Secret de La Reine c2017

Secret de La Reine stands as one of Guerlain’s most audacious and dazzling creations—less a fragrance in the traditional sense than a symbol of absolute luxury. Released as a one-of-a-kind, limited-edition perfume, it was produced in a single piece worldwide, making it a jewel in every sense of the word. Encased in a bottle adorned with 14 carats of diamonds, the fragrance was offered not only as a scent but as an entire luxury experience, accompanied by accessories such as fine jewelry, a watch, and a necklace. It was conceived as a masterpiece that blurred the line between perfumery and haute joaillerie, a perfume designed to exist as both olfactory treasure and collectible art object.

The name, Secret de La Reine—“The Queen’s Secret”—suggests mystery, intimacy, and hidden grandeur. Though the fragrance’s precise composition was not disclosed, the title and concept alone evoke images of opulent florals, velvety woods, and radiant musks, perhaps a tribute to the timeless elegance of Guerlain’s great feminine icons. One imagines the perfume opening with luminous notes as dazzling as the diamonds encrusting the bottle, followed by a regal floral heart steeped in Guerlain’s mastery of jasmine, rose, or iris, and finally a lingering base of amber, vanilla, or precious resins—ingredients historically tied to royalty and luxury. In this way, Secret de La Reine is envisioned as a scent worthy of a queen, both commanding and intimate, its secret revealed only to the wearer.

The perfume was priced at 3.6 million RMB (approximately $530,000 USD) and was swiftly acquired by a single buyer from Qingdao, a coastal city celebrated for its sailing culture and atmosphere of leisure and escape. This purchase not only set a record for Guerlain but also marked a defining moment for its presence in China, coinciding with the first anniversary of the brand’s flagship on Tmall, the country’s premier luxury e-commerce platform.

In creating Secret de La Reine, Guerlain did more than release a fragrance—it orchestrated a bold statement about the future of luxury. By merging craftsmanship, exclusivity, and modern retail innovation, the house reinforced its historic reputation for opulence while embracing the digital age of fashion and luxury in China. The perfume became a symbol of how Guerlain’s two-century legacy of artistry and invention continues to evolve, adapting to new markets while never compromising on its tradition of extraordinary creations.

Amyris Polyolens 1848

Amyris Polyolens by Guerlain, launched in 1848 as part of the celebrated Jardin d’Hiver Collection, occupies a singular place in the history of perfumery. The name itself—Amyris Polyolens—draws from Latin roots, a stylistic choice popular in 19th-century perfumery to evoke classical elegance and scholarly refinement. “Amyris” refers to the West Indian tree whose resinous oil is used in the composition, prized for its soft, warm, and subtly woody aroma that recalls sandalwood but carries a lighter, more floral sweetness. “Polyolens” suggests multiplicity or abundance of scent, evoking a richness that is both layered and enduring. Pronounced as "Ah-MEE-ris Poe-lee-OH-lens", the name conjures images of lush tropical groves, sun-drenched islands, and the refined luxury of a Parisian salon where rare botanical essences were celebrated as the height of elegance.

The fragrance emerged during a period of revival in European perfumery. Following decades dominated by heavy, animalic scents such as amber, musk, and vetiver, the mid-19th century saw a return to floral and botanical subtleties. Fashion and social trends emphasized refinement and delicate beauty, and women of the time would have seen a perfume like Amyris Polyolens as a mark of sophistication and modern taste. Its exotic ingredient—the amyris oil from the West Indies—added an element of novelty, transporting the wearer imaginatively to distant lands, while its harmonious balance of warmth and softness resonated with contemporary ideals of understated elegance.

Amyris Polyolens reflects Guerlain’s meticulous approach to botanical exploration. Unlike the more heavily spiced or animalic perfumes common at the time, this fragrance relied on a single botanical note elevated to prominence, aligning with the Jardin d’Hiver Collection’s mission to celebrate the purity and character of individual plants. In context, the perfume was both of its time and ahead of it: it conformed to the growing 19th-century interest in exotic and refined floral-resinous blends, yet its clarity, subtle warmth, and inventive use of amyris oil distinguished it from the denser, heavier compositions that predominated Parisian salons. For a woman in 1848, to wear Amyris Polyolens would have been to declare her refined taste, her awareness of exotic beauty, and her alignment with the modern, elegant sensibilities that Guerlain so expertly curated.

Jardin d’Hiver Collection:

Guerlain’s Jardin d’Hiver Collection, launched in 1848, represents a remarkable celebration of botanical singularity and refined artistry. Each fragrance within the collection is devoted to a single floral or plant note, captured with painstaking care to highlight its unique character and essence. The collection’s Latin-styled names—Tilia microphylla, Lathyrus odorans, Mimosa fragrans, Cyperus ruber, and the most recent addition (1853), Mimosa Esterhazya—lend an air of classical sophistication, evoking the scholarly prestige and aristocratic refinement associated with the study of plants and natural sciences. These names, both precise and exotic, signal the high level of craft and attention devoted to each fragrance, appealing to a clientele who valued knowledge, taste, and exclusivity.

