Tubereuse c1833

Tubereuse by Guerlain, launched around 1833 and possibly even earlier, is a fascinating example of how early 19th-century perfumery embraced both nature’s most intoxicating flowers and the romance of naming. The word tubéreuse is French for “tuberose,” a night-blooming flower native to Mexico, celebrated for its lush, creamy, and narcotic aroma. It is pronounced "too-beh-ROOZ". The very name evokes images of sultry evenings, moonlit gardens, and blossoms exuding an almost hypnotic perfume. For women of the 19th century, the word tubéreuse would have conjured a sense of mystery and sensuality—an exotic bloom that was both admired and feared for its overwhelming intensity.

The 1830s were part of the Romantic era, a period defined by emotion, nature, and artistic imagination. In France, women’s fashion was shifting from the neoclassical simplicity of the Empire style toward more opulent silhouettes: fuller skirts, luxurious fabrics, and elaborate trimmings. Beauty and toilette rituals were becoming increasingly refined, and perfume was a crucial element of this new culture of elegance. Exotic flowers like tuberose, jasmine, and orange blossom symbolized refinement, worldliness, and a touch of daring sensuality. For the women who wore Guerlain’s Tubereuse, the name alone promised a perfume that was rich, romantic, and evocative of distant lands, aligning perfectly with the era’s fascination with the exotic and the dramatic.

Tuberose as a perfume theme was not unique to Guerlain; in fact, it was one of the most popular floral notes of the 19th century, embraced by nearly every perfumery. Recipes for tubéreuse scents appeared frequently in formularies of the period, each house adjusting proportions or embellishing the composition to distinguish their version. Guerlain’s choice to launch or update Tubereuse around 1833 was both practical and strategic—meeting demand for a fashionable scent while infusing it with the refinement and quality that distinguished the house from its rivals. At that time, perfumery still relied heavily on natural materials such as tinctures, enfleurage extracts, and distillations. The creamy, intoxicating tuberose note would have been softened with other white florals or brightened with citrus, depending on the formula, to create balance.

By the late 19th century, however, the world of perfumery was changing. New synthetic aroma chemicals—such as vanillin, heliotropin, and ambreine—began to enter compositions. These molecules not only substituted costly or unstable natural materials but also expanded the perfumer’s palette. In the case of Tubereuse, synthetics could enhance the creamy, spicy, or powdery facets of the natural flower, extending its diffusion and longevity. Guerlain, always attentive to innovation, would have adapted its tuberose perfume to reflect these advances, ensuring that what began as a Romantic floral in 1833 continued to feel relevant as the century gave way to modernity.

Ultimately, Tubereuse by Guerlain embodied both the spirit of its time and the timeless appeal of one of perfumery’s most iconic flowers. To the women of the 1830s, it was a symbol of sophistication and allure; to collectors and historians today, it represents a bridge between the handcrafted natural perfumes of the early 19th century and the dawning era of modern perfumery.

Fragrance Composition:

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

• Top notes: East Indian tuberose infusion, Moroccan orange blossom, Portuguese neroli, Jordanian bitter almond
• Middle notes: Grasse tuberose concrete, Manila ylang ylang, Grasse rose, Grasse jasmine
• Base notes: Florentine orris, Abyssinian civet, Mexican vanilla, vanillin, Siam benzoin, Tibetan musk, ambergris

Scent Profile:

When first encountering Guerlain’s Tubereuse, the fragrance opens like a lush, moonlit garden, drenched in blossoms that release their perfume into the night air. The top begins with East Indian tuberose infusion, an opulent and narcotic note. Unlike its Mexican origin, the East Indian variety carries a slightly greener, spicier edge, tempering the creamy sweetness with a more complex natural character. This is immediately intertwined with Moroccan orange blossom—a radiant, honeyed floral with a sunlit warmth—and Portuguese neroli, prized for its sparkling, bittersweet brightness. Together, they lift the weight of tuberose with flashes of citrus and floral clarity. A surprising accent of Jordanian bitter almond adds a gourmand, marzipan-like nuance, at once sweet and faintly bitter, grounding the florals with a subtle richness.

