Shalimar Scented Fan c1999

This extremely rare Shalimar scented folding fan from 1999 is one of Guerlain’s most whimsical limited-edition creations, blending the house’s love of opulence with a touch of playful refinement. Most likely offered as a gift-with-purchase, it was never widely sold, making it an elusive treasure for collectors today. The fan itself carried the unmistakable aura of Shalimar, softly perfumed so that with every flick of the wrist a whisper of the iconic fragrance was released into the air—an elegant nod to the 18th and 19th century tradition of scented accessories that made fragrance both ornamental and functional.

The fan was housed in a presentation box of deep flocked midnight blue, an unusual choice that immediately set it apart from the lilac tones traditionally associated with Shalimar packaging. The rich velvet-like texture and darker hue gave the piece an air of luxury and rarity, as though it were meant to be kept and cherished rather than casually used. Adding to its charm, the box bore an ornate label design, a gilded and decorative motif that linked this edition to another special release from the same year: the alcohol-free Shalimar Silky Body Mist. By repeating this label, Guerlain created a subtle thread of continuity across its 1999 limited editions, enhancing their collectability.

The fan itself, imbued with fragrance, was both functional and symbolic—meant to refresh while also enveloping the wearer and those nearby in the sensuous trail of Shalimar. It evoked the romance of earlier eras, when fans were not only accessories of flirtation and style, but also discreet tools for wearing and diffusing perfume in public spaces. This 1999 edition reflects Guerlain’s ability to reinvent its heritage through unexpected objects, transforming something as simple as a folding fan into a vessel of luxury, history, and fragrance.

Les Coeurs de Chamade c1999

Les Cœurs de Chamade, released for Valentine’s Day in 1999, was a special limited-edition fragrance set that celebrated love, passion, and the enduring elegance of Guerlain’s perfume heritage. The set brought together two fragrances under one romantic concept: the iconic Chamade of 1969, a feminine creation by Jean-Paul Guerlain, and the newly composed Chamade pour Homme, designed as its masculine counterpart. Together, the pair symbolized the dialogue between two hearts—feminine and masculine—bound in harmony yet distinct in character.

The original Chamade, named after the French term for the quickened drumbeat signaling surrender in both battle and love, was a perfume of bold romanticism. It embodied the spirit of a modern, liberated woman of the late 1960s, blending green, floral, and oriental notes into a fragrance that was both tender and daring. By 1999, this fragrance had already established itself as a Guerlain classic, and its inclusion in the Valentine’s set underscored its legacy as a perfume of passion and surrender to love.

To accompany it, Chamade pour Homme was introduced as a natural evolution of the theme. Crafted with the same sophistication and attention to detail, it offered a masculine interpretation that balanced strength with sensuality. Its creation acknowledged the timeless bond of shared fragrance—an intimate gesture where partners could each wear a scent drawn from the same inspiration yet designed to suit their individuality.

Presented together, Les Cœurs de Chamade was more than just a fragrance set; it was an expression of Guerlain’s artistry in weaving storytelling with scent. The pairing invited couples to share in a scented dialogue, echoing each other’s presence through complementary accords. Released as a limited edition, it remains a collectible piece that highlights Guerlain’s ability to create perfumes that transcend time, becoming both personal talismans and cultural expressions of love.

Fragrance Composition:

So what does smell like? Chamade pour Homme is classified as a woody spicy fragrance for men.

• Top notes: bergamot and black pepper
• Middle notes: violet, hyacinth, green notes and nutmeg
• Base notes: precious wood, vetiver and leather

Scent Profile:

When first uncapping Chamade pour Homme, the fragrance opens with a luminous spark of bergamot, the classic Italian citrus prized for centuries in perfumery. Bergamot from Calabria is unlike any other citrus—it carries not only the effervescent brightness of lemon and orange, but also a floral roundness and faint herbal bitterness that comes from its natural aroma chemicals such as linalyl acetate and limonene. These compounds are responsible for that crisp, almost champagne-like fizz at the top, which instantly feels refined and elegant. Here, Guerlain lets this bergamot shine with clarity, while subtle modern synthetics extend its sparkle, preventing the fleeting freshness from evaporating too quickly. It feels like a bright opening chord struck in sunlight.

