Bouquet de la Duchesse Bedford by Guerlain c1839

Bouquet de la Duchesse de Bedford by Guerlain, launched in 1839, was one of the earliest bespoke creations by Pierre-François-Pascal Guerlain, conceived during an age when perfumery was as much an expression of social status as of artistry. The name, Bouquet de la Duchesse de Bedford (pronounced Boo-kay duh lah Dew-shess duh Bed-ford), translates from French to “The Bouquet of the Duchess of Bedford.” The word bouquet immediately suggests refinement — an elegant arrangement of flowers, carefully composed and harmoniously balanced. The title carries both aristocratic grandeur and tender intimacy, conjuring an image of the Duchess herself receiving a fragrant gift — a perfume as cultivated, poised, and gracious as her reputation at court.

The fragrance was created in honor of Anna Maria Russell, Duchess of Bedford (1783–1857), an English noblewoman known for her close friendship with Queen Victoria. Anna Maria was Lady of the Bedchamber from 1837 to 1841, a role that was both intimate and prestigious. In the royal household, a Lady of the Bedchamber attended the queen personally — helping with her wardrobe, accompanying her on travels, and serving as a trusted confidante in both ceremonial and private moments. This was not a position of servitude, but one of honor and proximity, typically held by women of high rank who represented dignity, taste, and moral refinement at court.

The Bedford title refers to Woburn Abbey, the ancestral seat of the Dukes of Bedford in Bedfordshire, England — an area known for its stately estates and cultivated gardens. Guerlain’s dedication of a perfume to the Duchess reflects not only admiration for her status, but also the growing fascination in France with the refined manners of the British aristocracy. During the late 1830s, Anglo-French cultural exchange flourished; Parisian society admired the polished restraint and pastoral romanticism of English nobility, and perfumers found inspiration in their gardens, habits, and fashions.

The phrase Bouquet de la Duchesse de Bedford evokes images of an English spring morning — the air soft with dew, a lady walking through rose-bordered paths under the shade of blooming linden trees, her silk gown brushing against lavender and violets. Emotionally, the name carries grace and serenity. It speaks of privilege and cultivated femininity, but also of natural beauty — a floral arrangement that mirrors the Duchess’s own poise and her connection to nature and refinement.

The year 1839 places this perfume within the Romantic period, when Europe was captivated by emotion, art, and the rediscovery of nature’s poetry. In fashion, the silhouette was highly structured yet feminine — corseted waists, voluminous skirts, lace-trimmed sleeves, and delicate bonnets adorned with flowers and ribbons. Women of society took pride in their refinement, and their scent was an extension of their identity — a silent language of elegance. Perfumes of the time were often bouquets in the truest sense, blending multiple florals into harmonious compositions that evoked gardens, virtue, and beauty.

For a woman of the 1830s, Bouquet de la Duchesse de Bedford would have represented aspiration and admiration. To wear a perfume associated with nobility — and one personally dedicated to a Duchess close to Queen Victoria — was to partake in a certain social ideal. Guerlain’s clientele of the time included aristocrats, diplomats, and the wealthy elite of Paris, who viewed such fragrances not merely as luxuries but as tokens of refinement and social grace.

In scent, the Bouquet de la Duchesse de Bedford would likely have captured the classic floral accord so beloved in early 19th-century perfumery — a delicate marriage of rose, jasmine, orange blossom, and violet, perhaps softened with iris or heliotrope, and supported by musk, amber, and a whisper of vanilla. Its construction would have reflected the natural perfumery style of the era: relying on tinctures, essences, and absolutes rather than synthetics, with the emphasis on balance, lightness, and harmony. The perfume’s “bouquet” would not have been an overpowering statement but a gentle aura — graceful, pure, and dignified, much like its namesake.

Within the perfumery landscape of the time, Bouquet de la Duchesse de Bedford followed the fashionable trend of named bouquets — fragrances dedicated to noble patrons or inspired by specific women. What distinguished Guerlain’s creation, however, was the refinement of its craftsmanship and the personal connection between the perfumer and his illustrious clientele. While other perfumers produced similar florals, Guerlain’s “bouquet” was elevated through its story — a composition not merely of flowers, but of status, sentiment, and artistry. It was a perfume that symbolized the elegance of the Romantic age, encapsulating in scent the ideal of femininity, grace, and aristocratic beauty.