As the heart unfolds, the fragrance deepens into its namesake flower, Grasse tuberose concrete, the purest and most luxurious form of tuberose, extracted by traditional enfleurage methods. Its buttery, creamy facets are heightened by the presence of Manila ylang ylang, bringing tropical warmth, spicy creaminess, and hints of banana-like richness. Against this, Grasse rose provides velvety freshness, a timeless romantic flourish, while Grasse jasmine adds an indolic depth—animalic, heady, and sensual. This combination recreates the layered complexity of a living garden, where blossoms interweave to form a chorus of textures: creamy, spicy, green, honeyed, and lush.

The base reveals the true luxury of this creation. Florentine orris, one of the most precious raw materials in perfumery, lends its cool, powdery, violet-like earthiness, softening the narcotic bloom of tuberose. The animalic facets arrive with Abyssinian civet and Tibetan musk, both historically prized for their warmth and depth, providing a natural sensuality that lingers on the skin. To this, ambergris brings its marine-salty, velvety smoothness, amplifying both projection and longevity, as if extending the life of the flowers into eternity. Mexican vanilla, rich and balsamic, is further sweetened and stabilized by vanillin, a synthetic that enhances the natural bean’s warmth, giving the perfume its creamy gourmand underpinning. Finally, Siam benzoin folds in with its resinous, ambery-balsamic tone, rounding out the base with comfort and radiance.

Smelling Tubereuse is like walking through a nocturnal garden at the height of its bloom, where every flower seems alive and breathing. The natural materials sing of their origins—the honeyed light of Morocco, the sparkling groves of Portugal, the romance of Grasse, the exotic spice of Manila—while the carefully chosen synthetics act like brushstrokes, highlighting and extending their most beautiful qualities. The result is both intoxicating and refined, a fragrance that captures the dangerous allure and eternal beauty of tuberose itself.

Bottles:

Presented in the carre flacon. 

Fate of the Fragrance:

Discontinued, date unknown.

Dix Petales de Roses c1897

Dix Pétales de Roses by Guerlain, launched in 1897 and created by Jacques Guerlain, is a perfume whose name translates from French to "Ten Rose Petals." The choice of this name reflects a deliberate focus on delicacy and simplicity, emphasizing the elegance and timeless beauty of the rose. Roses have long symbolized romance, femininity, and grace, and by evoking the image of precisely ten rose petals, the fragrance suggests a careful, refined composition—a balance of beauty and restraint. The number "ten" adds a sense of completeness, as if capturing the perfect moment when a rose is in full bloom.

The name "Dix Pétales de Roses" conjures vivid imagery of soft, fragrant rose petals scattered in a garden or perhaps carefully placed in a delicate sachet. It evokes emotions of romance, tenderness, and serenity. The soft, sensual allure of rose petals is universally associated with love and beauty, and the phrase would instantly bring to mind the lush, velvety feel of rose petals and their intoxicating scent. The word "Dix" (ten) suggests an intentional, almost poetic precision, highlighting the artisanal care that would have gone into crafting the fragrance.

In terms of scent, Dix Pétales de Roses would be interpreted as a floral fragrance, likely dominated by rose notes but balanced by subtle undertones that enhance the freshness and purity of the roses themselves. Guerlain would have likely crafted this perfume to be soft and delicate, with a graceful sillage, capturing the fleeting beauty of rose petals as they fall. The scent would be light and ethereal, perfect for everyday wear, offering a refined yet romantic presence. Women of the time would have been drawn to the subtle elegance of the fragrance, appreciating its ability to capture the essence of a single flower with sophistication.

During the 1890s, when Dix Pétales de Roses was launched, women were increasingly engaged with the cultural shifts of the time, balancing tradition with a growing interest in modernity. A perfume named "Ten Rose Petals" would have resonated with women who valued refinement and subtle luxury. Roses were a quintessential symbol of femininity, and the idea of a perfume based on rose petals would appeal to those who sought to embody grace, delicacy, and natural beauty. The romantic nature of the fragrance would have made it an ideal choice for women who wished to enhance their elegance and allure.

The 19th century was an important era for roses in perfumery, as the flower became central to many perfume compositions. Roses were primarily sourced from regions like Grasse in France, known for their exceptional quality. The extraction methods for rose oil, such as distillation and enfleurage, were refined during this period, allowing perfumers to capture the pure essence of the flower in their creations. Roses were valued not only for their beauty but also for their versatility in fragrance, being used in everything from floral bouquets to more complex, layered perfumes.