Just beneath the bergamot, a twist of black pepper emerges, its piquancy almost electric. The pepper, sourced from India, exudes an aromatic sharpness thanks to piperine, which lends warmth, and volatile terpenes like β-caryophyllene, which give a dry spiciness. The note feels alive, prickling the senses without overwhelming, acting as a bridge between the zest of the bergamot and the warmth waiting to unfold. It enhances the brightness, giving the fragrance not just freshness, but an immediate sensuality, the promise of something deeper.

As the scent warms on the skin, the heart reveals an unexpected softness. Violet leaf contributes a green, dewy freshness that is at once leafy and slightly cucumber-like, stemming from ionones, which naturally carry that powdery, floral-leaf balance. Guerlain amplifies this with carefully measured synthetics, lending a longer-lasting, transparent freshness that feels almost like inhaling the air of a shaded garden. Alongside it blooms hyacinth, a flower seldom used in perfumery because of its delicate volatility. Recreated here through a blend of natural isolates and synthetics such as phenylacetaldehyde and hydroxycitronellal, it has a crisp, watery sweetness tinged with subtle earthiness, like petals just unfurling in early spring. These floral nuances intertwine with green notes that suggest freshly crushed stems—galbanum-like facets, grassy aldehydes, and subtle leafy aromatics—creating a vivid picture of verdant growth.

Threaded through this greenery is the spice of nutmeg, sourced from Indonesia, whose warm, slightly resinous profile comes from compounds like myristicin and sabinene. Unlike the sharper bite of black pepper, nutmeg has a rounded, almost creamy warmth. Here, it balances the cool florals with a glow that feels both exotic and comforting, like sunlight filtering through the leaves. Its sweetness harmonizes with the violet and hyacinth, lending depth without losing lightness.

As the fragrance settles into its base, the precious woods begin to resonate. Sandalwood, likely sourced from Mysore or a carefully crafted synthetic reconstruction, offers its signature creamy, milky depth due to santalols, while cedar contributes its dry, pencil-shaving clarity from cedrol and cedrene. Together, they form a foundation that feels noble and grounding, the olfactory equivalent of polished wood paneling. Alongside this comes vetiver, most likely from Haiti, prized for its purity and balance. Vetiver oil is a complex tapestry of molecules—vetiverol, vetivone, khusimone—that lend earthy, smoky, and slightly nutty nuances. In Chamade pour Homme, the vetiver adds structure, like deep roots anchoring the brightness of the top and heart.

Finally, a subtle leather accord lingers, achieved not from actual hides but through a blend of birch tar and modern aroma chemicals such as isobutyl quinoline. It is both smoky and green, suggesting worn gloves and polished saddles, but softened to harmonize with the florals and woods rather than dominate. This leather note closes the fragrance with masculine elegance, evoking both strength and refinement.

Altogether, Chamade pour Homme feels like a scented dialogue between contrasts—light and shadow, freshness and warmth, nature and artistry. Each raw material, whether sourced from Calabria’s orchards, India’s spice fields, or Haiti’s vetiver plantations, carries with it a sense of place and character. Guerlain elevates them through careful use of synthetics, extending their natural beauty and weaving them into a composition that is at once timeless, modern, and deeply romantic.

Bottles:

The Les Cœurs de Chamade set of 1999 was presented with remarkable elegance, its design as carefully considered as the fragrances it contained. The centerpiece of the set consists of two crystal-clear glass flacons, each shaped into a concave half of Guerlain’s classic Chamade tear-drop silhouette. When placed together, the pair forms a complete heart, a symbolic gesture of union—perfect for the Valentine’s theme. The flacons are refined yet understated, their clarity allowing the liquid inside to glow softly, a play of light through curved surfaces.

Each bottle is crowned with a clear glass stopper, the name “Chamade” etched across the top in graceful, gold-toned lettering, a subtle yet luxurious detail that ties into the romantic presentation. The base of each flacon bears the “Guerlain” name, also rendered in gold, ensuring that the house’s identity is integrated seamlessly into the design. The proportions are generous yet balanced: standing 7.4 inches high and 3.34 inches wide, the flacons feel substantial in the hand, echoing the grandeur of Guerlain’s tradition of perfume bottle design.