Shalimar Gardens Gift Presentation 2004

For the 2004 holiday season, Guerlain unveiled a charming and romantic gift set called “Shalimar Gardens.” This beautifully presented coffret was designed to evoke the sensual mystique and tranquility of the legendary gardens that inspired Shalimar itself. Inside the elegant box were two miniature bottles—a 5 ml Eau de Toilette and a 5 ml Eau Légère Parfumée—accompanied by a 4 oz Shalimar-scented candle. Each tiny flacon, crafted in the iconic chauve-souris (bat-wing) shape, captured the allure of Shalimar in its most portable form, perfect for slipping discreetly into a handbag.

The set invited its owner to enjoy Shalimar in multiple ways: the Eau de Toilette offered a sensual, enveloping trail, while the Eau Légère Parfumée provided a fresher, more luminous interpretation of the classic fragrance. Complementing these was the candle, which filled the air with the perfume’s rich notes of vanilla, opoponax, and smoky incense, creating an atmosphere ideal for moments of passion, reflection, or calm indulgence.

Encased in a sophisticated presentation box, “Shalimar Gardens” embodied Guerlain’s gift for transforming fragrance into a complete sensory experience—one that could be worn, carried, and even lived in, echoing the timeless romance of the Shalimar legend.

Cyprisine 1894

Cyprisine, launched by Guerlain in 1894 and created by Aimé Guerlain, carries a name that evokes a sense of elegance and timeless beauty. The word "Cyprisine" is derived from the name Cyprus, rooted in French ("Chypre"), which is historically linked to the island where Aphrodite, the goddess of love and beauty, was said to have emerged. The name "Cyprisine" draws on this mythological heritage, symbolizing an air of romance, allure, and femininity. It would have immediately conjured images of classical beauty, the Mediterranean, and the divine presence of Aphrodite herself. Women of the Belle Époque would have likely interpreted Cyprisine as a fragrance of sophistication, embodying grace, sensuality, and mystery.

In scent, Cyprisine would be experienced as both earthy and ethereal. As a chypre fragrance, it followed a traditional formula of blending citrus top notes with a heart of florals and a mossy, resinous base. Chypre perfumes are characterized by their unique contrast between fresh and warm, bright and dark, making them both timeless and compelling. Women of the late 19th century, emerging in an age of luxury and artistry, would have appreciated the rich complexity of this fragrance. The name Cyprisine would evoke visions of lush Mediterranean landscapes, warm breezes, and the soft fragrance of forested hillsides, giving a sense of escape and elegance.

The Belle Époque, the period in which Cyprisine was introduced, was an era of opulence, where art, fashion, and luxury goods flourished. Perfume was an essential accessory for women during this time, and Guerlain was at the forefront of creating sophisticated, high-quality scents. While many fragrances of the time focused on florals, such as violet and rose, chypre perfumes stood out for their depth and multifaceted composition. Cyprisine, with its chypre structure, would have been unique and daring compared to the more straightforward floral compositions popular in the 1890s, appealing to women who desired something bold, distinctive, and grounded in nature.

A chypre fragrance is built on a traditional accord of three key components: citrus, typically bergamot, at the top; a heart of floral or fruity notes; and a base of earthy, resinous notes like oakmoss, labdanum, and patchouli. This creates a beautifully balanced contrast between light and dark, where fresh citrus evolves into a warm, woody dry down. Chypres were among the most sophisticated of fragrance families, offering a long-lasting and elegant profile that felt luxurious and rich.

The history of chypre perfumes is tied closely to Mediterranean influences, with the first modern example emerging in the 17th century, though the structure dates back even further. By the late 19th century, chypre perfumes became highly regarded in high society. Guerlain, known for their innovation in perfumery, first introduced a chypre fragrance in 1850 with Eau de Chypre. The release of Cyprisine in 1894 reflected their continuing mastery of the chypre family, followed later by Chypre de Paris in 1909 and the legendary Mitsouko in 1919, which became one of the most iconic chypre fragrances of all time.

The ingredients of Cyprisine would have been sourced from natural extractions typical of the period. Oakmoss, one of the defining components of chypre fragrances, would have been harvested from forests, while the labdanum resin likely came from rockrose bushes in the Mediterranean region. Early chypre perfumes relied heavily on such natural materials—infusions, tinctures, and absolutes—but as the 19th century came to a close, synthetics such as coumarin and vanillin began to be used to create more consistent and innovative blends. These synthetic compounds allowed perfumers to elevate traditional notes with modern techniques, offering longer-lasting and more vibrant compositions.

