Mitsouko 1919

Mitsouko by Guerlain was launched in 1919, a year that marked both the end of the First World War and the beginning of a new cultural awakening. The name Mitsouko was inspired by the heroine of Claude Farrère’s 1909 novel La Bataille (The Battle)—a tragic tale of love, loyalty, and restraint set during the Russo-Japanese War of 1905. In the story, Mitsouko, the wife of Japanese Admiral Togo, finds herself torn between devotion to her husband and forbidden love for a British officer. Both men depart for war, and Mitsouko, with quiet dignity, must await the battle’s outcome to learn which man—if either—will return to her. It was this poignant image of emotional strength veiled in composure that captivated Jacques Guerlain, inspiring him to create a fragrance that mirrored such controlled passion.

The name Mitsouko (pronounced meet-soo-ko, ミツコ in Japanese) is of Japanese origin. Though it has been said to mean “mystery,” “shining child,” or “light of wisdom” depending on the kanji used, in the context of Guerlain’s perfume it evokes something more symbolic—the quiet allure of the East, refinement, and enigma. The name conjures images of silk screens, lacquered boxes, moonlit gardens, and restrained emotion—an atmosphere of subtle beauty rather than overt sensuality. It is a name that feels both romantic and introspective, mirroring the perfume’s character perfectly.

When Mitsouko was released, the world was in a state of profound change. The year 1919 fell within the post–World War I era, an age of recovery and transformation now often referred to as the Roaring Twenties or Années folles in France. Fashion was shifting rapidly—corsets were being abandoned, shorter skirts and looser silhouettes replaced rigid Edwardian formality, and modernism was influencing everything from art to architecture. Women, newly liberated in spirit, were asserting independence in both appearance and identity. In this context, a perfume named Mitsouko—with its exotic name, emotional depth, and aura of mystery—would have resonated deeply with women seeking complexity and sophistication rather than innocence.

Created by Jacques Guerlain, Mitsouko is classified as a fruity chypre, a genre that combined the mossy depth of traditional chypre with an unexpected fruit note—in this case, peach, formed from the new synthetic molecule Persicol, developed by Chuit Naef & Cie. The result was revolutionary: warm, subtle, and unlike any other perfume of its time. The formula was further enriched with iris (methyl ionone) and animalic materials such as ambergris, castoreum, and cistus labdanum, lending a sense of velvet texture and emotional gravity. Guerlain also incorporated De Laire’s base Iriséine, the same shimmering floral accord that lent L’Heure Bleue (1912) its haunting soul.

In artistic terms, Mitsouko was both a continuation and a reinvention. It followed Coty’s 1917 Chypre in structure, paying homage to the new chypre genre, while drawing inspiration from Paul Poiret’s Nuit de Chine (1913) with its oriental and peachy overtones. Yet, Mitsouko transcended both—it was more restrained, more intellectual, and profoundly emotional in its balance of warmth and reserve.

To women of the late 1910s and early 1920s, Mitsouko represented something deeply modern. It was not the overtly floral sweetness of the Belle Époque, nor the brashness of the coming Jazz Age. Instead, it embodied poised mystery—the scent of a woman who feels deeply but reveals little. In that sense, Guerlain’s Mitsouko captured the spirit of its namesake and its age: a perfume of quiet strength, emotional depth, and timeless sophistication.

Original Fragrance Composition:

So what does it smell like? The original 1919 version of Mitsouko is classified as a fruity chypre fragrance for women. 

• Top notes: privet, Chuit Naef's Persicol base, jasmine, bergamot, lilac, sweet pea
• Middle notes: heliotrope, jasmine, lilac, Bulgarian rose, orris, pimento, lavender, thyme, De Laire's Iriseine base
• Base notes: patchouli, vetiver, sycamore, musk, castoreum, cistus labdanum, civet, oakmoss, ambergris and vanilla

Scent Profile:

To smell the original 1919 Mitsouko by Guerlain is to step into an olfactory world that balances shadow and light, nature and artifice, East and West, heart and intellect. It is a fragrance that speaks softly but carries immense emotional resonance, each note unfolding like a brushstroke in a Japanese watercolor—measured, fluid, and exquisitely layered.

The first impression is brisk yet tender. Bergamot, sourced from the sunlit groves of Calabria, Italy, opens the composition with a bright, slightly bitter radiance—a citrus oil prized for its sparkling freshness and subtle floral undertone. Its quality depends on the thin-skinned fruit and the limestone-rich soil of its native region, producing an essence finer and more complex than that from other citrus-growing areas. Entwined with it is the faintly green whisper of privet, lending a dry, slightly waxy greenness that tempers the effervescence. Then the legendary Persicol base, created by Chuit Naef & Cie, enters the scene. This groundbreaking synthetic accord recreates the velvety flesh of ripe peach, not sugary or obvious, but soft, warm, and delicately animalic. The molecule—based on gamma-undecalactone—evokes the fuzzy skin of fruit brushed against warm skin. Its brilliance lies in how it enhances the natural florals that follow, making them glow with an inner radiance.

Soon the heart of Mitsouko begins to unfold—a tender weave of Bulgarian rose, lilac, heliotrope, jasmine, and sweet pea, illuminated by aromatic nuances of lavender, thyme, and pimento. The Bulgarian rose, grown in the famed Valley of Roses near Kazanlak, carries a uniquely honeyed, slightly peppered warmth, fuller and more sensual than roses distilled elsewhere. Jasmine, likely from Grasse, is lush yet restrained, its creamy sweetness softened by lilac’s powdery coolness and the faint almond-like note of heliotrope. The aromatic herbs—lavender from Provence and thyme—add a touch of sunlight, breathing air into the perfume’s dense floral tapestry, while pimento lends a faint spice, a pulse beneath the softness.

Threaded through this heart is the De Laire base Iriseine, a masterful blend of natural and synthetic materials created by the celebrated perfumery house De Laire. Iriseine fuses orris butter, ionones, and violet-like synthetics to mimic the refined powderiness of iris pallida from Tuscany—a raw material so precious it was then worth more than gold. The methyl ionones within it capture iris’s woody, violet nuance, giving Mitsouko a cool, elegant melancholy. This was the modern alchemy of its age: the ability of chemistry to extend nature’s beauty, not to replace it but to immortalize it.

As the perfume settles, the base notes reveal the true soul of Mitsouko—deep, warm, and shadowed. Oakmoss, gathered from the forests of the Balkans, forms the heart of the chypre accord, its damp, earthy bitterness grounding the perfume’s ethereal florals. It is joined by patchouli from the East Indies and vetiver from Réunion, each bringing a distinct texture—patchouli’s smoky, camphorous richness, and vetiver’s cool, rooty sophistication. Sycamore wood lends a faintly dry, resinous accent, while a trio of animalic notes—castoreum, civet, and ambergris—lend flesh, warmth, and breath to the structure. Castoreum imparts a leathery, smoky depth; civet adds a whisper of sensual muskiness; and ambergris, weathered by the sea, rounds everything in a soft, salty-sweet luminescence.