At the 1851 Universal Exposition, these perfumes competed not merely as products of luxury, but as demonstrations of technical mastery and artistic innovation. Each extrait is a distillation of a single botanical note, conveying the essence of the plant in a way that is at once vivid, nuanced, and enduring. Tilia microphylla, for instance, would have unfolded with the delicate, honeyed softness of its linden blossoms, while Mimosa fragrans exudes a sunlit, powdery warmth, evocative of early spring mornings. Cyperus ruber, with its earthy, subtly green facets, contrasts with the intensely floral sweetness of Lathyrus odorans, creating a spectrum of olfactory experiences within a unified concept.

The collection was designed for the highest echelons of society, intended for women who were not merely consumers of fragrance but arbiters of taste and refinement. These perfumes were not relegated to the dressing table as casual adornments; they were worn as statements of identity and prestige, perfuming the air with subtlety and elegance. In essence, the Jardin d’Hiver Collection embodies the aristocratic ethos of mid-19th century Paris—a union of botanical scholarship, artistic sophistication, and the cultivated elegance expected of the queens of fashion and fortune. Each fragrance is an intimate portrait of a singular flower, captured with the utmost care, and presented as a jewel of olfactory refinement.

Fragrance Composition:

So what does it smell like? It is classified as a soft, warm, woody aroma reminiscent of sandalwood. 

• Top notes:
• Middle notes:
• Base notes:

Bottle:

Presented in the carre flacon.

Petit courrier des dames: Journal des modes, 1848:

"By creating the Château des Fleurs, inventing the Jardin d’Hiver, and making flowers fashionable in all the salons of Paris, the trend of perfumery simultaneously returned—after having been somewhat neglected due to the overuse of amber, musk, and vetiver. Yet the perfumes that reappear today bear no resemblance to those bourgeois emanations of old-fashioned coquetry. At Guerlain, 11 Rue de la Paix, however, belongs the right to this thoroughly modern renewal, offering compositions more delicate, more suave, more gentle on the nerves, and more voluptuous to the sense of smell than any other.

Ladies of good society are recognized by these perfumes, just as the high lineage of noble families is recognized by their coats of arms; and when a lock of hair flutters near you, when a magnificent handkerchief falls beside you, or when a fresh, coquettish glove happens to brush near your lips, you can judge by the fragrance emanating from that hair, that handkerchief, or those gloves whether the woman to whom they belong has received at Guerlain the mark of good taste, fashion, and refinement.

New odors composed by Guerlain:

• Extrait de Lolium agriphyllum 
• Extrait de Phlomis asplenia, 
• Extrait d'Azalea melaleuca
• Extrait de Cyparisse Elaidon
• Extrait d'Hyemalis anthelia
• Extrait de Cytise sylvaria 
• Extrait d'Anthemia nobilis 
• Extrait de Cyperus ruber  
• Extrait de Tilia micropluilla
• Extrait d'Hymenaea nitida 
• Extrait de Mimosa fragrans
• Extrait de Caryophilus album 
• Extrait d'Amyris Polyolens 
• Extrait de Polyanthe suaveolens  
• Extrait de Lathyrus odorans  
• Extrait d'Ocymum dulce 

By bringing to light these entirely new perfumes, Guerlain points out that they can only be found at home, and recommends to be on guard against the imitations that one will try to make."

Bon Vieux Temps 1890

Au Bon Vieux Temps (translated as “The Good Old Times” and pronounced Oh Bon Vyuh Ton) carries a name steeped in nostalgia and sentimentality. Created by Aimé Guerlain in 1890, the title immediately evokes a longing for a gentler, bygone age — a world of lace and candlelight, of family parlors filled with the soft hum of conversation and the comforting scent of potpourri. The French phrase itself suggests warmth, memory, and tenderness — a wistful nod to the elegance and refinement of the past. When Jacques Guerlain reformulated and reintroduced the perfume in 1901 as Bon Vieux Temps, it was more than a fragrance revival; it was an homage to the continuity of memory, to the enduring beauty of tradition carried forward into a modernizing century.

The time in which this fragrance was first created — the Belle Époque — was one of cultural flowering and romantic idealism. Society in France was basking in optimism, technological progress, and artistic innovation, yet also clinging to nostalgia for the old world. In fashion, corsets were softening, silks and chiffons fluttered in delicate pastel shades, and the ideal of femininity was poised between the ornamental and the natural. Bon Vieux Temps fit perfectly within this landscape: its name and character appealed to women who cherished refinement and emotional depth. To wear it was to embrace the poetry of memory — a reminder that beauty, like time, lingers softly and cannot be rushed.

To imagine its scent is to open a time capsule. Bon Vieux Temps is described as a deep, unisex oriental chypre infused with the rich florals and musks that were beloved in the late 19th century. The first impression is tender yet complex — a whisper of violet and rose, their sweetness tempered by the faint mustiness of aged petals, recalling the interiors of porcelain potpourri jars that once adorned the mantels of genteel homes. These jars were filled with fragrant mixtures of dried flowers, spices, and resins — rose, orange blossom, violet, cinnamon, cloves, lavender, orris root, and patchouli among them — each one steeped in the slow, natural oxidation that produced a warm, velvety muskiness. The perfume seems to echo this same blend of the floral and the resinous, soft and spicy, sweet and dry.