The late 19th century saw the rise of synthetic aroma compounds, and Guerlain was one of the pioneering houses to embrace these innovations. Perfume formulas from this era frequently appeared in perfumery manuals, blending natural and synthetic ingredients to recreate the fresh, dewy aromas of flowers and forests. Guerlain’s Cyprisine, standing among these developments, was part of a larger trend where perfumers used creative names to distinguish their own take on the chypre accord. Cyprisine was not only a nod to tradition but also a reflection of perfumery’s future.

In the context of other fragrances on the market in 1894, Cyprisine stood apart as a distinctive and elevated composition. While many fragrances were still focused on single floral notes or simple accords, Cyprisine showcased the complexity of the chypre structure, offering women an intriguing and sophisticated alternative. It represented both the height of luxury and a sense of adventure, speaking to the modern, cosmopolitan woman of the Belle Époque.

Evening Star, 1913:

"Mere names of perfumes give no idea," said Zinda Brozia. "You must smell them. As many makers, so there are as many "'chypres'. There is no such perfume, though Walter Scott mentions it, and Houbigant had a 'cypris" in 1775. Guerlain has a 'cyprisine' and a 'chypre de Paris'. The original 'Chypre' was a very successful mixture of Atkinson, years ago; and as he did not protect the name, everybody took it up. Now Guerlain's 'Chypre de Paris', although of the cheap $1.20 series, is a sum total of perfume value, distinction and lasting qualities. I imagine it would be impossible to repeat, hein?"

 

Fragrance Composition:

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

• Top notes: carnation, rose, aromatic notes, citrus notes
• Middle notes: rose, freesia, ylang ylang, orange blossom, sandalwood, clove, cinnamon
• Base notes: musk, tonka bean, vanilla, orris

Scent Profile:

As I take in the opening of Cyprisine, the first impression is a vibrant rush of spicy floral notes. The carnation immediately stands out, with its peppery, almost clove-like intensity, filling the air with a warm, floral spiciness that feels both vintage and timeless. 

It is softened by the unmistakable presence of rose, offering a velvety sweetness that rounds out the sharper edges of the carnation. Interwoven with these florals is the subtle zest of citrus, brightening the bouquet with an invigorating freshness, while the aromatic undertones hint at herbal or green notes that add a layer of earthiness, grounding the fragrance.

As the scent settles, the heart of Cyprisine reveals itself in a lush, floral cascade. The rose deepens, becoming richer and more opulent, while freesia adds a delicate freshness with its crisp, almost watery facets. The exotic ylang-ylang blooms in the background, its creamy, slightly fruity floral notes lending a sense of luxury and depth to the composition. Orange blossom follows, offering a sweet, honeyed brightness that mingles effortlessly with the ylang-ylang, creating an air of romantic indulgence.

Beneath the florals lies the warmth of sandalwood, smooth and milky, wrapping the floral heart in a soft, woody embrace. The clove and cinnamon reintroduce spice to the fragrance, adding a fiery warmth that intertwines with the florals, creating a dynamic balance of sweetness and heat. These spices enhance the carnation's natural spiciness while giving the perfume a cozy, inviting feel, as if the scent is gently unfolding with time.

As Cyprisine dries down, its base notes come forward, adding layers of depth and sensuality. The musk is soft, clean, and subtly animalic, offering a touch of warmth and intimacy that lingers on the skin. The tonka bean brings a creamy, almond-like sweetness, melding perfectly with the vanilla, which adds a rich, comforting sweetness without overpowering the other elements. 

Orris, with its powdery, violet-like scent, adds an air of elegance to the base, creating a soft, almost tactile quality that enhances the florals and spice. Together, the base notes of Cyprisine form a velvety, soft, and lingering finish that is as complex as it is refined, leaving a lasting impression of warmth, sensuality, and timeless beauty.