The final touch is vanilla, used sparingly yet effectively to smooth the darker elements and lend an abstract, golden glow. Cistus labdanum, with its resinous, ambery tone, weaves through the blend, linking the green mosses with the warmth of the musks. In these base materials, Guerlain’s genius lies in proportion—the orchestration of opposites: fruit and wood, light and shadow, refinement and abandon.

To experience Mitsouko in its original form is to encounter one of perfumery’s great contradictions: a fragrance that feels at once timeless and alive, delicate yet resolute, modern yet ancient. The synthetics—Persicol, ionones, Iriseine—do not betray the natural materials but rather heighten their beauty, transforming them into something abstract and eternal. It is not merely a scent but a portrait of emotion—restrained, mysterious, and endlessly human.

Reformulated Fragrance Composition: 

So what does it smell like?  Mitsouko vintage version (1989) is classified as a fresh fruity chypre fragrance for women. It begins with a fresh fruity top, followed by a floral spicy fruity heart, resting on a mossy balsamic base. Fruity chypre composed of bergamot, spices, oakmoss, vetiver and peach. A mysterious blend cloaked in a sensuous air.

• Top notes: bergamot, lemon, mandarin, neroli, peach aldehyde (C-14)
• Middle notes: jasmine, rose de mai, clove, ylang ylang
• Base notes: vetiver, oakmoss, benzoin, sandalwood, cistus, myrrh, cinnamon, musk

Scent Profile:

By 1989, the world of perfumery had changed dramatically. Synthetic chemistry had advanced, animalic materials were being restricted, and women’s tastes leaned toward bolder, more luminous compositions. Guerlain sought to preserve Mitsouko’s mystery but modernize her texture—making her more radiant, more voluminous, yet still unmistakably elegant.

The top notes of the reformulation open with a clearer, more effervescent sparkle—bergamot, lemon, mandarin, and neroli—creating a fresher, more citrus-forward introduction. This reflects both the style of the 1980s and the limitations placed on certain natural materials. The Calabrian bergamot remains, but it now plays alongside mandarin (adding a juicy sweetness) and neroli (lending a light floral-green transparency). The peach of the original Persicol accord is now rendered with aldehyde C-14, a synthetic lactone that mimics the scent of ripe fruit with creamy warmth. It feels more abstract, less earthy than the original Persicol, but still conveys that same sun-warmed, skin-like allure.

In the heart, the bouquet of jasmine, rose de mai, clove, and ylang ylang brings back Mitsouko’s classical floral structure but with added brightness and spice. The rose de mai (cultivated in Grasse) gives a delicate, green-petal nuance, while clove and ylang ylang lend warmth and texture. The jasmine is less indolic and more polished—reflecting modern jasmine absolutes and new aroma chemicals that offered a cleaner floral tone. This heart feels airier, more diffusive than its 1919 counterpart, where flowers had been woven densely like silk tapestry.

The base notes of the 1989 version retain the chypre foundation but with noticeable shifts. Oakmoss—once dense and forested—is now moderated, its raw material restricted due to allergen regulations. To compensate, vetiver, benzoin, sandalwood, and myrrh build the earthy structure, while musk and cinnamon provide warmth and a soft, resinous sweetness. The benzoin (from Siam) imparts a balsamic glow, and sandalwood, likely from Mysore, adds creamy depth—more golden and serene than the smoky animalics of old.

The 1989 Mitsouko feels smoother, rounder, and more transparent—less shadowy, more luminous. Where the 1919 version whispered secrets, the reformulation speaks with quiet confidence. The differences were not purely aesthetic; they reflected new safety regulations and changing consumer tastes. The late 1980s were the age of Giorgio Beverly Hills, Yves Saint Laurent’s Opium, and Calvin Klein’s Obsession—fragrances that dominated rooms. Guerlain responded not by imitating them, but by subtly adapting Mitsouko to remain relevant: she became fresher, with a cleaner sillage that harmonized with the era’s fashion of structured power suits and polished femininity.

In essence, both Mitsoukos tell the same story—a quiet tension between passion and dignity—but their voices differ. The 1919 version is intimate, complex, and enveloping, with damp moss, skin-like warmth, and animalic depth. The 1989 version is clearer, more radiant, emphasizing freshness, spice, and soft woods rather than fur and shadow.

If the original Mitsouko was a woman seated by lamplight, writing letters in secret, the 1989 Mitsouko walks through morning sunlight, composed and serene. The core remains the same—a peach-veiled chypre of mystery and restraint—but the texture has changed, from velvet to silk.

Both are timeless. One speaks in the language of nostalgia; the other, of quiet modernity. Together, they form a dialogue between eras, proof that true artistry in perfume can evolve without ever losing its soul.

Product Line:

During the late 1960s through the 1970s, Mitsouko by Guerlain was not merely a perfume—it was a complete sensory experience expressed through a luxurious and finely coordinated product line. The collection reflected Guerlain’s philosophy that fragrance should extend beyond the pulse points, becoming a subtle part of daily life, clothing, and ritual. Each item in the range offered a different way to experience the perfume’s enigmatic chypre composition, from the intimate richness of pure parfum to the delicate whisper of perfumed linens.

The Parfum remained the centerpiece of the line—the purest, most concentrated expression of Mitsouko’s mysterious character. Bottled in Guerlain’s iconic flacon, its dense richness and long-lasting depth captured the velvety interplay of peach, moss, and spice. For those who desired the same splendor in a more practical form, the Parfum Spray offered modern convenience while retaining the fullness of the original formula, a reflection of the new sensibilities of the 1970s when luxury began to meet ease of use.

The Eau de Toilette and Eau de Cologne provided lighter, fresher interpretations of the scent. The Eau de Toilette preserved Mitsouko’s signature chypre structure but with an emphasis on its sparkling bergamot and luminous florals—ideal for daywear or warmer climates. The Eau de Cologne, a further dilution, presented an even breezier take, highlighting citrus and green facets over the deeper mossy tones. Both of these formulations allowed wearers to enjoy the fragrance in layers, balancing intensity with refinement.

For those who preferred their fragrance in spray form, Guerlain introduced the Spray Cologne, an elegant evolution of the traditional splash application. Another innovation of the era was the Film Spray Parfumé, a unique fine mist designed to create an invisible, perfumed veil on the skin or hair. This format reflected mid-century fascination with modern technology and the glamour of the aerosol age, allowing Mitsouko to be applied as effortlessly as a beauty ritual.

Expanding beyond perfume, the line also included body care and home luxuries. The Capillaque, or hair mist, lent a soft, lingering scent to the hair—one of the most evocative ways to wear fragrance. The Bath Oil transformed bathing into an indulgent experience, dispersing Mitsouko’s notes in warm water and leaving a silken sheen on the skin. Complementing it, the Crème Hydratante—a perfumed moisturizing cream—extended the scent’s longevity while keeping the skin supple and softly scented.

