For several of its most beloved perfumes—Fol Arome, L’Heure Bleue, and Mitsouko—Guerlain chose an especially refined presentation box that beautifully simulated marquetry. Two distinct versions of this design were produced, both evoking the elegance of inlaid wood craftsmanship.
First Version:
The first version, created around the early part of the century, was crafted from poplar wood and covered in polychrome lithographed paper that imitated the intricate look of ivory-inlaid marquetry. This design depicted pastoral scenes of hunting and fishing, richly detailed and artistically arranged, and was printed by the prestigious Draeger frères, who were known for their exceptional lithographic work. A wide off-white border framed the design, enhancing the impression of delicately inlaid panels. Inside, the box was luxuriously finished with satin and velvet linings, cradling the perfume bottle like a precious jewel.
Second Version:
By the 1950s, Guerlain introduced a second version of the marquetry-style box, also produced by Draeger frères, but with subtle updates reflecting postwar design sensibilities. When the two are compared, differences become apparent—the earlier box features a natural wood grain background, giving it an organic warmth, while the later version adopts a burled wood pattern, offering a more decorative and polished appearance. The typography evolved as well: the older lettering bears a slightly foliate character, graceful and ornate, whereas the newer font appears simpler and more modern. Even the artwork was reinterpreted—the trees in the later design were rendered in a more stylized form, and the birds subtly altered in shape, reflecting the changing tastes of the era.
Together, these two versions illustrate Guerlain’s sensitivity to both tradition and modernity—preserving the poetic imagery of its early packaging while embracing a fresher aesthetic suited to mid-century refinement.
Bottles:
In the first version of the marquetry presentation, Guerlain housed its most treasured perfumes—Fol Arome, L’Heure Bleue, and Mitsouko—in the iconic Bouchon Cœur flacon. This heart-stopper bottle, with its elegant curves and distinctive hollowed “heart” stopper, had become a symbol of Guerlain’s romantic aesthetic. Nestled within the satin-lined marquetry boxes, these flacons perfectly complemented the refined artistry of their packaging, creating a harmonious marriage between fragrance and presentation. The Bouchon Cœur flacons reflected the craftsmanship and poetic spirit of early Guerlain, embodying both sentimentality and sophistication.
By the 1950s, Guerlain retained the Bouchon Cœur for its parfum concentrations, honoring its established design heritage, but the presentation boxes were subtly reimagined to accommodate newer bottle forms. From 1952 to 1978, the marquetry-style cases were modified to hold the Parapluie “Flacon de Sac”—a portable umbrella-shaped bottle intended for travel—and from 1955 to 1982, the graceful Amphore flacon, whose slender, urn-like silhouette echoed classical antiquity. This adaptation reflected Guerlain’s evolving approach to presentation during the postwar years, balancing practicality with enduring elegance.
These changes demonstrated the House’s ability to blend continuity with innovation—preserving the charm of its original designs while adjusting to modern sensibilities and the demands of a changing luxury market. Each evolution in bottle form and packaging maintained Guerlain’s unwavering commitment to beauty, craftsmanship, and the ritual of perfume.
Special Versions:
During the 1940s and 1950s, Guerlain’s perfume boxes sometimes bore small, clear acetate labels reading either “Guerlain Paris” or “Guerlain New York, NY Distributor.” These discreet labels were affixed directly to the packaging and may appear slightly glossy or translucent against the box surface. While simple in appearance, these labels served an important legal and commercial function. They were not decorative additions but rather a response to U.S. trade and labeling regulations that emerged during the mid-twentieth century.
Following the introduction of the Fair Trade Practice Act and related truth-in-advertising laws in the United States, imported merchandise—particularly luxury goods—was required to bear a clear indication of its origin and point of distribution. These regulations were designed to prevent misleading branding and ensure that consumers were fully informed about where and by whom a product was made or sold. For companies like Guerlain, whose products were both manufactured in France and distributed through American subsidiaries, compliance with these laws was essential to maintaining transparency and consumer trust.
To meet these legal standards, Guerlain began applying these acetate distributor labels to perfume boxes destined for the American market. “Guerlain Paris” indicated direct French origin, while “Guerlain New York, NY Distributor” signified that the perfumes—though blended from French essences—were handled, packaged, or distributed through Guerlain’s U.S. offices. This ensured that the brand could continue operating within American retail networks without violating import or labeling laws.
Beyond their regulatory role, these labels have become a subtle marker of historical context. To collectors today, they help date a product’s period of export and trace Guerlain’s international trade practices during a transformative era when luxury French perfumes were adapting to global markets while preserving their Parisian identity.
In the 1950s-1960s, the box was modified so that the bottle could rest in a base while the lid of the box slips over. It appears this version was made for export to Mexico.
In the 1980s, cylindrical enameled purse flacons were introduced for a limited time. The flacons were enameled with the marquetry pattern and held L'Heure Bleue parfum.
Also in the 1980s, a special set made for japanese export was created, incorporating the marquetry design.
In the 1990s, for export, possibly only for Japan, Mitsouko was housed inside of a resin case covered in the marquetry paper.