Parfums Préparés par Condensation:

Cyprisine occupied a notable and celebrated place within Guerlain’s “Parfums Préparés par Condensation” series, a curated collection renowned for its originality, refinement, and the distinct character of each fragrance. The phrase “Parfums Préparés par Condensation” translates literally to “Perfumes Prepared by Condensation”, describing a sophisticated method—most commonly steam distillation—used to extract aromatic compounds from raw materials. In this process, the plant or flower material is exposed to steam, causing its volatile compounds to evaporate. The vapor is then cooled and condensed back into liquid form, producing a concentrated essential oil or aromatic essence. This method, compared to simpler techniques such as enfleurage or maceration, captures a purer, more nuanced fragrance profile, highlighting subtle tones and enhancing both richness and longevity. For Guerlain, labeling a perfume as part of this series was a signal of technical mastery, olfactory sophistication, and artisanal quality.

Within this prestigious collection, each fragrance possessed a unique personality. Cyprisine was particularly accentué, meaning its notes were heightened for a striking and immediate impact. This distinguished it from others in the line, such as Le Jardin de Mon Curé, which was flowery, persistent, and original, or Belle France, known for its fresh and lasting aroma. Bouquet Mademoiselle exuded a suave, gracefully charming scent, while Dix Pétales de Roses offered a fresh, flowery, and smooth experience. Other members, including Gavotte and Grande Maréchale, emphasized originality and enduring presence, whereas Paris Nouveau and Rodomel were characterized by sweet, flowery tones that were charming yet lasting. Tsao-Ko was highly accentuated and immediately recognizable, Violette à Deux Sous presented a sweet, persistent, and suave impression, and Young Princess embodied a soft, sweet, and sophisticated character, rounding out the series.

In this context, accentué, suave, persistent, and original carried precise, intentional meanings. An accentué fragrance, like Cyprisine, emphasizes select notes, making them immediately prominent and memorable. A suave perfume is smooth and polished, harmoniously balanced to convey elegance without overwhelming the wearer. A persistent scent carries heavier, long-lasting notes, leaving a subtle but enduring trail over hours. An original perfume introduces novelty, offering an inventive and unexpected composition that showcases Guerlain’s creative audacity. Cyprisine, through its accentuated personality, exemplified this philosophy—its carefully heightened notes created an unforgettable olfactory impression, a bold and deliberate signature within the series.

Bottles:

Presented in the Flacon Plat (Flat) starting in 1894. The bottle was created by Pochet et du Courval. Housed various Guerlain fragrances such as Tsao Ko, Belle France, Dix Petales de Roses, Cyprisine, Le Jardin de Mon Cure, Gavotte, Paris Nouveau, Violette a Deux Sous, Bouquet Mademoiselle, Grande Marechale, Young Princess, and Rodomel.

 

 

Fate of the Fragrance:

Discontinued, date unknown. Still being sold in 1923.

Cytise Sylvaria 1848

Cytise Sylvaria by Guerlain, launched in 1848 as part of the Jardin d’Hiver Collection, was a poetic homage to the natural world, distilled into a fragrance of luminous delicacy and aristocratic refinement. The name itself, Cytise Sylvaria, draws from the botanical Latin Cytisus sylvaria—the forest laburnum or “Golden Chain tree,” celebrated for its cascades of radiant yellow blossoms. The word Cytise (pronounced see-teez) refers to the laburnum, while Sylvaria (pronounced seel-vahr-ee-ah) derives from the Latin silva, meaning “forest” or “woodland.” Together, they conjure an image of a sun-dappled grove, where golden flowers shimmer against deep green leaves—a fusion of warmth and tranquility.

In scent, the laburnum carries a soft, honeyed floral aroma, with subtle almond and hay-like facets. Guerlain, ever attuned to nature’s subtleties, might have interpreted this as a gilded floral blend, combining the sweetness of acacia or mimosa with a faint woody-green undertone. The imagined perfume would have opened with bright notes of bergamot and neroli, leading into a heart of yellow florals—perhaps broom, mimosa, or heliotrope—laced with a powdery, pollen-like nuance. The base may have settled into a smooth resinous warmth, with faint touches of vanilla and benzoin to give depth and glow, echoing the natural sweetness of the laburnum’s blooms.

The year 1848 was one of transformation and political upheaval in France—the dawn of the Second Republic, an age of revolution and renewal. Yet, amid this turbulence, Guerlain’s Jardin d’Hiver Collection offered an oasis of cultivated calm, reflecting a return to nature and classical ideals. The choice of a name steeped in Latin and botanical elegance mirrored the intellectual and aesthetic tastes of the mid-19th century, when natural sciences, art, and luxury were intertwined. Women of refined society, drawn to such a perfume, would have associated Cytise Sylvaria with poise, sensitivity, and quiet opulence—a fragrance not of ostentation, but of cultured grace.