Dix Pétales de Roses would have capitalized on the popularity of the rose in late 19th-century perfumery, offering women a fragrance that symbolized their refined tastes and connection to a long tradition of rose-scented luxury. It spoke to the period’s appreciation for natural beauty, craftsmanship, and the timeless appeal of floral fragrances.

Fragrance Composition:

So what does it smell like? Dix Petales de Roses is classified as floral fragrance for women.

• Top notes: rose, lemon, violet
• Middle notes: rose, ylang ylang, tuberose, carnation, Tonkin musk, suede
• Base notes: jasmine, rose, civet

Scent Profile:

Dix Pétales de Roses by Guerlain opens with a luminous, almost dewy rose note that immediately conjures a sunlit Parisian garden in full bloom. The top notes of fresh rose petals are heightened by a zesty lemon accent, lending a sparkling, green brightness that enlivens the initial impression. Interwoven with these is a hint of violet, which softens the citrusy edge and introduces a delicate powdery undertone, reminiscent of morning mist settling on flower petals. The French rose used here is likely chosen for its nuanced balance of sweet and slightly tart nuances, which differentiates it from, for example, the heavier, more opulent Bulgarian rose or the fruitier Turkish rose. Its natural aroma compounds, primarily geraniol and citronellol, contribute floral freshness and a subtly rosy sharpness, while trace synthetics gently stabilize the bouquet and add clarity, preventing the top from fading too abruptly.

As the fragrance develops, the heart reveals a rich, opulent floral tapestry. A second wave of rose intensifies, paired with the creamy, tropical floral facets of ylang-ylang and the lush, intoxicating scent of tuberose. Carnation adds its characteristic spicy nuance, grounded by the soft, sensual touch of Tonkin musk and suede. The Tonkin musk imparts a subtly animalic warmth that blends seamlessly with the leather-like nuance of suede, evoking the tactile softness of well-worn velvet gloves or the delicate scent of a lady’s dressing gown. Ylang-ylang from the Comoros or Madagascar would provide a sweet, slightly fruity depth, full of esters like benzyl acetate and linalool, which enhance the natural rose while harmonizing with the heady tuberose. The synthetic elements in this middle accord, likely including subtle isoamyl acetate or synthetic musks, round the composition, giving the bouquet a creamy persistence without dulling its vibrancy.

The base of Dix Pétales de Roses is intimate and sensual, with jasmine and rose lingering in layered harmony. Civet, employed sparingly, offers an animalic depth that grounds the fragrance without overpowering it, highlighting the natural warmth of the flowers above. Jasmine sourced from Grasse or Egypt contributes indole-rich nuances that give the bouquet its slightly narcotic, enveloping richness. The base notes prolong the delicate florals while introducing a shadowy, almost velvety texture, adding emotional resonance and sensuality. Overall, the perfume embodies a seamless journey from sparkling freshness to lush floral heart and finally to a warm, intimate embrace, celebrating the multi-dimensional beauty of roses in all their complexity.

Dix Pétales de Roses is not just a bouquet; it is a carefully orchestrated experience. Each ingredient—from the crisp lemon to the multi-faceted roses, to the musky, suede-laden heart—works in concert, reflecting Guerlain’s mastery in balancing natural extracts with modern synthetics to create a floral composition that is simultaneously airy, opulent, and profoundly evocative.

Bottles:

Housed in the Flacon Plat (Flat) cstarting in 1897. 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.

A John Wanamaker ad from the Delaware County Times, 1902:

The one man in the Old World bold enough to use nothing but the finest ingredients in his perfumes is M. Guerlain of Rue de la Paix, Paris. He employs only the purest suet to extract the essence of flowers, and the purest alcohol to release their fragrance. His extracts are true, offering a delicacy or intensity depending on your choice, for nothing in nature that breathes sweetness escapes the keen, discerning nose of Guerlain.

Take, for example, his extract Far West (which we exclusively offer in America), where the woods have gifted their damp, earthy, cedar-like aroma. It’s a rare experience to have the scent of the wet forest captured in a bottle. Far West is so original and delightful that people can't help but laugh with pleasure at its novelty, even as they claim they don’t like it. Yet, inevitably, they return to it—just as they say they won’t—because it clings irresistibly to the senses.

