La Poudre C'est Moi 1925

La Poudre C’est Moi, introduced by Guerlain in 1925, was more than a cosmetic—it was a statement of refinement, luxury, and a touch of audacity. Its name was inspired by the famous declaration of Louis XIV, the Sun King, who proclaimed “L’état c’est moi, puisque le Roi c’est moi” (“I am the State, since I am the King”). Guerlain cleverly transformed this royal phrase into a playful yet regal title for a face powder that sought to combine beauty, elegance, and French cultural grandeur in a single box.

The powder itself was ultra-fine in texture, a hallmark of Guerlain’s expertise in cosmetic formulation, ensuring a finish that was soft, flattering, and almost imperceptible on the skin. What set it apart, however, was its fragrance. Scented with Shalimar, Guerlain’s legendary oriental perfume launched the same year, La Poudre C’est Moi carried the house’s most celebrated fragrance into the realm of makeup. This fusion of scent and beauty ritual allowed a woman to envelop herself in Shalimar from head to toe, elevating powdering into an olfactory as well as visual experience.

A 1933 advertisement captured the essence of its appeal: “Thrice artful is the Shalimar Powder of Guerlain. The tint for you is so marvellously blended that your skin blooms afresh at its touch … with its texture so soft, so flattering that even in the glare of day the years seem to melt away … and it clings through the hours with a consistency that you will adore. Scented with the fragrance of Shalimar, it is the ultimate touch of elegance in the art of make-up. At all smart shops in six marvellously perfect skin shades.” With this promise, Guerlain positioned the powder as both practical and indulgent—long-lasting, youthful, and imbued with a sensual perfume.

La Poudre C’est Moi was available in six shades, carefully blended to harmonize with different skin tones, reflecting Guerlain’s growing attention to the diversity of women’s complexions. More than just a face powder, it was theatrical in name, luxurious in scent, and refined in finish, embodying the spirit of 1920s glamour while nodding to the grandeur of France’s royal past.

The Famous Powder Box:

La Poudre C’est Moi was as much a visual tribute to luxury as it was a cosmetic innovation. The powder was housed in a cylindrical drum-shaped box, measuring 8.5 cm in diameter, a size that felt generous in the hand yet refined enough to slip gracefully onto a vanity. Unlike ordinary powders of the era that might come in plain tins, Guerlain ensured that this creation carried the same aura of majesty and artistry as its name.

The box was crafted from wrapped cardboard, but its surface was transformed into something far richer through a lavish embossed design in gold and black filigree. The intricate pattern suggested foliage and interlacing motifs in the Louis XIV style, directly evoking the ornamental splendor of the Sun King’s court. With its glimmering gilt elements set against a dramatic black ground, the design mirrored the grandeur of Versailles—an unmistakable nod to the monarch whose declaration inspired the powder’s name.

This careful marriage of utility and artistry made the container more than packaging; it was a keepsake, an object of luxury that reflected Guerlain’s understanding that beauty rituals extended beyond the product itself to the ritual of presentation. Each powder box became a miniature echo of French royal heritage, an ornament that linked daily makeup to a sense of cultural sophistication and timeless glamour.

The Sample Size Box:

photos from ebay seller regalestatescompany

Shalimar Poudre C'Est Moi Compact c1927:

The metal face powder compact was designed by Bernard D'Escayrac (the then Vice President of Guerlain, Inc in New York)

Fate of the Powder:

After decades of absence, La Poudre C’est Moi was brought back to life in Christmas 2006, reimagined not as a simple face powder but as a luxurious finishing and highlighting powder. The relaunch transformed the product into a modern jewel of Guerlain’s heritage line, merging nostalgia with contemporary glamour. The formula itself was infused with violet fragrance, a classic Guerlain signature, lending a delicate, powdery floral veil that evoked femininity and refinement the moment the compact was opened.

This time, the powder was described as a “divine pressed powder” flecked with white sapphire sparkles, designed to catch the light and impart a luminous, ethereal radiance to the skin. Unlike the soft matte powders of the 1920s, the 2006 version celebrated the era’s fascination with shimmer and glow, making it ideal for festive evenings and holiday occasions. At 0.22 grams, the product was petite but indulgent, enhanced by its presentation.

The powder was housed in a glossy red compact, its surface adorned with an intricate gold filigree design, echoing the grandeur of Guerlain’s historical packaging while embracing a bold, modern color palette. The box included a face brush, elevating the product from a cosmetic to a complete luxury experience. Retailing for about $72 USD, it was priced as a premium limited edition—accessible to collectors and beauty lovers eager to own a piece of Guerlain history, yet rare enough to feel exclusive.

Rose du Moulin c1907

Rose du Moulin by Guerlain, created in 1907, is a charming reflection of the Belle Époque, a time when beauty products carried not only function but also wit and theatrical flair. This product was a rose-tinted pomade, designed primarily to rouge the cheeks, though it could just as easily be pressed onto the lips for a touch of color. Its dual purpose made it both practical and indulgent, a small luxury that fit neatly into a lady’s vanity case or evening bag.

The name “Rose du Moulin” is a clever play on words, referencing the legendary Moulin Rouge cabaret in Paris. Just as the Moulin Rouge embodied glamour, spectacle, and the thrill of modern nightlife, Rose du Moulin captured that same spirit in a pot of cosmetic color. Women who purchased it were not simply buying rouge—they were participating in the fantasy of Parisian sophistication and playful daring.

The label itself drove home this association, featuring a tiny image of the famous red windmill. It was both a branding detail and a cultural wink, instantly recognizable to those familiar with the Paris landmark. The presence of this motif tied Guerlain’s creation to the heart of Parisian style and entertainment, aligning the product with the allure of the stage and the vibrancy of city life.

In its day, Rose du Moulin would have appealed to the fashionable woman who wanted to highlight her natural beauty while also signaling her awareness of the latest cultural icons. It was more than makeup; it was a symbol of modern femininity, tinged with the romance and excitement of Paris nightlife.

The jars were produced by the prestigious Pochet et du Courval, longtime glassmakers for Guerlain, who ensured that even a small rouge pot was treated as an object of elegance. In its earliest incarnation, Rose du Moulin was presented in a striking emerald-green glass pot with a matching lid, the surface brought to life with gilded enameling that echoed the refinement of Guerlain’s perfume bottles. By 1914, the design was updated to clear glass. These later versions replaced the hand-painted decoration with a paper label wrapped around the middle, reproducing the earlier motifs in printed form—a practical solution that nonetheless preserved the charm of the original artistry.

Part of the allure of Rose du Moulin lay in its variety. Guerlain offered the rouge in shades tailored to different complexions, including versions “pour les brunes” (for brunettes) and “pour les blondes” (for blondes). Beyond these, the range expanded into a palette of evocative colors with names like Mandarine, Cattleya, Tulipe, Lilas, Soleil Levant (sunrise), Medium, Iris, Scarlet, Rose Camellia, and Tropical. Each shade carried not only a cosmetic function but also a poetic identity, allowing women to select a color that suited both their complexion and their mood.

Catalogued as item #600 in Guerlain’s stock books, Rose du Moulin was more than rouge—it was a piece of Parisian culture translated into a portable luxury. From its emerald-green beginnings to its later clear-glass editions, it stood as a symbol of beauty, wit, and the theatrical flair of early 20th-century Paris.

CLICK HERE TO FIND ROSE DU MOULIN BY GUERLAIN

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