Flacon Escargot (Snail) c1902-1962

Guerlain’s Flacon Escargot—often referred to as the Snail Bottle—was introduced around 1902 and remained in use until 1962. This clear glass flacon was originally designed to hold extraits of Mouchoir de Monsieur and Voilette de Madame, though it was also employed for Aï-Loé. Its unusual triangular form set it apart from the more traditional apothecary styles of the period, giving it a distinctly modern and playful character.

The most striking feature of the Flacon Escargot is its clever use of design to create the “snail” motif. The stylized lettering of the Guerlain name sweeps across the bottle’s shoulder in such a way that it forms the body of a snail, from which the nickname derives. This whimsical integration of branding into the design was both decorative and functional, serving as a discreet yet unmistakable signature of the house.

The bottle was produced in several sizes, though it is most closely associated with the 80cc version, which continued to be used for Mouchoir de Monsieur until the early 1960s. Pochet et du Courval was responsible for the manufacture of the Flacon Escargot, creating four moulds in total. Today, it remains one of the more unusual and imaginative Guerlain flacons, blending elegance with a touch of wit that reflects the brand’s artistic sensibilities at the turn of the century.

Sizes:

• Mould # 11521 = 80cc/80ml/2.7 oz - 11.5cm/4.53" (1902-1962)
• Mould # 11654 = 125cc/125ml/4.2 oz - 13cm/5.12" (1903-1959)
• Mould # 11780 = 250cc/250ml/8.4 oz - 15cm/5.91" (1904-1959)
• Mould # 12154 = 500cc/500ml/16.9 oz - 19cm/7.48" (1904-1959)

Bottles:

Scents:

• Voilette de Madame
• Mouchoir de Monsieur
• Ai Loe

Ai Loe c1905

In 1905, Jacques Guerlain introduced Aï Loé, a complex floral-oriental fragrance for women, described at the time as deeply musky. The choice of name is intriguing. Aï Loé is believed to derive from the popular 19th-century fragrance known as Ki-Loc or Ki-Loe du Japon, a formula that circulated widely in perfumery manuals as early as 1889. The pronunciation of Aï Loé (roughly “eye low-eh”) evokes an exotic, faraway cadence, suggesting a sense of mystery and refinement that appealed strongly to the romantic imagination of turn-of-the-century Europe. The name conjures images of distant Eastern gardens, rare blossoms, and the fascination with Japan and the Orient that dominated the decorative and cultural arts of the Belle Époque.

The early 1900s, often referred to as the Belle Époque, were a period of optimism, elegance, and cultural efflorescence in Europe. Women’s fashion embraced flowing gowns, delicate lace, and pastel tones, while Art Nouveau aesthetics flourished with their curving lines and floral motifs. In perfumery, this was a time of innovation—natural extracts such as jasmine, rose, and musk were still central, but perfumers increasingly experimented with new synthetic molecules. This allowed them to create longer-lasting, more complex fragrances that could not have been achieved with naturals alone. A perfume like Aï Loé, with its musky richness, would have been seen as both sophisticated and daring, perfectly suited to the fashionable woman who wanted to embody modernity while still embracing the timeless allure of floral luxury.