To complete the toilette, Déodorant and Talc offered refinement in the everyday. The talc, delicately perfumed, was often dusted onto the body or onto linens, giving a soft, nostalgic touch reminiscent of powder puffs and dressing tables. Finally, the Flanelle pour le linge, or perfumed linen flannel, was an elegant finishing touch—small, scented cloths placed among garments or bed linens to imbue them with the gentle aura of Mitsouko.

Together, these offerings created a complete olfactory wardrobe—a seamless extension of Mitsouko’s world. In the hands of its devoted wearer, every aspect of daily life, from the morning bath to the evening dressing ritual, could be suffused with its timeless, chypre beauty.

Bottles:

Mitsouko’s presentation history is as captivating as the fragrance itself, reflecting over a century of Guerlain’s artistry and evolution in glassmaking and design. When it was launched in 1919, the parfum was first presented in an extraordinary limited edition—the “golden bee” flacon crafted by Cristalleries de Baccarat. Only fifty examples were produced, each a masterpiece of gilded opulence, symbolizing Guerlain’s emblematic bee motif and the golden age of French luxury. These early bottles, now almost mythical among collectors, represent the height of craftsmanship and exclusivity in the immediate postwar years.

Following this rare debut, Mitsouko found its enduring home in the Bouchon Cœur flacon, the heart-stopper bottle that has become synonymous with Guerlain’s great perfumes. Used continuously from 1919 to the present, its softly curving shoulders and heart-shaped stopper perfectly echoed the tenderness and mystery of the scent within. During the 1930s, Guerlain introduced the Borne flacons (1931–1960s), whose sturdy, architectural lines reflected the Art Deco influence of the era—streamlined, elegant, and timeless. The Petite Beurre flacon, created in 1928 for Guerlain’s centenary, was a charmingly rare presentation, petite in form yet resplendent with golden touches, offered to commemorate a century of refinement.

During the war years, between 1938 and 1945, production constraints necessitated the Guerre flacon, or “war bottle.” This simplified design, pragmatic yet dignified, was part of Guerlain’s présentations de guerre—a temporary solution born of material shortages, yet still carrying the mark of the house’s impeccable taste. In the postwar period, from 1955 to 1982, the parfum was also presented in the elegant Amphore flacon, whose gently fluted silhouette recalled classical amphorae, symbolizing femininity and continuity through changing times.

For the lighter concentrations, Guerlain maintained this tradition of artistry with new forms that mirrored modern lifestyles. The Goutte flacon, used for Mitsouko’s Eau de Toilette from 1923 to 2001, was shaped like a perfect teardrop—a study in simplicity and grace, allowing light to play through the liquid amber tones of the perfume. The Montre flacon, named for its resemblance to a pocket watch, housed the Eau de Cologne from 1936 to 1999, uniting function and intimacy in its smooth, circular design. These bottles suggested a sense of time—an invisible thread linking generations of women who wore Mitsouko.

As travel and leisure became hallmarks of modern sophistication, Guerlain introduced the Flacon de Voyage (1955–2002), a refined and portable design that allowed women to carry their beloved Mitsouko wherever they went. The Flacon Capsule (1920–1971) was created for Lotion Végétale, reflecting the house’s growing interest in skincare. Complementing this were the Lyre Bath Oil Flacons (circa 1952) and the frosted Lyre Talcum Poudreur bottles (1947–1980s), both designed to extend Mitsouko’s luxurious presence into every aspect of the toilette ritual.

By the 1960s and 1970s, Mitsouko had adapted beautifully to the evolving culture of convenience and glamour. The Film Spray (1966–1975) was a modern marvel—a perfumed body mist that delivered fragrance in a moisturizing, weightless veil, emblematic of the era’s fascination with beauty innovation. The Capillaque Hair Spray (1961–1971) infused the hair with a gentle scent, adding an alluring halo of perfume to one’s presence. Meanwhile, the enameled Delft-style atomizers (1965–1982), adorned with blue and white porcelain motifs, lent a decorative and collectible quality to the vanity table.

The ribbed glass Natural Spray Cologne bottles (1964–1977) became a familiar sight in the boudoirs of the modern woman—streamlined, tactile, and unmistakably Guerlain. In later decades, the house continued to reinterpret Mitsouko’s image with special editions such as the Habit de Fête series (1982–1990), distinguished by its ornate latticework, and the bubble motif versions introduced in 1996, which celebrated playfulness and festivity.

Across every generation, from Baccarat crystal to molded glass, Mitsouko’s bottles have reflected the spirit of their age—whether austerity, glamour, or innovation—while preserving the perfume’s enigmatic soul. Each vessel, like the fragrance itself, tells a story of timeless elegance, resilience, and the enduring artistry of Guerlain.

 

   

 

 

Eau de Cologne, c1940-1950.

c1950s. Photo by ebay seller trust8909

 

 

Fate of the Fragrance:

In 2000, Mitsouko was reformulated with modern ingredients by Edouard Fléchier. It is classified as a fruity chypre fragrance for women.

• Top notes: bergamot, lemon, mandarin, neroli and peach (C14 aldehyde)
• Middle notes: jasmine, rose, ylang-ylang and clove
• Base notes: sandalwood, myrrh, oakmoss, cinnamon and musk

Mitsouko Eau de Toilette was reformulated in 2021. It is classified as a floral chypre fragrance for women. 

• Top notes are bergamot
• Middle notes are peach, jasmine and May rose
• Base notes are spices, vetiver and roots

Limited Edition:

Mitsouko (2009) – a special limited edition – was released to celebrate the fragrance’s 90th anniversary. Only 14 Baccarat crystal Bouchon Coeur (Heart Stopper) flacons were produced, each decorated with an original jewel in jade and pearls. Each 450ml eau de parfum flacon retailed in the USA for $7,500 and contained the original Mitsouko perfume, making it a highly exclusive collector’s edition.

Sous Le Vent 1932

Launched in 1932 in Europe and reaching the United States by 1934, Sous le Vent was created by Jacques Guerlain as a tribute to Josephine Baker, the legendary American-born entertainer who rose to fame in Paris during the 1920s. Baker was a sensation of the Jazz Age, celebrated for her electrifying performances, iconic banana skirt dance in La Revue Nègre, and her charismatic embrace of freedom, modernity, and African-inspired style. By dedicating a perfume to her, Guerlain honored a woman who embodied exotic elegance, daring confidence, and modern femininity — qualities that aligned perfectly with the personality of the fragrance itself.

The name Sous le Vent (pronounced in layman’s terms as “soo luh vahn”) is French for “Under the Wind,” and refers geographically to the Leeward Islands. These islands can mean either the western part of the Society Islands in French Polynesia or the northern islands of the Lesser Antilles in the Caribbean; both regions were historically connected to European colonial networks — the Lesser Antilles included French colonies such as Martinique and Guadeloupe. The term evokes images of gentle tropical breezes, sun-drenched beaches, and the soft sway of palms, with a sense of relaxed elegance and faraway sophistication. Emotionally, the name suggests freedom, escape, and the charm of the exotic — a perfume that transports the wearer to a lush, sunlit paradise.

