by her extraordinary voice and striking beauty.
Elise and Ferdinand shared more than admiration—they were united by a mutual passion for the arts, including sculpture, ceramics, painting, architecture, and gardening. Their bond culminated in a morganatic marriage on 10 June 1869 in Benfica, Lisbon. Just prior to the ceremony, the Duke Ernest II of Saxe-Coburg and Gotha, cousin of Ferdinand and Head of the House of Saxe-Coburg, granted Elise the noble title of Countess d’Edla. The marriage, while childless, was rich in shared pursuits, particularly their love of botany. In Sintra, Elise designed a remarkable chalet-inspired cottage amid the gardens of the Palácio da Pena, reflecting both her Swiss roots and her American upbringing.
Following King Ferdinand II’s death in 1885, Elise inherited his estates, including the Palácio da Pena and Castelo dos Mouros, with King Charles I compensating her with 410 million escudos to secure her ownership. As a widow, Elise eventually relocated from Sintra to live with her daughter Alice and her son-in-law, maintaining a dignified, private life. She passed away from uremia on 21 May 1929 in Lisbon. Her funeral was attended by representatives of Portugal’s royal family, including the dowager queen Amélie of Orléans and ex-King Manuel II, reflecting the enduring respect and prominence she commanded. Elise Friedericke Hensler’s life, marked by art, intellect, and nobility, remains a captivating chapter in European history, bridging cultures and generations through both personal achievement and her indelible influence on Portugal’s royal landscape.
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Presented in the Carre flacon.