In the context of perfumery at the time, Cytise Sylvaria would have been distinctly modern, blending romantic naturalism with scientific precision. Where earlier perfumes leaned heavily on musk, amber, or animalic notes, Guerlain’s composition would have felt like a breath of pure air from a botanical conservatory, an early exploration of floral harmony that anticipated the luminous, nature-inspired style Guerlain would perfect in later decades. In essence, Cytise Sylvaria would have smelled like sunlight filtering through golden blossoms—a celebration of life’s gentler radiance, bottled for an era yearning for beauty and renewal.

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? If one were to imagine what Cytise Sylvaria by Guerlain might have smelled like in 1848, it would likely have been a luminous yellow floral composition — radiant yet understated, evoking the warmth of sunlight streaming through a conservatory filled with golden blossoms.

At its heart would be the scent of laburnum (Cytisus sylvaria) — a flower that, while not widely used in modern perfumery, is described as having a soft, honeyed sweetness with hints of almond, pollen, and hay. It would not be a heady floral, but rather a delicate, warm, and gently powdery aroma, evocative of early summer. Guerlain, known even then for crafting balanced, harmonious scents, might have blended the laburnum accord with heliotrope or mimosa to enhance its creamy, almonded facets, and perhaps acacia or broom to bring out the floral brightness and golden tones.

The opening could have included bergamot or petitgrain, introducing a fresh, citrusy lift to mimic the cool air of a winter garden. Green floral notes — possibly violet leaf or galbanum — might have underscored the natural greenness of the laburnum’s stems and leaves, providing contrast and vitality.

As it settled, the heart of the perfume would have become softly powdery and luminous, capturing the feel of golden petals warmed by the sun. A light honey accord, with natural beeswax or benzoin, could have added a subtle sweetness, tying into the “botanical study” character of the Jardin d’Hiver line.

The base would likely have been resinous and slightly woody, featuring benzoin, tolu balsam, and perhaps a touch of sandalwood or vanilla — classic Guerlain signatures even in the 19th century. These notes would lend depth and warmth, evoking polished wood and sunlight on amber varnish.

In total, Cytise Sylvaria might have smelled like a golden-green floral veil — a blend of soft honey, almond, fresh greenery, and warm woods. The overall impression would be gentle, aristocratic, and quietly radiant — the scent of a lady in pale silk walking beneath the glass canopy of a winter garden, surrounded by tender blooms that whisper of the coming spring.

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."

Shalimar 75th Anniversary Edition Bottle 1998

To celebrate the anticipation of the seventy-fifth anniversary of Shalimar, Guerlain chose to honor one of the most enduring symbols of French perfumery—a fragrance that had, since its creation in 1925, come to represent the very essence of sensual luxury. The anniversary marked not only three-quarters of a century of uninterrupted admiration but also the enduring craftsmanship and artistry that defined the house of Guerlain. To commemorate such an occasion, the maison reissued the perfume in its iconic chauve-souris flacon, a design long associated with elegance and the mystique of Shalimar. For this edition, however, the traditional deep sapphire stopper was replaced with one of clear crystal, referred to as the flacon bouchon transparent, symbolizing purity and timeless clarity—a visual metaphor for the way Shalimar had transcended fashion and era.

The bottle was made available in three sizes—4.2 oz (15.9 in), 2 oz (5.6 in), and 1 oz (4 in)—offering collectors and devoted admirers a choice that echoed Guerlain’s tradition of refinement and accessibility. Each flacon was nestled within a dark blue flocked box, its velvety surface mimicking the tactile richness of suede, a nod to the luxurious textures associated with the Orient-inspired origins of Shalimar. By commemorating its seventy-fifth anniversary, Guerlain paid homage to both its heritage and the eternal appeal of Shalimar, reaffirming its place not merely as a perfume, but as a legend in the history of perfumery.