The early 1930s were a period of transition and modernity in fashion and culture. The roaring 1920s had given way to a slightly more restrained elegance, yet women continued to embrace freedom of movement, shorter silhouettes, and a more streamlined, modern style. In perfumery, the era was known for its experimentation with chypre fragrances, a style pioneered in the 1910s and 1920s, blending citrus, floral, and mossy notes with a touch of mystery. Sous le Vent, classified as an aromatic chypre, reflected this trend but distinguished itself through its soft, subtle, and fragrant floral character, particularly inspired by the mimosa, which gives the perfume a delicate, powdery, sunlit warmth.

 

For women of the time, Sous le Vent would have embodied sophistication, liberation, and modern elegance. Its tropical associations, exotic inspiration, and connection to Josephine Baker would have appealed to the cosmopolitan woman, eager to express both refinement and a sense of worldly adventure. The scent itself — aromatic, floral, and slightly powdery — could be interpreted as a gentle Southern breeze: light, refreshing, yet lingering on the skin with warmth and elegance.

In the context of the 1930s fragrance market, Sous le Vent was both of its time and distinct. While chypre fragrances were popular, this creation introduced a delicate, airy, and flowery interpretation, contrasting with the heavier, more dramatic chypres and florals then available. Its subtlety, refinement, and the story behind its creation gave it a unique position — a perfume at once modern, sophisticated, and inspired by a living icon of contemporary culture, bridging the elegance of Parisian perfume tradition with the spirit of the Jazz Age and the allure of the exotic.

Original Fragrance Composition:

So what does it smell like? Sous Le Vent is classified as an aromatic chypre fragrance for women.

• Top notes: cyclamen, anise, bergamot, galbanum
• Middle notes: jasmine, rose, lily of the valley, ylang ylang, verbena, tarragon, lavender, myrtle
• Base notes: oakmoss, balsamic notes and musk

A 1932 ad in Marshall Field & Company's catalog mentioned:

"Guerlain's new perfume, Sous Le Vent, rises from its irregular bottle as soft and alluring as a southern breeze lingering over a garden of flowers."

Scent Profile:

Sous le Vent opens with a crisp, verdant top that immediately evokes the sensation of a gentle tropical breeze brushing across sunlit foliage. The cyclamen lends a subtle, watery floral freshness, light and airy, reminiscent of morning dew on delicate petals, with its natural aldehyde-like qualities enhancing a sparkling clarity in the opening. Alongside it, anise introduces a green-tinged sweetness, a faintly licorice-like warmth that adds vibrancy and personality, while the bergamot — likely from Calabria, Italy — provides a sparkling, sun-drenched citrus brightness. Its naturally occurring linalyl acetate and limonene create a luminous, slightly sweet freshness that contrasts beautifully with the sharper, aromatic green of galbanum, which imparts a resinous, green earthiness reminiscent of Mediterranean landscapes. Together, these top notes form a bright, energetic, and slightly aromatic opening that immediately transports the senses to a sunlit, exotic locale.

The heart unfolds into a luxurious floral tapestry. Jasmine and rose — classic Guerlain hallmarks — provide a rich, creamy sensuality. The jasmine, likely sourced from Egypt, carries a heady indolic quality, balanced by benzyl acetate and linalool, giving a soft, honeyed sweetness, while Grasse or French rose adds a gentle, powdery elegance with its naturally high geraniol content, imparting freshness and depth. Lily of the valley contributes a delicate, green-floral charm, reminiscent of springtime gardens, subtly sweet yet airy, its aroma amplified slightly by early synthetics used to enhance longevity. Ylang ylang, from the islands of the Philippines, lends a tropical, creamy floral richness, enriched with benzyl benzoate and linalool, which introduces depth and a slight exotic spiciness. The addition of verbena, tarragon, lavender, and myrtle provides a layered aromatic complexity — verbena’s lemony freshness, tarragon’s bittersweet warmth, lavender’s soothing floral herbal quality, and myrtle’s soft, resinous green facets coalesce into a sophisticated, multi-dimensional floral heart, airy yet deeply resonant.

The base notes ground the composition with the classic chypre foundation. Oakmoss provides a soft, earthy, and slightly leathery backdrop, rich in evernyl and other natural components that evoke forest floors and sun-warmed stone. Its texture is enhanced by balsamic resins, which add warmth and rounded depth, creating a lingering softness that supports the florals without overpowering them. Finally, musk ties the composition together, adding a subtle animalic warmth and sensuality that lingers delicately on the skin. The interplay of natural musks with the aromatic and floral heart ensures that Sous le Vent feels alive and dynamic, evoking the impression of sun, sea breeze, and blooming gardens in perfect harmony.

Overall, Sous le Vent is a fragrance that balances freshness, floral sophistication, and subtle warmth, transporting the wearer to a breezy, exotic paradise. Its aromatic chypre structure is simultaneously modern and timeless, offering the brightness of Mediterranean and tropical florals, the complexity of herbs and aromatic green notes, and the comforting depth of oakmoss and musk. The use of both natural essences and early synthetics allows the perfume to maintain its clarity and longevity, while capturing the airy, sunlit elegance for which Jacques Guerlain was renowned.

Reformulated Fragrance Composition:

So what does it smell like? It is classified as a leather chypre fragrance for women.

• Top notes of bergamot, lavender, tarragon
• Middle notes of jasmine, carnation and a green accord
• Base notes of iris, oakmoss, leather and precious woods

 

Bottles:

Originally presented in a bottle called the Rayonnet (parfum) in 1934 in various sizes also used for Vol de Nuit, from 1949-1972, it was housed inside a bottle shaped like a small keg, the Tonnelet (parfum). Also presented in the quadrilobe flacon (parfum), Goutte flacon (eau de toilette) and the Montre flacon (eau de cologne).

photo by ebay seller jajezus

image: eurofinegifts

Fate of the Fragrance:

Still available for sale around 1954. The perfume was discontinued sometime around 1972.  

2006 Reissue:

Sous le Vent (2006) – Translated as "Under the Wind", this version was reformulated by Jean-Paul Guerlain and relaunched as part of Guerlain's Il Était Une Fois (Once Upon a Time) collection, a limited-edition series reviving classic fragrances from the Guerlain repertoire. It has since been discontinued. It is classified as a leather chypre fragrance for women.

• Top notes: bergamot, lavender, tarragon 
• Middle notes: jasmine, carnation and a green accord
• Base notes: iris, oakmoss, leather and precious woods

Scent Profile:

The 2006 reimagining of Sous le Vent transforms the original airy, aromatic chypre into a rich, leather-infused chypre, reflecting modern sensibilities while maintaining the elegance and sophistication of Jacques Guerlain’s creation. The opening notes strike immediately with the crisp yet herbaceous brightness of bergamot, lavender, and tarragon. The bergamot, likely sourced from Calabria, Italy, offers a sun-kissed, sparkling citrus facet, rich in limonene and linalyl acetate, lending a gentle sweetness that contrasts beautifully with the sharper, aromatic bite of tarragon. Tarragon’s subtle anise-like character, full of estragole, introduces a green spiciness that enlivens the initial impression. Lavender, a cornerstone of both French and Mediterranean perfumery, brings a cool, aromatic clarity and a powdery, slightly camphorous edge, whose naturally occurring linalool enhances the citrus and herbal interplay, giving the opening a sophisticated, almost metallic freshness.