The oriental aspect reveals itself in the base — ambergris, with its subtle marine saltiness, and musk, both natural and deep, evoking intimacy and warmth. Together, they lend a soft animalic hum beneath the florals, giving the perfume a tactile sensuality that would have been considered daring for its time. The chypre structure — rich mosses and resins balanced by delicate citrus — grounds the sweetness, keeping it refined and aristocratic. Unlike the fresh floral colognes of earlier decades, Bon Vieux Temps is shadowed, mature, and resonant — a fragrance that breathes with life and memory rather than sparkle.

In scent, Bon Vieux Temps would have captured the essence of “the good old days”: the comforting familiarity of cherished surroundings, the perfume of pressed linens and antique wood, the mingling of powder and musk on lace gloves. For women of the time, it represented continuity — a romantic reflection of heritage in a fast-changing modern world. It would have been perceived as elegant, sentimental, and quietly sophisticated, embodying Guerlain’s gift for transforming memory into fragrance.

In the broader landscape of perfumery, Bon Vieux Temps stood apart for its emotional resonance. Where other houses were leaning toward sharper, more modern florals, Guerlain created a perfume of depth and reflection — one that seemed to exist outside of time. It was less about innovation than preservation, an olfactory keepsake of the 18th and 19th centuries’ most beloved scents — violets, roses, musk, ambergris — reimagined through Guerlain’s poetic hand. In essence, Bon Vieux Temps is the perfume of remembrance: an intimate, tender bridge between the past and present, wrapped in the soft veil of nostalgia.

Fragrance Composition:

So what does it smell like? Bon Vieux Temps is classified as a unisex, deep oriental chypre with violet, rose, (potpourri jar scents) and ambergris notes. It was described as very "musky".

• Top notes: bergamot, neroli, orange, orange blossom, verbena, bay leaves, geranium, linalool
• Middle notes: myrtle, lavender, carnation, clove, cinnamon, nutmeg, jasmine, violet, orris, ionone, rose, geraniol, heliotrope, piperonal
• Base notes: frankincense, ambergris, castoreum, civet, oakmoss, labdanum, patchouli, musk, musk ambrette, tonka bean, coumarin, vanilla, vanillin, benzoin, sandalwood, vetiver, Peru balsam

Scent Profile:

To smell Bon Vieux Temps is to step into another century — a place of velvet drapery, beeswax-polished furniture, and the lingering perfume of flowers pressed into linen drawers. The air feels warm and intimate, dense with the scent of time itself. As the perfume unfolds, each ingredient seems to breathe a story from an age when perfumery was a poetic craft, not just chemistry. Guerlain’s Bon Vieux Temps is classified as a deep oriental chypre, both floral and musky, a composition that bridges nature and nostalgia. It opens with a radiant glow of citrus and herbs, softens into a powdery floral heart filled with clove-studded blossoms and violet powder, and settles finally into a base that hums with resins, animalics, and moss — a sensuous memory of the “good old times.”

The top notes arrive like a morning light through lace curtains — fresh yet mellow. Bergamot lends its characteristic sparkle, bright and slightly bitter, filled with natural aroma molecules such as linalyl acetate and limonene, which provide its crisp, airy lift. This bergamot, most likely from Calabria in Italy — where the fruit achieves its most nuanced oil — carries a lively green edge that dances beautifully with neroli, the steam-distilled oil from bitter orange blossoms. Neroli, traditionally sourced from Tunisia, offers a honeyed, dew-laden floral quality; its main components, linalool and nerolidol, give it a luminous, almost silken character. Orange and orange blossom echo this bittersweet duality, marrying zest and petal, while verbena — with its fresh lemon-herb greenness — adds an almost soapy clarity. The inclusion of bay leaf and geranium gives the opening a faintly spicy, aromatic sharpness, recalling the herbal notes of traditional potpourri. Linalool, both naturally present and possibly enhanced synthetically, connects these disparate elements — floral, citrus, and herbal — with a smooth, unified brightness.

As the fragrance develops, the heart notes emerge, deepening and warming into a velvety, floral-spiced accord. Here, violet and orris form the soft powder at the perfume’s core. Orris, derived from the rhizome of the Florentine iris and aged for several years before extraction, contributes buttery, suede-like tones thanks to its high content of ionones and irones — molecules that create that hauntingly powdery, violet-like scent. Ionone, a key synthetic used by Guerlain since the late 19th century, enhances these natural materials, amplifying their nostalgic, dusty sweetness while lending extraordinary persistence. Jasmine and rose bloom gently in the background — the jasmine likely from Grasse or Egypt, warm and indolic, while the rose, perhaps Bulgarian, exudes full-bodied floral depth with hints of honey and green. Heliotrope introduces an almondy tenderness through its compound piperonal, while geraniol and linalool, present in geranium and rose, enhance their dewy brightness.

The spicy elements — clove, cinnamon, and nutmeg — infuse the heart with the warmth of old-world potpourri jars, where dried spices mingled with rose petals and resins. Clove contributes eugenol, the same natural molecule found in carnation oil, giving the fragrance its slightly medicinal, antique quality. Lavender and myrtle add herbal refinement, the former lending a clean, aromatic tone from its linalyl acetate, and the latter, a hint of camphor and sweetness. These spices not only scent the perfume but anchor its emotional tone: they are the ghosts of the home, the lingering perfume of wood cupboards and sachets of dried blooms stored in drawers.