Another marvel of Guerlain’s craft is Aquarella, a sweet, firm, and enchanting fragrance. It is as delicate as almond blossoms, yet with an underlying substance that captivates. Whatever Guerlain touches is guaranteed to be of the highest purity and quality. Among his other extraordinary creations are Tume, Fragrance, Rup, Gazaki, Verveine, Paris Gem, Geranium de Serre, Floxinia, Aquarella, Full Scent, Far West, Violet du Embaume, Violet de Alger, Le Jardin de Mon Curé, Tsao-Ko, Dix Pétales de Roses, and Belle France. Each of these is a testament to his unmatched artistry.

Fate of the Fragrance:

Discontinued, date unknown.

Bouquet de L'Imperatrice Eugenie 1853

Launched in 1853, Bouquet de l’Impériale Eugénie — translating from French as Bouquet of Empress Eugénie — was a fragrance created in homage to one of the most celebrated women of the Second French Empire: Empress Eugénie de Montijo (1826–1920), the Spanish-born wife of Emperor Napoleon III. Pronounced in simple terms as “boo-kay duh lahm-pay-ree-al ay-zhen-ee,” the name rolls from the tongue with a sense of refinement and grandeur. Its very title evokes images of imperial elegance, courtly grace, and the gilded world of 19th-century Paris — the dazzling salons, mirrored halls, and the Empress herself, poised in silk and lace, her presence perfumed with cultivated sophistication.

Pierre-François Pascal Guerlain’s decision to dedicate a perfume to Empress Eugénie was as much a gesture of artistry as it was of diplomacy. Guerlain, already a renowned perfumer of the Parisian elite, had been appointed the official supplier to the Imperial Court. In naming this fragrance Bouquet de l’Impériale Eugénie, he not only honored the Empress’s personal charm and beauty but also aligned his house with the glamour and prestige of the French Empire itself. The word bouquet in perfumery referred to a structured floral composition — a harmonious blend of multiple flowers rather than a single-note scent. It suggested refinement and balance, echoing the grace and femininity associated with Eugénie’s public image.

The mid-19th century, particularly the years of the Second Empire (1852–1870), was a time of renewed opulence and cultural revival in France. After decades of political upheaval, Napoleon III’s reign brought stability and grandeur back to Paris. This era saw the rise of Haussmann’s reconstruction of the city, turning it into a modern capital of light, luxury, and elegance. Fashion, under Eugénie’s influence, became a matter of imperial taste — corseted gowns with crinolines, elaborate hairstyles, and jewels glittering beneath gaslight. She was a style icon whose influence extended far beyond the court, shaping trends across Europe.

In perfumery, the floral bouquet was the prevailing fashion. Perfumes were designed to mimic the scent of an idealized garden — lush, sweet, and meticulously composed. Bouquet de l’Impériale Eugénie fit perfectly within this aesthetic, yet its title and imperial dedication set it apart as something regal and aspirational. It is classified as a white floral oriental fragrance, a description that suggests a heart of luminous, creamy blossoms — perhaps orange blossom, jasmine, or tuberose — supported by warm, resinous or musky undertones. The oriental nuance would have added depth and sensuality, aligning with the romantic and exotic fascinations of the age, when travel, trade, and colonial expansion introduced Europe to new raw materials and olfactory experiences.

To the women of Eugénie’s time, a perfume bearing her name would have embodied the ideal of refinement, modernity, and social aspiration. To wear it was to align oneself, even subtly, with the Empress’s grace and the elegance of the imperial court. The name Bouquet de l’Impériale Eugénie conjured an image of white flowers in an ornate vase on a marble table, their fragrance mingling with powder and silk — a vision of cultivated femininity.

In scent, the title could be interpreted as a refined floral symphony, where soft, radiant petals meet the warmth of amber and musk. It would have carried the duality that defined Eugénie herself: delicacy combined with strength, grace entwined with imperial poise. Within the broader context of 19th-century perfumery, Bouquet de l’Impériale Eugénie followed the established trend of multi-floral compositions, yet it distinguished itself through its association with royalty and the unparalleled craftsmanship of the Guerlain house.

In essence, it was not merely a perfume — it was a portrait in scent, capturing the refinement, luxury, and cultivated femininity of an era that defined French elegance for generations to come.

Fragrance Composition:

So what does it smell like? Bouquet de L'Imperatrice Eugenie is classified as a white floral oriental fragrance for women.