The set is completed with a pearlescent presentation box, shimmering softly with an iridescent finish. On its front, the box is signed in gold pen by Jean-Paul Guerlain, adding not just an element of prestige but also a personal touch from the master perfumer himself. This detail elevates the set from a mere luxury item to a collector’s treasure, infused with both artistry and intimacy. Measuring 8.85 inches by 5.1 inches by 2.36 inches, the box cradles the two flacons perfectly, presenting them side by side as a mirrored pair.

Each bottle holds 30ml of eau de toilette, with one containing the feminine Chamade (originally launched in 1969) and the other the masculine Chamade pour Homme, created for this very edition. Together, the flacons represent a dialogue between two fragrances: the original romantic floral-oriental composition and its newly imagined woody-spicy counterpart. This pairing not only celebrated Valentine’s Day 1999, but also symbolized Guerlain’s ability to express love and harmony through both scent and design.

Roselip by Guerlain c1880-1910

Guerlain's Roselip, introduced around 1879–1880, was a delicate and refined lip preparation, a lightly rose-tinted balm designed to nourish, protect, and subtly color the lips. It was elegantly housed in a tiny Sèvres porcelain pot, reflecting both luxury and craftsmanship, and was available in two shades: a soft pink (#449) and a warm coral red (#450). The product remained popular for decades, continuing to be sold until around 1910, exemplifying Guerlain’s early mastery in combining cosmetic function with aesthetic sophistication.

The formulation of Roselip followed a typical 19th-century recipe for lip pomades or balms. Olive oil served as a deeply hydrating and emollient base, rich in fatty acids and antioxidants, which helped soften and protect delicate lip skin. Whale oil, commonly used at the time, added additional richness and a creamy texture that allowed the balm to glide smoothly. Sweet almond oil contributed soothing and nourishing qualities, maintaining hydration and imparting a gentle softness to the lips. White wax provided structure and stability, allowing the balm to adhere evenly without being greasy or runny.

The fragrant and functional elements further enhanced the experience. Roses infused the balm with a natural, floral aroma, while also providing mild astringent properties that could help tone the lips. Balsam of Peru, a resin with a warm, vanilla-like scent, contributed both fragrance and a subtle antiseptic quality, helping to protect minor cracks or dryness. Together, these ingredients created a product that was not only pleasant to use but also beneficial to the lips’ health and appearance.

From a safety perspective, these ingredients were largely benign for the skin. Olive and almond oils are gentle and nourishing, white wax is non-irritating, and the small amounts of rose and balsam served both aesthetic and mild protective functions. Whale oil, while less commonly used today due to ethical concerns, was not harmful and helped achieve a luxurious texture. Overall, the formula was nourishing, protective, and safe for regular application.

In practice, Roselip would have been applied daily or as needed, providing a subtle tint, moisture, and a soft sheen, enhancing the lips while also evoking a sense of refinement and elegance. Its compact size and beautiful porcelain container made it both a functional cosmetic and a collectible piece of luxury, perfectly in line with Guerlain’s reputation for combining artistry and utility in cosmetics.

Creme a la Fraise Pour le Teint c1880

Crème à la Fraise Pour le Teint, introduced around 1880, was an elegant facial preparation by Guerlain, often translated as “Strawberry Cream for the Foundation.” Housed in a white porcelain jar with a delicate strawberry-shaped finial on the lid, the cream was not only functional but visually charming. The jar itself bore the Guerlain emblem of the “woman with flags”, and inscriptions including “Guerlain Perfumer Patented SGDG” and the boutique address, “Rue de la Paix No. 15.” Crafted by A. Pillivuyt Foecy in France, the pot measured 2.36 inches in diameter, reflecting the careful attention to both design and luxury presentation that Guerlain championed in the 19th century.

The cream’s purpose was to moisturize and freshen the complexion. A small amount massaged onto the face provided hydration while imparting a soft, natural tint, making it a precursor to modern foundation creams. Its rich, emollient composition supported the skin’s barrier while offering a subtly fragrant, sensory experience.

The ingredients reveal both the practical and indulgent qualities of 19th-century cosmetics. Sweet almond oil served as the base, a gentle, nourishing oil rich in fatty acids and vitamin E, ideal for softening and protecting delicate facial skin. Water provided moisture, helping the cream spread easily, while white wax and spermaceti (a wax derived from sperm whales) added structure, creating a smooth, thick consistency that could adhere to the skin evenly. Lanolin, extracted from sheep’s wool, offered additional emollience and water-retaining properties, making the cream protective and soothing.