The base of Bon Vieux Temps is where its soul resides — an opulent blend of natural resins, woods, animalic musks, and sweet balsams that speak to Guerlain’s mastery of sensuality. Frankincense and labdanum form the smoky, resinous backbone, both rich in ambered sweetness. Ambergris, once gathered from the sea, lends a salty, skin-like warmth — subtle and diffusive, making every note feel more alive. Patchouli from Indonesia contributes an earthy depth, while oakmoss adds its characteristic forest dampness, connecting the composition to the chypre family. Castoreum and civet bring the unmistakable animalic undertone that would have been highly prized in Aimé Guerlain’s time — civet adding a creamy, musky glow and castoreum a leathery, sensual purr.

The sweetness of the drydown is tempered by a delicate interplay of vanilla, benzoin, and Peru balsam, each adding its own warmth. Tonka bean, rich in coumarin, brings a dry almond-vanilla softness that merges seamlessly with vanillin — one of the earliest synthetic notes adopted by Guerlain. This combination of natural and synthetic vanillas became a Guerlain signature, giving longevity and richness to the blend. Sandalwood, likely from Mysore, provides the creamy, milky smoothness beneath it all, its santalols harmonizing the floral, resinous, and animalic elements into one continuous, golden hum. Vetiver adds a final trace of smoke and root — an anchor that keeps the perfume grounded in the earth even as its florals ascend toward memory.

To smell Bon Vieux Temps is to experience time suspended — a fragrance that feels like an heirloom. Its structure, a blend of nature’s deepest warmth and the early artistry of synthetics, bridges eras of perfumery. The floral-spiced heart, the musky, resinous base, and the luminous citrus top all coalesce into a scent that is less about perfume and more about remembrance — a whisper of powdered lace gloves, polished wood, and the faint, comforting perfume of the past that lingers softly on the air.

Bottles:

The perfume was originally housed in the Empire flacon (parfum) starting in 1902, the Louis XVI flacon (parfum) starting in 1902, and the Goutte flacon (eau de toilette) starting in 1923.

Fate of the Fragrance:

The historical record of Le Bon Vieux Temps paints a vivid portrait of its influence, both on the public imagination and the world of perfumery. In Country Life, 1902, a whiff of the fragrance in a foyer was described as recalling “a summer breeze laden with the hearts of flowers,” immediately evoking both freshness and elegance. The scent was already being recognized as “the latest pleasure of Madame la Mode,” signaling its fashionable appeal to Parisian society. 

Similarly, in Rapports (1902), the broader context of Guerlain’s oeuvre was emphasized. The article listed the House’s extensive repertoire dating back to 1788, including early masterpieces such as Excellence, Héliotrope Blanc, Impérial Russe, Pré d’Automne, Eau de Cologne Impériale, Poudre de Cypris, and Pâte Royale, alongside more recent creations like La Gavotte, Jardin de Mon Curé, Le Bon Vieux Temps, Eau de Cologne Hégémonienne, Extrait de Pot-Pourri aux Plantes Marines, and Voilà Pourquoi J’aimais Rosine. Each fragrance was displayed on consoles or pedestal tables—sometimes bare to emphasize the product itself—underscoring Guerlain’s unwavering dedication to luxury perfumery. The House’s pedigree was further solidified by awards from prestigious exhibitions: London, 1862; Paris, 1867 and 1889; Brussels, 1897; and jury distinctions in Antwerp, 1885, and Paris, 1878.

The personal resonance of Le Bon Vieux Temps is highlighted in accounts from La Semaine de l’Hippique (1903). In a playful exchange, two friends recognized one another’s use of the fragrance, affirming the perfume’s intimate role in social rituals and personal style. The dialogue reflects the way scents were not merely worn, but shared, discussed, and even subtly flaunted as a marker of taste and sophistication.

International perspectives reinforced this reputation. La Ilustración española y americana (1903) praised Guerlain’s ability to balance modern refinement with gentle subtlety, noting the fragrance’s rare quality of being both distinctive and smooth, traits that led to its widespread adoption among the Parisian aristocracy. Likewise, The Atlantic (1917) emphasized its nostalgic power, invoking memories of hoopskirts, potpourri jars, and the faded sweetness of grandmothers’ parlors. This connection between scent and memory helped solidify Le Bon Vieux Temps as more than a fragrance—it was a vessel of culture, history, and sentiment.

By 1937, the fragrance remained a central piece in Guerlain’s catalog, alongside notable creations such as Après l’Ondée, Sillage, Jicky, Chypre de Paris, and Tsao-Ko. Reviews in Stage reflect a continued recognition of its elegance and enduring charm, affirming its role as a defining scent of the House. Le Bon Vieux Temps, with its musky, potpourri-inspired warmth, floral nuances, and ambergris depth, exemplifies Guerlain’s artistry in blending historical richness with contemporary refinement—making it both timeless and immediately resonant to those who experienced it firsthand.

This collection of contemporary accounts demonstrates that Le Bon Vieux Temps was more than a fragrance; it was an emblem of Parisian sophistication, a bridge between eras, and a signature of the Guerlain legacy.