• Top notes: bergamot, cassie 
• Middle notes: jasmine, Turkish rose, tuberose, orris, licari, angelica
• Base notes: civet, musk, tonka bean, coumarin, vanilla, benzoin, musk ambrette, ambergris

Scent Profile:

Opening Bouquet de l’Impératrice Eugénie is like stepping into a candlelit salon in Second Empire Paris — the air heavy with silk, flowers, and faint traces of powdered perfume. The fragrance begins with a luminous shimmer of bergamot and cassie, a pairing that immediately evokes refinement and poise. The bergamot, most likely from Calabria, is famed for its balanced profile — not too sharp, not too sweet — thanks to its high concentration of linalyl acetate and limonene, molecules that impart both sparkling freshness and a velvety floral undertone. It lends the perfume an elegant radiance, like sunlight glancing off crystal. The cassie (acacia farnesiana), with its golden blossoms, introduces a soft powdery sweetness and a faint green, honeyed note. Rich in benzyl alcohol and methyl salicylate, cassie deepens the citrus brightness with a subtle warmth, suggesting the touch of sun-warmed petals in spring. Together, they create an impression of sophistication and quiet luxury — an olfactory prelude to the opulent floral heart that follows.

At the core blooms an exquisite white floral bouquet, befitting its imperial namesake. Jasmine, opulent and intoxicating, lends its indolic richness — that faintly animalic sweetness that gives life and sensuality to the composition. Its key aroma compound, benzyl acetate, gives the perfume its lush, creamy character, while traces of indole deepen its allure, creating the illusion of petals warmed by skin. Alongside it, Turkish rose unfolds with stately grace. The rose of Isparta and Damascus, cultivated in Anatolia for centuries, yields an oil noted for its complexity — the perfect equilibrium between fresh dewiness and velvety richness. Its natural citronellol and geraniol lend a crisp rosiness that harmonizes with jasmine’s languor, creating a floral duet both pure and regal.

Tuberose enters next — heady, narcotic, and sensual, its creamy sweetness layered with methyl benzoate and indole, molecules that give the flower its deep, almost carnal magnetism. In the mid-19th century, tuberose was a daring inclusion — beloved but considered dangerously voluptuous, a scent for women confident in their allure. The delicate orris root, derived from aged rhizomes of the Florentine iris, weaves through the composition with its powdery, violet-like softness, adding poise and a sense of polish. Its natural ionones bridge the floral heart with the powdery and balsamic base to come.

The rarer notes — licari (likely referring to the exotic wood Licaria cubeba) and angelica root — lend an herbal, spicy-green counterpoint. Angelica, with its slightly musky, earthy tonality, introduces an almost mystical depth, enhanced by its natural ambrettolide and angelic lactones, which smell like dry herbs and soft musk intertwined. This green, aromatic facet prevents the white flowers from becoming cloying, suggesting the Empress’s own cultivated restraint — a fragrance as intelligent as it is beautiful.

As the perfume deepens, it unfurls into a sumptuous and unmistakably oriental base, where warmth and sensuality dominate. The blend of civet, musk, and ambergris forms the heart of the composition’s animalic luxury. In the 19th century, these natural materials were prized for their fixative powers and the way they transformed floral notes into something alive and enduring. The civet, though used in minute quantities, adds a creamy, warm undertone — its characteristic muscone-like molecule amplifying the softness of the musks while deepening their sensuality. Musk ambrette, derived from plant seeds rather than animal sources, contributes a gentle, powdery warmth; its key compound, ambrettolide, gives a delicate sweetness reminiscent of warm skin. Ambergris, weathered by sea and time, provides a salty, marine smoothness that softens the heavier resins, allowing the fragrance to linger with a glowing, diffused quality.

Threaded through this base is the sweetness of tonka bean, coumarin, vanilla, and benzoin — the hallmark of Guerlain’s early mastery of the oriental style. Tonka, with its almond-like warmth and creamy richness, owes its scent to coumarin, one of the first naturally occurring aroma molecules to be synthetically reproduced in perfumery. Guerlain’s pioneering use of this synthetic element gave Bouquet de l’Impératrice Eugénie its remarkable smoothness and lasting power. Coumarin bridges the gap between nature and science — amplifying the tonka’s creamy sweetness and blending seamlessly with Madagascan vanilla and Siam benzoin, both renowned for their resinous, balsamic warmth. The result is a soft, enveloping finish that feels both comforting and opulent — like cashmere warmed by the body.