The fragrant elements elevated the cream into a luxurious ritual. Ripe strawberries contributed a light, sweet aroma and perhaps mild astringent properties. Tincture of benzoin, a resin, imparted a warm, balsamic note while providing mild antiseptic benefits. Oil of lemon and oil of neroli added bright, fresh citrus-floral accents, which lifted the sensory profile and subtly refreshed the complexion.

From a dermatological perspective, most ingredients were benign and nourishing for the skin. Almond oil, lanolin, and spermaceti were soothing and protective, while the waxes allowed the cream to remain in place without heavy occlusion. Benzoin and essential oils were used sparingly, adding fragrance and mild antiseptic qualities, though in higher concentrations they could cause irritation—fortunately, formulations of this period were balanced to avoid harshness.

In practice, Crème à la Fraise would have been applied before powder or other cosmetics, serving as both a moisturizer and a light tint to even out the complexion. Its texture, fragrance, and subtle color would have conveyed elegance, freshness, and sophistication to the user, reflecting the luxury and artistry of Guerlain’s 19th-century cosmetic traditions.

Creme Sid-Ous c1910

Crème Sid-Ous, introduced by Guerlain around 1910, was one of the house’s most enduring skincare preparations, remaining available as late as 1970. Marketed as both a hand and face cream, it carried a distinctive almond scent and was formulated as a white, rich emollient cream designed to soften, protect, and beautify the skin. Its presentation was as refined as its purpose: the cream came in a porcelain pot glazed in deep cobalt blue, paired with a matching porcelain lid. The vessel itself reflected Guerlain’s early 20th-century dedication to elegance and artistry, transforming even a humble skin cream into an object of luxury.

The composition of almond creams from this period was a fascinating blend of functional dermatological agents and fragrant embellishments. Powdered Castile soap, a gentle olive oil–based soap, was often added in minute amounts to act as a mild emulsifier, helping blend oils and water into a smooth cream. Powdered boric acid, valued at the time for its antiseptic qualities, lent a cleansing effect that was believed to prevent minor blemishes or skin irritation. Powdered gum tragacanth, derived from the sap of certain legumes, acted as a natural thickener, stabilizing the cream’s texture into a silky, spreadable consistency.

To ensure hydration, glycerin and honey were incorporated, both excellent humectants that drew moisture into the skin, leaving it plump and supple. Honey also carried mild antibacterial properties, making it as therapeutic as it was nourishing. The inclusion of egg yolk, rich in fats and natural lecithin, gave the cream a luxurious emollient quality, improving skin elasticity and providing a protective layer against environmental dryness.

A suite of aromatic tinctures and oils elevated the cream into a multisensory experience. Tincture of benzoin, warm and resinous, not only preserved the cream but also calmed and soothed the skin. Oil of bitter almonds imparted the cream’s signature marzipan-like fragrance, a note that immediately suggested comfort, softness, and care. This sweetness was balanced by the lively brightness of oil of lemon and the citrus-floral sparkle of neroli, lending freshness to the blend. Meanwhile, the addition of oil of cloves, with its spicy warmth and natural antiseptic properties, provided a subtle counterpoint to the otherwise soft profile.

From a dermatological standpoint, most of the ingredients were benign for their time. The humectants, emollients, and natural oils nourished the skin, while the antiseptic agents like boric acid and clove oil offered protection. However, boric acid, though widely used in cosmetics in the 19th and early 20th centuries, is recognized today as potentially irritating with prolonged use. Similarly, essential oils like clove or lemon could sometimes cause sensitivity, though they were included in very small amounts. By the standards of its era, Crème Sid-Ous was viewed as both protective and beautifying, a preparation that combined practicality with indulgence.

Ultimately, Guerlain’s Crème Sid-Ous was more than a moisturizer. It was a ritual of self-care, a cream that soothed the hands and face while enveloping the wearer in the nostalgic, comforting sweetness of almonds and honey. Its survival into the 1970s demonstrates its timeless appeal, proof that the marriage of effective ingredients with a luxurious sensory experience never goes out of fashion.

photo by Lombrail-Teucquam

Lait de Roses c1910

Guerlain’s Lait de Roses, or “Milk of Roses,” was a toilet preparation for the skin, a type of cosmetic lotion designed to soften, brighten, and lightly perfume the complexion. Around 1910, it was offered in a refined pressed glass bottle crafted by Pochet et du Courval, a house long associated with Guerlain’s most elegant presentations. The bottle itself was an oval cylindrical form, its rounded belly divided into ten panels that caught and refracted the light. Standing 18 cm tall, it was closed with a simple cork stopper and finished with a richly baroque-styled label, its ornate design underscoring Guerlain’s reputation for marrying artistry with practicality.