Bon Vieux Temps was discontinued, date unknown, it was still being sold in 1956.  

Un Air de Samsara 1995

Un Air de Samsara by Guerlain, launched in 1995, was conceived as a lighter, fresher interpretation of the brand’s iconic oriental fragrance Samsara. The name itself, Un Air de Samsara, is French, pronounced roughly as “Un Air duh Sam-sa-ra”. Literally, it translates to “A Breath of Samsara,” evoking the idea of a gentle, ephemeral, and spiritual essence — a nod to the original perfume while emphasizing a more airy, delicate sensibility. The word Samsara references the cyclical nature of life and rebirth in Sanskrit philosophy, giving the fragrance a sense of serenity, introspection, and subtle mysticism. Together, the name conjures images of floating incense, warm sunlight filtering through leafy canopies, and a fragrant breeze that is at once both grounding and ethereal.

The mid-1990s, when this perfume was launched, was a period marked by a fascination with lighter, fresher fragrances that could still carry depth and complexity. Women sought versatility — perfumes that felt intimate and wearable yet sophisticated enough to express personality. In fashion, there was a blend of minimalism and luxury: crisp tailoring, understated elegance, and subtle ornamentation. Un Air de Samsara fit seamlessly into this context, offering a scent that was refined without being overpowering, bridging the oriental richness of the 1980s with the emerging desire for airy, green, and slightly herbal florals.

Olfactorily, the perfume opens with a sparkling hesperidic top — bright bergamot and orange — mingling with refreshing mint and a soft whisper of green leaves, creating an invigorating yet delicate introduction. The heart reveals an assertive floral ensemble of narcissus, iris, and jasmine, each contributing its own character: narcissus brings a luminous, slightly honeyed depth; iris offers powdery elegance; and jasmine lends a soft, enveloping warmth. This combination creates a sophisticated floral complexity that feels alive and natural.

The base anchors the fragrance with the creamy, exotic richness of Mysore sandalwood, intertwined with Indian herbs that provide subtle spiciness and warmth. Despite the intensity of the oriental base, the composition remains surprisingly light and airy, maintaining a soft, enveloping quality that reflects the idea of a “breath” of fragrance. Compared to other perfumes of the 1990s, which were often heavier or dominated by overt florals or gourmand notes, Un Air de Samsara was distinctive for its harmonious balance of green freshness, florals, and oriental warmth — a modern, sophisticated reinterpretation of a classic.

Women of the mid-1990s would have perceived Un Air de Samsara as a refined, spiritual scent that could carry them through day and evening, evoking elegance and introspection without overwhelming their presence. The name, its airy execution, and its soft oriental-woody signature allowed it to stand apart from heavier perfumes while remaining unmistakably Guerlain — a subtle yet confident fragrance, blending tradition with contemporary sensibilities.

Fragrance Composition:

So what does it smell like? Un Air de Samsara is classified as a woody green oriental fragrance for women. It is begins with a hesperidic and minty top, accompanied by a whisper of soft, green leaves, followed by an assertive heart of narcissus, iris and jasmine, resting on a warm and intense base of Mysore sandalwood and exotic Indian herbs, but still extremely light and soft.

• Top notes: bergamot, lemon, mint, and leafy notes
• Middle notes: iris, narcissus and jasmine
• Base notes: Mysore sandalwood, Indian herbs

Scent Profile:

Un Air de Samsara by Guerlain is a masterful study in contrasts—light yet grounded, fresh yet deeply enveloping, a fragrance that invites you to experience each note as if you were encountering it in its natural environment. It opens with a hesperidic and minty top, immediately bright and sparkling. The bergamot, likely sourced from Calabria in southern Italy, carries a vibrant, slightly tart citrus character, richer and more nuanced than other bergamot varieties, thanks to its high content of limonene and linalyl acetate, which lend both freshness and a subtle sweetness. 

Lemon adds a sharp, clean facet, while the mint is crisp, aromatic, and slightly cooling, its menthol content providing an almost ethereal lift. Overlaying these is the delicate impression of green leafy notes, evoking dewy foliage on a spring morning, their fresh, slightly bitter greenness rounding out the citrus sparkle. Together, these elements create a top layer that is lively, invigorating, and immediately transparent—a whisper of nature captured in fragrance.

As the perfume evolves, the heart emerges with an assertive floral trio of iris, narcissus, and jasmine, each contributing a distinct facet. Iris, from the rhizomes of Florentine iris, brings a powdery, soft, and slightly earthy elegance, rich in irones that lend the characteristic velvety texture and subtle sweetness. Narcissus introduces a luminous, honeyed, and subtly narcotic floral aroma, resonant with compounds like jonon and narcissone that give depth and radiant warmth. 

Jasmine, likely Jasminum grandiflorum from Grasse, infuses a rich, creamy sweetness with indole-based animalic nuances, intensifying the florals and adding a sensual, living dimension. The combination of these florals feels expansive, yet the composition remains airy, with each note distinct but harmoniously interwoven, creating a heart that is soft, elegant, and softly intoxicating.