The heart of the fragrance unfolds with a restrained floral elegance. Jasmine provides its characteristic warmth and sensuality, rich in indoles that impart a soft animalic depth, while carnation adds a spicy, rosy nuance, thanks to its eugenol content, which provides warmth and a slightly peppery vibrancy. The green accord — an abstract note combining grassy, leafy, and herbaceous elements — infuses the composition with a verdant freshness reminiscent of a dew-laden forest clearing, grounding the florals in an airy, naturalistic context. Unlike the original 1932 version, which was dominated by mimosa and tropical florals, the 2006 rendition favors a more restrained floral heart that emphasizes elegance over exuberance.

In the base, the composition deepens into a rich, leathery, and woody terrain. Iris contributes a powdery, almost soft-soapy texture, with its ionone-rich profile lending elegance and a velvety finish. Oakmoss, a staple of chypre fragrances, offers an earthy, slightly damp richness that reinforces the classical Guerlain structure while harmonizing with the new leathery facet. Leather, an unusual but increasingly popular addition in modern reinterpretations, introduces a subtle smoky warmth and animalic depth, enhancing the sensuality and sophistication of the fragrance. Finally, precious woods — likely a blend of sandalwood, cedar, and possibly guaiac wood — provide a dry, resinous warmth, lengthening the longevity and creating a polished, elegant finish.

Compared to the original 1932 Sous le Vent, which floated on aromatic florals and mimosa-inspired lightness, the 2006 version is darker, richer, and more grounded, reflecting contemporary trends for leather-infused chypres. The modern reinterpretation emphasizes structure, depth, and sensuality, turning the breezy elegance of the original into a perfume that feels intimate, enveloping, and powerful. Each ingredient — from the crisp bergamot to the smoky leather and powdery iris — is carefully balanced, creating a sophisticated, multi-dimensional experience. While the 1932 version evoked sunlit tropical gardens and airy breezes, the 2006 rendition evokes polished wood-paneled rooms, luxurious leather furnishings, and the subtle warmth of a classic European study, retaining Guerlain’s hallmark elegance while presenting it through a modern olfactory lens.

Ode 1955

Ode by Guerlain was launched in 1955, a period in postwar Europe characterized by renewed optimism, elegance, and a return to refinement in fashion and lifestyle. The name “Ode,” derived from the French word meaning a lyrical poem of praise or celebration, evokes images of devotion, admiration, and artistic expression. Pronounced simply as “ohd”, the word suggests a heartfelt tribute, here to the beauty and elegance of flowers. The choice of name captures both sophistication and intimacy—an homage to femininity and the art of perfumery itself.

Created by Jacques Guerlain with the assistance of his son Jean-Paul Guerlain, Ode is classified as a floral fragrance for women, emphasizing the splendor and elegance of roses. The scent was Guerlain’s elegant answer to contemporaneous floral masterpieces such as Jean Patou’s Joy and Lanvin’s Arpège, aligning with the mid-20th century trend of rich, romantic, and highly structured floral perfumes. Women of the time would have experienced Ode as a luxurious and emotionally resonant fragrance—an olfactory declaration of grace, sophistication, and feminine allure, ideal for both formal occasions and personal indulgence.

In the context of the 1950s perfume market, Ode followed the prevailing trend of opulent florals yet distinguished itself through Guerlain’s signature artistry: a harmonious composition that celebrated roses without overpowering them, balanced by subtle supporting notes to create a fragrance that was at once refined, expressive, and enduring. Its name, composition, and presentation together framed it as both a tribute to floral beauty and a statement of personal elegance, allowing the wearer to embody the lyrical and evocative spirit suggested by the word “Ode.”

Original Fragrance Composition:

So what does it smell like? Ode is classified as an aldehydic floral fragrance for women.

• Top notes: neroli, lemon, syringa, linden blossom, sweet pea, aldehydes, hyacinth
• Middle notes: hawthorn, lavender, lilac, lily, lily of the valley, tuberose, rose absolute, jasmine absolute, violet, peach, orris, almond
• Base notes: heliotrope, sandalwood, ambergris, vanilla, privet, musk

Scent Profile:

Ode by Guerlain is an exquisite aldehydic floral fragrance for women, a masterful orchestration of both classic floral elegance and modern sophistication. Opening with a sparkling bouquet of neroli and lemon, the freshness is immediately uplifting. Neroli, traditionally sourced from the bitter orange trees of Morocco or Tunisia, offers a luminous, slightly green-citrusy brightness, with natural aroma chemicals like linalool and limonene imparting an airy, radiant quality. The lemon adds crispness, further brightened by the aldehydes, which create an effervescent, almost sparkling facet that amplifies the natural florals, providing a distinctive 1950s “soapy elegance” reminiscent of the classic aldehydic chypres of the era. Complementing these are syringa (lilac), linden blossom, sweet pea, and hyacinth, each contributing nuanced green, floral, and honeyed facets, creating a top that is both delicate and lively.

The heart of Ode is a lush, intoxicating floral symphony. Hawthorn introduces a subtly green, slightly bitter nuance that enhances the natural facets of the bouquet. Lavender, from Provence, provides a clean, aromatic herbaceousness with its naturally occurring linalyl acetate and camphor notes. Lilac, lily, lily of the valley, and tuberose deepen the floral richness; the tuberose, harvested in the Mediterranean or India, imparts creamy, narcotic facets enriched by esters and lactones that heighten its opulence. 

The rose absolute and jasmine absolute, likely sourced from Grasse and Egypt respectively, are central to the fragrance, contributing the luxurious, heady floral heart. Violet and peach add subtle powdery and fruity nuances, while orris lends a refined, powdery earthiness, and almond provides warmth and subtle gourmand undertones. These ingredients together evoke the elegance of a spring garden in full bloom, with a complexity that unfolds over time.

The base is a rich, grounding blend that balances the bright florals with depth and sensuality. Heliotrope contributes a soft, almond-vanilla nuance, blending seamlessly with sandalwood, which lends creamy, woody warmth, likely from Mysore or Indian sources prized for their buttery richness. Ambergris, vanilla, and musk add longevity and sensuality, their aroma chemicals—such as ambrein in ambergris and vanillin in vanilla—providing a warm, animalic foundation that enhances the natural notes. Privet, rare in perfumery, adds a green, slightly honeyed complexity, anchoring the floral heart.

Ode is thus a multi-layered fragrance, where every ingredient plays a precise role: the aldehydes and citrus create brilliance and lift; the florals deliver depth, elegance, and narcotic richness; the base notes offer warmth, sensuality, and lingering allure. Compared to other aldehydic florals of the 1950s, Ode stands out for its remarkable layering and the seamless integration of classic florals with delicate green and powdery accents, creating a fragrance that is both luminous and enduring—a true embodiment of Guerlain’s craftsmanship and artistry.