The formula for Lait de Roses was both scientific and sensorial, embodying the fin-de-siècle balance between pharmacology and beauty. Salicylic acid, derived from willow bark, was included for its mild exfoliating and clarifying effects—it helped remove dull surface cells and keep the complexion smooth. Benzoic acid, often used as a preservative, also contributed to its cleansing qualities. Both were considered effective yet gentle enough for regular cosmetic use, though overuse of salicylic acid could cause dryness in sensitive skin.

The base of the preparation was rose water and glycerin, a soothing and hydrating combination. Rose water, long prized for its calming and toning effects, also left a delicate fragrance on the skin, while glycerin drew in moisture, leaving the complexion supple. To this were added alcohol and a suite of balsamic tinctures—Peru balsam, storax, and benzoin—all known for their antiseptic and healing properties. These resinous ingredients not only preserved the lotion but also created a subtle warmth in its fragrance, a soft backdrop for the floral oils.

To elevate the scent, Guerlain blended in a constellation of precious essential oils: rose, bergamot, neroli, orris, jasmine, and musk. Each lent its own nuance: rose for romantic powdery softness, bergamot for brightness, neroli for its citrus-floral freshness, orris root for its velvety, violet-like delicacy, jasmine for voluptuous sensuality, and musk for a lingering depth. Coumarin, discovered in tonka beans in the 19th century, added a sweet hay-like note that would have made the composition feel rounded and soft, while a solution of carmine imparted a gentle tint to the lotion, giving it a faint rosy cast that made it look as luxurious as it smelled.

Taken together, Lait de Roses was intended not only as a skin beautifier but also as a protective tonic, soothing minor irritations, perfuming the skin, and preparing it for powder or other cosmetics. By the standards of its time, the formula was considered benign and beneficial, a far cry from harsher skin treatments of earlier decades that often contained lead or mercury. Though today certain ingredients like musk (then natural, now banned in perfumery for ethical reasons) or balsams could pose allergenic risks, in its era Lait de Roses was seen as both safe and highly refined—a perfect example of Guerlain’s blending of dermatological care with perfumed luxury.

Rouge de la Cour c1910

Rouge de la Cour by Guerlain, introduced in the mid-19th century, represents one of the earliest examples of luxury cosmetics from the house. Remarkably, it remained in production well into the early 20th century, still appearing in Guerlain’s catalogs around 1910. In official listings it was sold under the name Court Rouge, but it became better known by the evocative nickname rouge en tasse, or “pink saucers.” In Guerlain’s stock catalog, this elegant little item was recorded as #434, a testament to its longstanding presence in the brand’s repertoire.

The pink saucers were also referred to as rouge de théâtre, pointing to their popularity not only among fashionable ladies but also with actresses who relied on bold cosmetics for stage appearances. The formula was simple yet effective: carthamus rouge (a vegetal dye extracted from safflower petals) or carmine (a pigment derived from cochineal insects) formed the base of the color. To give the mixture texture and adherence, it was blended with a few drops of almond oil for smoothness and nourishment, and bound together with the mucilage of gum tragacanth, a natural plant gum that provided a soft, gel-like consistency. The finished paste was carefully spread across small disks of porcelain or glass, creating the distinctive “saucer” presentation.

To apply the rouge, women had a variety of methods at their disposal. Some preferred the simplicity of using their fingertips, while others reached for a tiny puff, a scrap of flannel, a cotton swab, or a fine brush to blend the color onto the cheeks. The result was a flush of lively pink that mimicked the healthy radiance of youth and gave a fashionable brightness to the complexion. At a time when cosmetics were often controversial or associated with the stage, Guerlain’s Rouge de la Cour managed to tread the line between refinement and theatricality, capturing the allure of both courtly elegance and the daring world of performance.

original image from a Guerlain catalog

photo by Lombrail-Teucquam

Cheek rouge, pressed into small glass pot. c1880-1915. Photo from imworld.aufeminin