Finally, the base unfolds with the profound warmth of Mysore sandalwood and exotic Indian herbs. Mysore sandalwood is prized worldwide for its creamy, smooth, and slightly sweet woody aroma, which is richer and more resinous than other sandalwood varieties, owing to its high santalol content. This deep, enveloping wood forms a serene foundation for the subtle spiciness and aromatic complexity of the Indian herbs, which add a whisper of earthiness and subtle piquancy, enhancing the fragrance’s oriental depth. The base is warm and lingering, yet the perfume maintains its signature softness—there is no heaviness, no cloying richness; it is a gently enveloping trail that resonates with understated sophistication.

Experiencing Un Air de Samsara is like stepping into a sun-dappled garden in India, where sparkling citrus and cooling herbs mingle with radiant flowers, all resting on a bed of golden, creamy woods. Each ingredient contributes a story: the Italian bergamot for light and brilliance, the Grasse jasmine for sensuality, the Florentine iris for powdery elegance, and Mysore sandalwood for grounding, enduring warmth. The perfume’s lightness and balance, despite its oriental-woody foundation, make it a remarkable creation of the mid-1990s—feminine, graceful, and spiritually uplifting, a true testament to Jean-Paul Guerlain’s artistry.

Bottle:

Presented in a frosted elongated gold bottle designed after the Samsara flacon, by Robert Granai.

Ancillary Products:

In 1996, Guerlain expanded the sensory experience of Un Air de Samsara beyond the perfume itself by introducing a perfumed bath and shower gel alongside a non-alcoholic stick deodorant. These additions allowed admirers of the fragrance to envelop themselves more fully in its aromatic signature, creating a multi-dimensional ritual of scent. The bath and shower gel was designed to release the fragrance’s delicate, woody-green oriental notes in a gentle, creamy lather, letting the sparkling top notes of bergamot, lemon, and mint mingle with the soft floral heart of iris, narcissus, and jasmine as the warm base of Mysore sandalwood and Indian herbs gradually unfolded on the skin. In this form, the fragrance could be experienced intimately, blending with the natural moisture of the skin and leaving a subtle, lingering veil of scent.

Complementing this was the non-alcoholic stick deodorant, which translated the same aromatic sophistication into a practical, everyday product. Without the presence of alcohol, the formula offered a gentle, soothing application that minimized irritation while maintaining the integrity of the fragrance. The herbal and citrus facets—bergamot, lemon, mint—were accentuated here, evoking a sense of freshness throughout the day, while hints of the floral and woody base ensured the wearer remained enveloped in the luxurious, signature warmth of Samsara. Together, these bath and body products allowed women of the mid-1990s to experience Guerlain’s oriental-woody floral creation in new, sensorially immersive ways, bridging the elegance of perfumery with the intimacy of daily self-care rituals.

Fate of the Fragrance:

Discontinued (date unknown). Still being sold in 2003.

Rex c1890s

Rex by Guerlain, launched in the 1890s, bears a name of simple grandeur. The word Rex comes from Latin, pronounced “reks,” meaning “King.” It evokes an immediate sense of authority, dignity, and timeless power—a title reserved for sovereignty itself. In choosing this name, Guerlain aligned the fragrance with an image of regal elegance and refinement, echoing the noble air of Bouquet du Roi (“The King’s Bouquet”), a well-known 19th-century composition that had inspired it. The name Rex suggested not only prestige but also continuity with a grand perfumery tradition—one that paid homage to the splendor of monarchy, even in an age when empires and courts were beginning to fade into modernity.

The 1890s were a time of transition and fascination with luxury. France stood at the height of the Belle Époque—a period of prosperity, artistry, and cultural brilliance. Paris thrived as the capital of style and sophistication, with women’s fashion embracing sinuous lines, elaborate silks, and the soft shimmer of pearls. Perfume had become not just an accessory but an expression of identity and refinement, often associated with social rank and cultivated taste. Guerlain, already renowned for crafting elegant scents for royalty and the elite, captured this spirit with Rex: a fragrance that felt both classical and commanding, echoing an era’s reverence for tradition while embracing new advances in perfumery.

To women of the time, a perfume named Rex would have carried an aura of majesty and strength. It suggested poise, self-assurance, and noble bearing—qualities admired in the cultured Parisienne who moved easily between art salons and evening galas. Wearing Rex might have felt like donning an invisible crown: subtle yet powerful, refined yet unmistakably present. It embodied the ideal balance between feminine grace and stately grandeur, appealing to a generation of women who sought elegance rooted in history but alive with modern allure.

In scent, Rex would have interpreted its royal theme through a structure rich in florals, resins, and warm oriental notes. The fragrance likely opened with bright, dignified hesperidic tones—perhaps bergamot and neroli—ushering in a floral heart of rose, jasmine, and tuberose that spoke of opulence and purity. The base, characteristic of Guerlain’s early oriental style, would have woven together sandalwood, benzoin, vanilla, ambergris, and musk, creating a composition at once stately and sensual. Each note built upon the last, suggesting layers of velvet, polished wood, and the gleam of gold—a fragrance with both weight and light, presence and refinement.