Bottles:

The fragrance was sold in the parapluie flacon (parfum) into the 1970s, the parapluie spray flacon (eau de cologne), the Amphore flacon (parfum) starting in 1955, Montre flacon (eau de cologne) and the Goutte flacon (eau de toilette), both into the 1970s.

Photo by rubylane seller dollyology

Photo by ebay seller pkolesnikov57

Fate of the Fragrance:

In 1956, Guerlain introduced Ode as a fresh and elegant addition to its storied line of fragrances, presented in a slender crystal amphora draped with frosted glass, a design emphasizing both refinement and practicality. American Perfumer and Aromatics described it as “heady but not heavy,” immediately signaling that this was a perfume of substance without overwhelming the wearer, a balanced composition suitable for sophisticated, modern women.

Critics across prominent publications celebrated the fragrance for its luminous floral bouquet. Harper’s Bazaar highlighted Ode as a “deliciously civilized nosegay of roses, jasmine, lilies, syringa, and heliotrope, gathered at the height of their bloom,” emphasizing both the precision in Guerlain’s blending and the remarkable longevity of the perfume. Vogue positioned it as a symbol of “evening elegance with a whole new air,” noting its subtlety and romantic character, ideal for women attuned to fine perfume traditions. The New Yorker remarked on its abundant rose and spring flowers, noting the versatility of its packaging: a leather-covered purse-size flacon at $9.90 or amphora-shaped crystal bottles at higher price points, reflecting the luxury and accessibility of the fragrance.

By 1958, the fragrance had established itself firmly in the market. Town & Country praised the “subtle complexity” of Ode, particularly its seamless fusion of roses, jasmine, and numerous other blossoms. Similarly, The New Yorker acknowledged its status as “perfume triumphant” and a gift of distinction, a reflection of Guerlain’s mastery in crafting both fragrance and reputation. Vogue, in 1959, described Ode as “fresh, bright, exciting as a still-wrapped Christmas package,” highlighting its cheerful, inviting character. By 1960, Harper’s Bazaar noted the introduction of smaller sizes, suitable for carrying in a handbag, underscoring the practical elegance that Guerlain sought to provide its clientele.

Across these early reviews, Ode was consistently recognized for its balanced florals, lasting presence, and the understated sophistication of its presentation. It stood as both a modern expression of floral artistry and a continuation of Guerlain’s tradition of elegance, perfectly capturing the spirit of the late 1950s—refined, feminine, and timeless.

Discontinued (date unknown), it was still being sold in 1975.

2005 Reformulation:

Ode was discontinued for years before being reformulated by Jean Paul Guerlain with modern ingredients and was relaunched in 2005 for the renovated flagship Guerlain store on the Champs-Elysees. Unfortunately, the reissue was only made for demonstration purposes at the boutique, and not released to the general buying public.

White Rose c1887

White Rose by Guerlain, launched around 1887 though possibly earlier, carried with it the elegance of simplicity. The choice of name was deliberate—White Rose is not only descriptive but symbolic. In European culture, the white rose traditionally represents purity, innocence, and grace, making it especially appealing to the refined tastes of late 19th-century society. To utter White Rose evokes the image of dew-kissed petals just unfurling at dawn, their silken texture glowing in soft light. It also stirs emotions of romance and nostalgia, conjuring up visions of English country gardens and youthful courtships. For Guerlain, such a name would have immediately resonated with women seeking both refinement and femininity in a bottle.

The period in which White Rose appeared was one of transition. The late 19th century, particularly the 1880s, was marked by the Belle Époque in France—a time of cultural flourish, technological progress, and artistic innovation. Women’s fashions emphasized luxury: corseted gowns of silk and velvet adorned with lace, feathers, and elaborate trimmings. Perfume, more than ever, became a finishing touch to one’s toilette, an invisible accessory that reflected character as much as beauty. In this cultural context, a fragrance called White Rose would have felt timeless yet fashionable, aligning with the era’s love of nature-inspired romanticism.

As a soliflore, White Rose was devoted entirely to the essence of the flower itself. Guerlain’s interpretation reportedly captured the delicate freshness of roses as if they had been plucked only hours before from an English garden. Early formulas of rose perfumes like this relied on natural extracts, tinctures, and infusions, capturing the velvety, honeyed sweetness and subtle spice of the flower. But as the century drew to a close, the art of perfumery began to change dramatically. Synthetic materials such as heliotropin (a sweet almond-like note), terpineol (providing a lilac nuance), geraniol (a core rose molecule), rose oxide (adding a metallic green freshness), and methyl ionones (soft violet-rose facets) became widely used. These allowed perfumers to enhance, modernize, or replace costly natural materials, lending compositions a new depth and radiance.

Later reformulations of White Rose embraced these innovations. Sparkling aldehydes lent a lift, imbuing the rose with a crystalline brightness that felt airy and luminous, while a subtle green accord sharpened its freshness, evoking stems and leaves. These additions transformed the simple soliflore into something both naturalistic and stylized—bridging the garden with the perfumer’s laboratory.

In the broader market, White Rose was not entirely unique—rose soliflores were among the most popular fragrance styles of the 19th and early 20th centuries, with nearly every perfumery producing their own variation. Recipes for such perfumes were widely published in formularies of the time. Yet Guerlain’s skill lay in refinement and distinction. By carefully balancing natural extracts with innovative synthetics, White Rose stood out as both true to its floral inspiration and modern in its execution—a reflection of Guerlain’s mastery of tradition and progress.

Revue Illustre,1887:

“Mr. Guerlain, the distinguished perfumer so well known among high society, whose expertise is the result of long and meticulous study. … Young ladies will preferably choose the White-Rose, with just a touch of verbena.”

Fragrance Composition:

So what does it smell like? White Rose by Guerlain is classified as a floral fragrance for women.

• Top notes: Sicilian neroli, Italian petitgrain, Guinea sweet orange, Algerian hyacinth, Madagascar verbena, Bourbon geranium, Swiss lilac, Moroccan cassie
• Middle notes: Grasse rose absolute, Bulgarian rose oil, Indian carnation, Zanzibar clove, Peruvian heliotrope, Egyptian jasmine, Portuguese tuberose, Tuscan violet, Florentine orris  
• Base notes: Tibetan musk, Yugoslavian oakmoss, Penang patchouli, Mysore sandalwood, Siam benzoin, Atlas cedar, ambergris, South American tolu balsam, Abyssinian civet

Scent Profile:

White Rose by Guerlain is a masterful floral fragrance for women, a soliflore elevated through a delicate layering of international botanicals, precious absolutes, and carefully chosen aroma chemicals. Experiencing this perfume is like walking through a global garden at dawn, each note unfolding with clarity, sophistication, and historical elegance.