Phlomis Asplenia 1848

Phlomis Asplenia, launched by Guerlain in 1848 as part of the Jardin d’Hiver Collection, exemplifies the 19th-century fascination with botanical elegance and scholarly sophistication. The name itself, Phlomis Asplenia, is a Latinized creation, merging Phlomis—commonly associated with Jerusalem sage, a plant with aromatic, slightly green and herbal qualities—with Asplenium, the fern genus known as spleenwort. The name could be pronounced as “Flo-mis As-pleh-nee-ah,” and it evokes images of a verdant, lightly wild garden, where the sunlight filters softly through delicate foliage, carrying the subtle, comforting scent of leaves and herbs. There is a sense of refined naturalism, evoking both scholarly intrigue and the leisurely pleasure of strolling through a sun-dappled 19th-century conservatory.

During the mid-19th century, when Phlomis Asplenia was introduced, Europe was experiencing a growing fascination with exotic flora, scientific exploration, and botanical collections. Fashions in perfume were shifting from heavy oriental and animalic compositions to lighter, fresher bouquets that celebrated greenery, herbs, and flowers. The launch of this perfume coincided with a period of intellectual curiosity and aristocratic refinement, when women of distinction would have appreciated a fragrance named after plants that sounded both exotic and cultivated. The very title, with its classical overtones, would have suggested sophistication and a cultivated taste, appealing to those who valued both elegance and subtlety in their olfactory choices.

Scent-wise, Phlomis Asplenia would likely have presented as a fougere, a classification centered on green, herbaceous, and aromatic notes often blended with floral undertones. The perfume would begin with a lightly green, slightly minty opening reminiscent of fresh sage leaves and soft fern-like greenery. Its heart would develop gentle floral or herbal nuances, perhaps accentuated with hints of lavender or soft florals, maintaining an airy and refined character rather than overt sweetness. The base would offer subtle depth, potentially through musks or mild resins, providing a soft lingering warmth that anchored the airy green notes without overpowering them. Compared with other fragrances of the period, Phlomis Asplenia was likely aligned with contemporary trends in celebrating botanical sophistication, yet its inventive naming, scholarly allusions, and likely fougere style would have made it stand out as a uniquely intellectual and elegant scent, a delicate contrast to the heavier oriental and animalic perfumes still common on the market.

In essence, Phlomis Asplenia embodied a perfume of quiet refinement: green, herbal, and softly floral, appealing to the cultivated taste of mid-19th-century women who sought both novelty and elegance in their fragrances. The scent, coupled with its erudite name, evoked a garden of subtle intrigue and understated aristocratic charm.

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? Phlomis Asplenia, as part of Guerlain’s 1848 Jardin d’Hiver Collection, would have smelled green, herbal, and delicately floral, in keeping with its likely classification as a fougère-style fragrance.

The top notes would have opened with the herbaceous, slightly camphorous scent of Phlomis (Jerusalem sage), carrying a fresh, aromatic, and mildly peppery green character. If paired with hints of fern-like or grassy elements suggested by Asplenium, the initial impression would have been airy, crisp, and reminiscent of a shaded, sun-dappled garden in early morning.

In the heart, subtle floral undertones—possibly violet, lily-of-the-valley, or soft herbs—would have emerged, weaving a gentle sweetness into the aromatic green. This layer would have softened the sharpness of the herbaceous top notes while maintaining a refined naturalism rather than a heavy or syrupy bouquet.

The base would have offered a mild warmth, possibly through musks or soft resins, creating a lingering yet understated foundation that balanced the airy freshness above. The overall effect would have been elegant, sophisticated, and quietly uplifting, evoking a serene garden stroll rather than a loud or overpowering fragrance.

In short, Phlomis Asplenia would have smelled like a gentle, sunlit green garden with a soft herbal-floral character, fresh, sophisticated, and intellectually cultivated—perfectly reflecting the tastes of mid-19th-century aristocratic women.

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."

Fleurs de Lavande c1900

Fleurs de Lavande, launched by Guerlain around 1900, takes its name from the French words meaning “Flowers of Lavender”, pronounced as "flur de la-VAHND". The name immediately evokes images of sun-drenched Provençal fields, where the gentle breeze carries the heady, herbaceous scent of blooming lavender, intermingled with subtle floral overtones. It suggests refinement, tranquility, and natural elegance, appealing to those who associate fragrance with both sophistication and pastoral beauty.