Within the broader landscape of 1890s perfumery, Rex reflected the dominant trends of the time rather than defying them. The late 19th century favored floral-oriental blends—perfumes that fused the grace of traditional bouquets with the warmth of exotic resins and balsams. However, Guerlain’s artistry ensured that Rex stood apart through its impeccable balance and craftsmanship. Where others might have been heavy or overly ornate, Guerlain’s Rex conveyed nobility through harmony—a true olfactory portrait of a kingly presence, captured in scent.

Thus, Rex was more than a name; it was a declaration of mastery. In an era enamored with beauty, invention, and history, Guerlain’s Rex embodied the crown of perfumery itself—a fragrance that spoke softly of power, refinement, and the eternal allure of the royal ideal.

Fragrance Composition:

So what does it smell like? Rex is classified as a floral oriental fragrance.

• Top notes: bergamot, neroli, rose, bitter almond
• Middle notes: clove oil, rose attar, orris, jasmine, violet
• Base notes: tonka bean, coumarin, benzoin, vanilla, vetiver, Tonkin musk, civet, ambergris

Scent Profile:

Rex unfolds like the entrance of royalty—majestic, deliberate, and commanding attention without needing to raise its voice. The first impression is a sparkling overture of bergamot, a citrus essence sourced from the sun-drenched groves of Calabria, Italy. Its aroma is both lively and refined—less sharp than lemon, more floral than orange—imbued with natural compounds like linalyl acetate and limonene that lend brightness and effervescence. The bergamot’s green zest is softened by neroli, distilled from the blossoms of bitter orange trees in Tunisia, whose honeyed, slightly metallic character adds grace and sensuality. Together, they create the effect of golden light on polished marble—both fresh and dignified. 

Beneath this freshness lies a whisper of rose, delicate yet confident, its velvety petals providing a soft floral bridge to the richness to come. The faint bitterness of almond, extracted from crushed kernels, introduces an edible warmth—a mingling of heliotropin and benzaldehyde molecules that evoke marzipan and sweet tobacco, suggesting both refinement and indulgence.

As the fragrance deepens, the heart becomes a lush floral tapestry. Clove oil, sourced from Madagascar, lends a fiery undertone through its main component, eugenol—a molecule prized for its spicy warmth and faintly woody nuance. It gives the perfume a pulse, a regal rhythm. This spice is tempered by rose attar, a distilled blend of rose petals and sandalwood traditionally crafted in Kannauj, India. This rose is darker, more resinous than its European cousins—its damascenone and phenylethyl alcohol components exhale sweetness edged by faint smoke, as though the flower were glowing in candlelight. 

The luxurious orris root, aged for years before distillation, lends its powdered, violet-like scent—an aristocratic texture created by irones that mimic the tactile softness of silk. Jasmine rises next, warm and narcotic, its indolic molecules shimmering with sensuality, while violet lends a breath of coolness, its ionones diffusing a soft, dreamy haze over the florals. Together they form an opulent bouquet—radiant, romantic, and utterly regal.

As the perfume settles, the composition reveals its true majesty in the base—a velvety, golden warmth that defines the Guerlain signature. Tonka bean, sourced from Venezuela, provides a foundation rich in coumarin, the molecule that lends the scent of new-mown hay and almond-like sweetness. Here it is both comforting and sensual, merging with benzoin from Siam, whose vanillic, resinous aroma adds body and a faint incense-like glow. Natural vanilla, with its vanillin and piperonal components, weaves a creamy sweetness that softens the resins and links them to the soft, earthy tone of vetiver from Haiti, whose vetiverol content gives an elegant dryness—a reminder of aged woods and clean earth.

The animalic notes give Rex its soul. Tonkin musk, once derived from the glands of the musk deer, provided a deep, warm sensuality with nuances of leather and skin; modern recreations retain that enveloping softness through muscone and macrocyclic musks. Civet, historically from the Ethiopian civet cat, contributes a subtle feline warmth—an element that, when used in trace amounts, transforms a composition from beautiful to carnal. Finally, ambergris, weathered from the sea, imparts a salty-sweet radiance that diffuses the heavier notes, acting as a natural fixative and enhancing the longevity and projection of the fragrance.

The interplay between natural and synthetic elements in Rex creates a structure both classical and forward-looking. Early synthetic isolates such as coumarin and ionones would have amplified the natural facets—heightening the almond tone of tonka bean, the powder of orris, and the violet haze—creating a composition of impeccable balance. The result is an olfactory portrait of nobility: warm yet restrained, sensual yet dignified.

To smell Rex is to experience the grandeur of the late 19th century distilled into scent—a fragrance that speaks of candlelit salons, heavy brocade, and the soft gleam of gold. It is the scent of sovereignty rendered in perfume form—composed not merely to adorn, but to command admiration.

Bottles:

Rex was housed in the Carre flacon as seen below.

It was also available in stilboide fluide.

Fate of the Fragrance:

Rex was most likely discontinued within 1910-1920 period. It remains a rare Guerlain fragrance to be found today.