The top notes immediately announce themselves with a sparkling, green-floral brightness. Sicilian neroli provides a radiant, honeyed orange blossom aroma, distinguished from other neroli varieties by its crisp, slightly bitter facet—a signature of Sicily’s sun-drenched groves. Italian petitgrain adds a luminous green bitterness, harvested from the leaves and twigs of the bitter orange tree, contributing a refreshing, woody nuance that complements the softer sweetness of Guinea sweet orange, a variety prized for its juicy, sun-ripened, subtly tart orange aroma. Algerian hyacinth injects a delicate, watery floral essence reminiscent of springtime blooms, perfectly balanced by the invigorating, lemony freshness of Madagascar verbena, which adds a sparkling herbal brightness. Bourbon geranium, grown on the volcanic soils of Réunion, lends rosy, minty facets with a touch of green depth, while Swiss lilac introduces an airy, violet-like delicacy. Finally, Moroccan cassie, derived from the fragrant acacia, rounds the top with a powdery, golden warmth, giving the initial impression both structure and intimacy.

Moving into the heart of the fragrance, the floral bouquet unfolds into richer, more complex dimensions. Grasse rose absolute and Bulgarian rose oil form the heart’s centerpiece, offering complementary qualities: Grasse rose is intensely fresh, sweet, and dewy, while Bulgarian rose imparts a darker, more opulent character with a subtle spicy undertone. Indian carnation contributes a gentle, clove-like warmth, harmonizing beautifully with Zanzibar clove, which introduces a sharper, more aromatic spicy accent. Peruvian heliotrope evokes the soft powderiness of almond and cherry, enhancing the flower’s natural sweetness. Egyptian jasmine provides a rich, indolic floral depth, entwined with Portuguese tuberose, which infuses the bouquet with creamy, exotic opulence. Tuscan violet adds a soft, powdery facet, while Florentine orris contributes buttery, iris-root elegance, grounding the heart with a sophisticated woody-powdery lift. Together, these middle notes create a layered floral tapestry that is simultaneously sensual, romantic, and refined.

The base notes anchor the fragrance in warmth, muskiness, and subtle earthiness. Tibetan musk imparts a soft, animalic powderiness, perfectly balanced by Yugoslavian oakmoss, whose earthy, forest-like aroma recalls sunlit woodland undergrowth. Penang patchouli brings a dark, sweet-woody richness, while Mysore sandalwood, sourced from India’s famed reserves, provides a creamy, velvety depth with a lingering, balsamic sweetness. Siam benzoin exudes resinous warmth and vanillic sweetness, complementing the dry, resinous clarity of Atlas cedar. Ambergris, rare and precious, offers a salt-tinged, marine warmth with subtle honeyed nuances, while South American tolu balsam enriches the base with its warm, balsamic sweetness. Finally, Abyssinian civet imparts a subtle animalic note, adding sensuality and longevity, harmonizing with the musky and resinous components to create a full, elegant, and enduring finish.

Through this carefully orchestrated blend, Guerlain transforms floral absolutes, exotic spices, precious woods, and animalic resins into a sophisticated, balanced, and enduring perfume. The interplay of natural ingredients with subtle synthetic enhancers—such as heliotropin-like effects in the heliotrope or the toning influence of orris lactones in Florentine orris—magnifies the richness of the raw materials while ensuring clarity, longevity, and modern refinement. White Rose is not merely a fragrance; it is an olfactory journey across continents and seasons, an homage to classic 19th-century floral artistry with the subtle sophistication expected of Guerlain.

 

Bottles:

Presented in the carre flacon.

 

Fate of the Fragrance:

Discontinued, date unknown. Relaunched in 1904 most likely to include the newly discovered synthetics, and it was probably in the 1920s when the sparkling aldehydes were added to the composition. 

Bouquet de Faunes 1922

Bouquet de Faunes by Guerlain, launched in 1922, is a fragrance that evokes both myth and elegance. The name itself, Bouquet de Faunes, is French and can be pronounced as “boo-kay duh fohn.” Translated literally, it means “Bouquet of Fauns.” In classical mythology, fauns are woodland spirits—half human, half goat—associated with nature, fertility, and playful sensuality. By invoking fauns, Guerlain connects the perfume to an image of untamed natural grace, a mischievous, almost erotic vitality, while the word “bouquet” evokes a lush collection of flowers, suggesting both floral abundance and artistic refinement. Together, the name creates an impression of elegance intertwined with a subtle, wild sensuality.

Interestingly, Bouquet de Faunes was originally created to perfume furs, a luxury item intimately associated with the sophisticated woman of the 1920s. Fauns, as woodland creatures, are naturally linked to animal forms, and the notion of scenting furs with a fragrance inspired by fauns underscores a playful connection between nature, animality, and refined opulence. The image conjured is one of a stately fur-clad woman, wrapped in soft luxury, her attire and perfume both hinting at mystery, sensuality, and elegance.

The fragrance was created by Jacques Guerlain and classified as a floral oriental for women, enriched with subtle leather and musk notes that add depth, warmth, and sensuality. Its composition is layered: a floral heart blooms over a rich, subtly animalic base, creating a sophisticated perfume that could complement the elegance of furs while also appealing to the refined tastes of early 1920s women. In scent, the name Bouquet de Faunes might be interpreted as the harmonious mingling of delicate blossoms with the earthy, musky undertones of the forest—a fragrant narrative of nature meeting luxury.

The perfume debuted during the post-World War I era, a period marked by the “Années Folles” or “Roaring Twenties” in France. Parisian society embraced modernity, artistic experimentation, and a newfound liberation for women. Fashion favored shorter hemlines, lighter fabrics, and daring styles, with furs and luxurious accessories remaining symbols of sophistication. Perfumes of the period increasingly explored oriental and exotic notes, combining florals with spices, resins, and musks—a trend that Bouquet de Faunes perfectly exemplified. While floral-oriental perfumes were becoming more common, the inclusion of subtle leather and the mythological inspiration gave it a distinctive character that distinguished it from more conventional bouquets of the time.

Women of the era would likely have related to Bouquet de Faunes as both glamorous and slightly risqué, a fragrance that complemented the elegance of evening gowns and fur stoles while evoking the playful, seductive allure of classical mythology. The perfume’s association with Lalique-designed bottles, each adorned with the face of a faun in four places, further reinforced its artistic and collectible appeal. Contemporary accounts suggest that Jacques Guerlain drew inspiration for the scent during a stroll through the Tuileries Gardens, where he encountered the famous statue of a faun surrounded by flowers—a moment of natural beauty translated into a perfumed expression of myth, luxury, and refined sensuality.

In the broader landscape of 1920s perfumery, Bouquet de Faunes straddled the line between trend and innovation. Floral-oriental blends were popular, but Guerlain’s infusion of subtle leather and musk, his mythological storytelling, and the specific application for furs made this fragrance stand out as a daring, imaginative creation. It was both of its time and uniquely Guerlain: a marriage of elegance, sophistication, and a touch of woodland fantasy.

Fragrance Composition:

So what does it smell like? Bouquet de Faunes is classified as a floral oriental fragrance for women dominated with leather and musk notes. 