The turn of the 20th century was a period of artistic and social transition, with the Belle Époque in France ushering in opulence, elegance, and a fascination with nature and craftsmanship. Fashion favored high collars, flowing gowns, and a focus on refined femininity, while perfumery was increasingly embracing complex, layered compositions that reflected both luxury and subtlety. In this context, a fragrance named Fleurs de Lavande would have resonated with women seeking a scent that was at once familiar and sophisticated, a delicate balance of freshness, herbal clarity, and elegance that aligned with contemporary tastes.

Olfactorily, Fleurs de Lavande is classified as a classic fougère or chypre, with a dominant lavender note that forms the backbone of the fragrance. Lavender, likely sourced from the famed fields of Provence in France, is prized for its aromatic purity and refined herbaceous sweetness, distinguishing it from other lavenders that may be more camphorous or coarse. In the perfume, the lavender is complemented by subtle floral and green notes, and perhaps enriched with oakmoss or mossy chypre accords, creating a sophisticated composition that is both aromatic and slightly powdery. At the time, this blend would have been very much in line with contemporary trends in perfumery, where refined fougère and chypre constructions were highly fashionable, yet Guerlain’s treatment of lavender—with attention to clarity, elegance, and balance—ensured the fragrance stood out for its quality and artistry.

Fleurs de Lavande therefore represents both the era’s aesthetic and Guerlain’s mastery: a perfume that celebrates the natural beauty of lavender while offering a complex, refined structure that speaks to the sophistication of early 20th-century women, embodying serenity, elegance, and timeless charm.

Fragrance Composition:

So what does it smell like? Fleurs de Lavande is classified as a classic fougère or chypre fragrance with a strong lavender note.

• Top notes: lemon, bergamot 
• Middle notes: French lavender, galbanum 
• Base notes: labdanum, ambergris, sandalwood, oakmoss and vetiver

Scent Profile:

Fleurs de Lavande opens with the unmistakable aromatic clarity of lavender, likely sourced from Provence, France, renowned for producing lavender of exceptional purity and subtle sweetness. The scent is immediately bright, herbaceous, and slightly camphorous, evoking sun-drenched fields and warm breezes carrying the gentle fragrance of blooming lavender. This top note is both invigorating and calming, setting the stage for the perfume’s classic fougère structure. The lavender is precise and clean, distinguished from other varieties—such as English or Bulgarian lavender—by its soft floral nuance, delicacy, and balanced green-herbaceous character, which lends a refined elegance rather than a harsh or medicinal aroma.

As the heart develops, the classic chypre accords unfold, blending subtle floral and green nuances with oakmoss, bergamot, and possibly geranium or rose accents. The oakmoss adds a dry, earthy depth, grounding the bright lavender with a slightly forest-like, green undertone that enhances the natural freshness of the top notes. Bergamot, often from Calabria, introduces a sparkling, citrusy brightness that lifts the composition, highlighting the vibrancy of the lavender and adding a sunny, effervescent quality. If geranium or rose is present, their subtly rosy, slightly green facets harmonize with the lavender, rounding the perfume and enhancing its complexity.

The base, typical of a classic fougère or chypre, likely includes vetiver, tonka bean, or soft musk, lending a warm, lingering finish. Vetiver provides a smoky, woody undertone that deepens the herbal brightness, while tonka bean and musk add a creamy, skin-like softness, balancing the sharper, aromatic elements with comforting warmth. Where synthetics may be employed—such as enhanced lavender absolutes or musks—they serve to stabilize the natural ingredients, extend longevity, and subtly amplify facets like brightness, sweetness, or skin-like warmth without overpowering the natural elegance.

Fleurs de Lavande is a masterclass in balance: the lavender shines as the star, crisp and herbaceous, supported by a green-floral heart and an earthy, musky base. It evokes the image of a serene Provençal landscape, where sunlit lavender fields meet mossy forest paths, capturing both the freshness and depth of nature. The fragrance exemplifies Guerlain’s 19th- and early-20th-century approach to fougère-chypre perfumes: sophisticated, harmonious, and timeless, offering a layered experience that is at once invigorating, elegant, and subtly nostalgic.

Bottles:

Fleurs de Lavande was housed in the carre flacon.

Fate of the Fragrance:

Discontinued, date unknown, it was still being sold in 1914. The parfum Fleurs de Lavande may have been invariably used as Lavande, which was found in both parfum and eau de toilette form in later years.