Guerlain Cosmetics & Skincare c1950s-1970s

Young Princess c1890

Young Princess by Guerlain, launched in 1890, exemplifies the house’s dedication to creating perfumes that conveyed elegance, refinement, and a sense of aristocratic grace. The name itself, Young Princess, evokes imagery of youth, delicacy, and a gentle sophistication—a fragrance designed to transport the wearer into a world of noble refinement. The term suggests innocence intertwined with poise, conjuring visions of a young woman draped in fine fabrics, attending a garden fête, or moving gracefully through the gilded salons of late 19th-century Europe. The name offered consumers not merely a scent but an aspirational identity: the ability to feel like royalty in everyday life, an intimate touch of elegance and dignity.

The fragrance emerged during the Belle Époque, a period celebrated for its artistic flourishing, technological innovation, and luxurious fashions. Women’s styles favored soft silhouettes, delicate laces, and floral embellishments, reflecting a culture that prized refinement and grace. In this context, Young Princess aligned perfectly with contemporary tastes, embodying the era’s preference for floral compositions that were sophisticated yet approachable. Guerlain’s creation would have appealed to women seeking to express subtle charm and cultivated taste, offering a soft, sweet, and polished floral character that was both elegant and memorable.

In comparison to other perfumes of the time, Young Princess balanced the prevailing trends with Guerlain’s signature artistry. While floral fragrances were common, this perfume distinguished itself through its particular refinement and harmonious layering of notes, producing a scent that was sophisticated but never overpowering. Its delicate sweetness and soft florals would have been immediately recognizable, leaving a gentle, lingering impression. Through Young Princess, Guerlain not only captured the essence of late 19th-century femininity but also demonstrated how fragrance could evoke emotion, identity, and aspiration, allowing every wearer to feel for a moment like royalty.

Parfums Préparés par Condensation:

Young Princess occupied a distinguished place within Guerlain’s Parfums Préparés par Condensation series, a carefully curated collection celebrated for its originality, refinement, and character. The series’ name, literally translating to “Perfumes Prepared by Condensation,” highlights the sophisticated steam distillation method used to extract aromatic compounds from raw materials—a technique widely employed in the 19th and early 20th centuries. In this process, flowers, plants, or other fragrant materials are exposed to steam, causing volatile aromatic compounds to vaporize. The resulting vapor is then cooled and condensed back into a concentrated liquid essence. Compared to simpler methods such as enfleurage or maceration, which rely on absorption or soaking, condensation captures a purer, more complete olfactory profile, preserving subtle nuances and enhancing the richness and longevity of the perfume. Guerlain’s inclusion of a fragrance in this series signaled not only technical mastery but also olfactory sophistication and artisanal quality.

Within the series, each perfume was designed to convey a distinct personality. Le Jardin de Mon Curé presented a flowery, persistent, and original character, while Belle France exuded a fresh and lingering aroma. Bouquet Mademoiselle offered a suave, gracefully charming scent, whereas Cyprisine was highly accentué, emphasizing certain notes for a striking impact. Dix Pétales de Roses was fresh, flowery, and smooth, while Gavotte and Grande Maréchale emphasized originality and enduring presence. Paris Nouveau and Rodomel highlighted sweet, flowery tones that were charming and lasting, and Tsao-Ko was particularly accentuated, making it immediately recognizable. Violette à Deux Sous offered a sweet, persistent, and suave impression. Young Princess, rounding out the series, conveyed a soft, sweet, and sophisticated character, offering a gentle elegance that harmonized with the series’ overall refinement.

The descriptors used across the series—accentué, suave, persistent, and original—carry precise meanings. An accentué fragrance emphasizes specific notes, rendering them prominent and memorable. A suave perfume is smooth and polished, harmoniously balanced to convey elegance without overwhelming the wearer. A persistent scent carries heavier, longer-lasting notes, leaving a subtle yet enduring trail, while an original fragrance introduces novelty, presenting inventive and unexpected olfactory experiences. Within this context, Young Princess exemplifies Guerlain’s ability to blend softness and sophistication, offering a delicate yet enduring expression of refinement and femininity that resonates with the technical artistry of the Parfums Préparés par Condensation series.

Fragrance Composition:

Young Princess would likely present as a gentle, refined floral bouquet with a soft, sweet elegance. Imagine lifting a delicate veil of scent: the first impression is airy and tender, with lightly sugared floral notes that are neither overwhelming nor sharp—almost like the scent of a freshly picked spring bouquet brushed with morning dew. There’s a subtle sweetness, evoking soft petals and perhaps a hint of powderiness, giving it a sophisticated, almost ethereal quality.

As the fragrance develops, you might detect layered floral nuances—rose, violet, and perhaps a whisper of jasmine—blended so harmoniously that no single note dominates, but each adds depth and dimension. This is a fragrance meant to feel gentle on the skin, softening into a lasting impression of warmth and elegance.

The base would bring subtle richness: faint musky and woody undertones that lend persistence, leaving a soft trail that’s graceful and understated. There’s no harshness here—rather, it’s a composed, elegant perfume that feels both comforting and refined, evoking the poise and gentle sophistication suggested by its name, Young Princess.

In short, it’s a tender, sweet, and floral fragrance, refined yet approachable, like the olfactory equivalent of a quiet, graceful presence in a room.

Bottles:

Young Princess was housed in the the flacon Plat, the perfume epitomized the grace, elegance, and aristocratic femininity associated with its time.

Fate of the Fragrance:

Discontinued, date unknown. Still being sold in 1894