• Top notes: neroli, suede, lavender, jasmine, gardenia
• Middle notes: De Laire's Bouvardia base (ionones, rose, jasmine, and orange flower), orris, marjoram, rose, carnation
• Base notes: musk, civet, castoreum, ambergris, vanilla, tonka bean, vetiver, patchouli, tobacco

  

Scent Profile:

The first breath of Bouquet de Faunes opens with a luminous yet complex bouquet. Neroli, distilled from the delicate blossoms of the bitter orange tree, immediately strikes with its radiant, honeyed freshness, tinged with a hint of green bitterness. Neroli from southern Italy—particularly the Amalfi Coast—is prized for its crystalline clarity and slightly resinous warmth, which lends a soft yet persistent glow to the fragrance’s introduction. Alongside it, the suede note evokes the tactile warmth of finely treated leather, soft yet slightly powdery, wrapping the senses in the subtle luxury of fur—a nod to the fragrance’s original purpose. 

Lavender brings its aromatic clarity, crisp yet herbaceous, cutting through the richness with a touch of camphoraceous brilliance, while jasmine and gardenia interweave like a floral symphony: jasmine offers its indolic, animalic opulence, while gardenia imparts a creamy, slightly green floral lift, both harmonizing with the leather’s underlying warmth. This opening, simultaneously bright and soft, sets a mood of refined yet daring elegance, suggesting both the freshness of morning gardens and the sensuality of luxurious garments.

As the scent evolves, the heart emerges—a layered, intoxicatingly floral composition anchored by De Laire’s Bouvardia base, a complex accord built from ionones, rose, jasmine, and orange blossom. The ionones, naturally derived from orris root, carry violet-like facets that lend powdery floral sophistication, smoothing the transition between the vivacious top notes and the deeper floral heart. Orris root contributes a creamy, velvety iris note, rich in irone molecules, which imbues the heart with a soft, almost soapy elegance. 

Marjoram injects a subtle herbaceous warmth, quietly elevating the flowers, while rose—perhaps from the famous Bulgarian or Grasse varieties—adds a velvety, nuanced richness with a hint of spiced sweetness, distinct from Turkish roses with their overtly honeyed tones. Carnation, with its eugenol-laden spiciness, weaves through the florals, giving depth and a slightly vintage character reminiscent of the 1920s palette of perfumery. Here, the heart is a bridge between innocence and seduction, a living garden softened with the sophistication of refined leather undertones.

The base is where Bouquet de Faunes asserts its sensual, animalic elegance. Musk—a timeless fixative—creates a soft, enveloping warmth, harmonizing with civet and castoreum, whose subtle animalic nuances bring a provocative, primal undertone without overwhelming the senses. Ambergris, rare and marine in character, adds a salty, sweet depth that glows against the rich, dark woodiness of vetiver from Haiti or Java, whose earthy, smoky, and slightly bitter notes ground the composition. 

Patchouli, warm and resinous, interacts with tobacco, lending a subtle hint of smokiness and texture, reminiscent of fur and fine leather. Sweetness emerges as a counterpoint through vanilla and tonka bean, the former with its creamy, comforting warmth rich in vanillin, the latter with coumarin lending a nuanced hay-like, slightly almonded facet. Together, these base notes extend the fragrance’s longevity, creating a soft, enveloping aura that lingers like the memory of a luxurious garment wrapped around the wearer, elegant and mysterious.

Overall, Bouquet de Faunes is a masterful interplay of floral brightness and animalic depth. The top notes sparkle like sunlight on morning petals, the heart unfolds like a lush, hidden garden, and the base exudes quiet, sensual power—an olfactory narrative of sophistication, opulence, and subtle eroticism. Each ingredient is chosen not only for its aromatic beauty but also for its ability to convey a story: the femininity of flowers, the sensuality of leather, the mystery of musk and ambergris, all anchored by perfumer Jacques Guerlain’s signature refinement. In its era, it was both contemporary and daring, capturing the liberated elegance of post-war women while offering a tactile, almost wearable luxury, making every sniff feel like an encounter with myth and legend brought vividly to life.

 

Bottles:

Bouquet de Faunes was historically presented in the Flacon Vase Médicis, manufactured by René Lalique et Cie between 1925 and 1963. This iconic bottle, a hallmark of Lalique’s artistry, reflects the elegance and refinement of early 20th-century perfumery, its sculptural form echoing classical influences while serving as a functional vessel for the precious parfum.

Originally, the fragrance was tinted green, likely using chlorophyll, a common dye employed at the time to enhance the visual appeal of perfumes. This delicate verdant hue would have lent the parfum a sense of freshness and natural vibrancy, complementing its floral-oriental composition. However, over decades, natural oxidation of the perfume’s ingredients, particularly the rich, warm tones of vanilla, transforms the liquid into a deep amber-brown, signaling both the passage of time and the concentration’s evolution in character.

Collectors should exercise caution: if a Flacon Vase Médicis retains a bright green color today, it is often an indication of a factice or dummy bottle, filled with colored water rather than the original parfum. Authentic examples, with their nuanced aging and patina, offer not only a sensory connection to the original fragrance but also a tangible piece of history, combining the artistry of Lalique with the enduring legacy of Guerlain’s perfumery.

Early 20th-century publications capture the allure and mystique of Bouquet de Faunes in evocative, almost poetic terms. In Harper’s Bazaar, 1924, the fragrance was described as “mysterious … like the shadows of the woods where faun and nymph reside,” emphasizing its ethereal, woodland-inspired character. The review highlighted the perfume’s presentation, noting it was “held captive in a gorgeous crystal flacon in a handsome leather gift case,” underscoring the luxurious packaging that reflected both the elegance of the scent and the prestige of Guerlain as a house.

Vogue, 1925, similarly emphasized the perfume’s mythological inspiration, calling it “a delicate perfume, in ‘gay god Pan’ container—the woods’ very breath.” The reference to Pan, the playful god of nature, and the image of woodland air suggest a fragrance that balances freshness and sensuality, capturing the spirit of untamed nature through both its composition and presentation.

By 1928, Garden & Home Builder described Bouquet de Faunes as “an odor of elegance in a frosted vase,” a concise yet evocative testament to the perfume’s refined floral-oriental character. The frosted vase, likely a René Lalique creation, lent the fragrance a sculptural beauty, harmonizing visual artistry with olfactory sophistication.

Together, these contemporary accounts illustrate how Bouquet de Faunes was received as a fragrance that married myth, elegance, and craftsmanship—its scent evoking shadowed forests and woodland spirits, while its luxurious packaging and Lalique flacon reinforced its status as a symbol of refinement and allure in the Roaring Twenties.

 

Other Bottles: 

 

Bouquet de Faunes was also presented in the quadrilobe flacon (parfum), the Guerre flacon (parfum) from 1938-1945, and the Goutte flacon (eau de toilette) starting in 1923.

 

photo by drouot

Fate of the Fragrance:

Discontinued in 1963.