In its entirety, Bouquet de l’Impératrice Eugénie is not merely a perfume but a portrait in scent — a vision of imperial femininity rendered in white florals and golden resins. Its interplay of natural essences and early synthetics marks it as a turning point in perfumery: a fragrance where artistry met chemistry, where nature was perfected through science. To smell it is to imagine the Empress herself — radiant, poised, and enveloped in an aura of cultivated grace, her perfume trailing like the whisper of silk along a marble floor.

Fate of the Fragrance:

Bouquet de l’Impératrice Eugénie has long since been discontinued, though the exact date of its withdrawal remains uncertain. What is known is that it was still being sold in 1903, a full half-century after its debut, which speaks to both its enduring appeal and its significance within Guerlain’s early heritage. Its longevity on the market reflects the house’s deep respect for history and its ongoing tradition of honoring European royalty through refined and symbolic creations.

In the 19th century, Guerlain’s clientele included the most distinguished figures of European society — aristocrats, diplomats, and crowned heads who regarded fragrance not merely as adornment but as a mark of identity and prestige. By dedicating Bouquet de l’Impératrice Eugénie to the Empress of the French, Pierre-François Pascal Guerlain aligned his house with imperial sophistication and grace. The perfume thus became more than a scent; it was a statement of loyalty to refinement, culture, and the artistry of French luxury.

Its continued presence in the early 20th century shows how strongly this fragrance resonated with women who still admired the elegance of the Second Empire and the romantic ideals it represented. Even as fashions and perfumery trends evolved, Bouquet de l’Impératrice Eugénie retained a sense of timeless dignity — a fragrance that carried with it the aura of silk gowns, courtly manners, and an era when perfume was a language of social distinction. Its eventual discontinuation closed a chapter in Guerlain’s imperial story, yet the perfume’s legacy endures as a graceful reflection of the house’s devotion to commemorating European nobility through scent — a heritage that continues to define Guerlain’s artistic identity today.

My Insolence c2007

My Insolence was launched in 2007 by Guerlain as a modern follow-up to the iconic Insolence, continuing the house’s exploration of playful sophistication. The name conveys both familiarity and audacity. “My Insolence” evokes a sense of boldness, charm, and mischievous femininity—an intimate declaration of spirited individuality. The word itself suggests a fragrance that is flirtatious, confident, and delightfully daring, inviting the wearer to embrace a lively, personal expression of style.

The mid-2000s were characterized by a resurgence of fruity-floral fragrances, with trends favoring bold, characterful compositions that could combine sweetness with elegance. Perfumes of this period were often designed to reflect modern femininity: confident, playful, and multidimensional. A fragrance named My Insolence would have resonated with women seeking a scent that matched a lively, adventurous personality—something flirtatious yet refined, expressive yet wearable, echoing both the charm of the original Insolence and a contemporary sensibility.

Olfactorily, My Insolence is classified as a fruity floral fragrance for women. It opens with vibrant, juicy notes that immediately capture attention, followed by a heart of radiant florals that soften the initial playfulness with sophistication and elegance. The fragrance is rounded by a subtle base that provides depth and longevity, ensuring that its flirtatious energy persists throughout the day. Created by Christophe Raynaud and Sylvaine Delacourte, the composition balances sparkling fruits and delicate floral nuances with the signature Guerlain mastery of blending character, elegance, and approachability.

In the context of 2007, My Insolence was very much in line with contemporary trends in perfumery, embracing the popularity of bold, fruity-floral scents while standing out through Guerlain’s characteristic refinement and nuanced layering. The fragrance allowed women to express their individuality in a playful yet sophisticated way, embodying confidence, charm, and modern femininity in a single, memorable signature scent.

 

Fragrance Composition:

So what does it smell like? My Insolence is classified as a fruity floral fragrance for women.

• Top notes: raspberry, citrus notes
• Middle notes: almond blossom and jasmine
• Base notes: tonka bean, patchouli and vanilla

Scent Profile:

My Insolence opens with the sparkling, juicy sweetness of raspberry and the bright zest of citrus notes. The raspberry immediately evokes a sense of playful indulgence, its tart-sweet aroma bursting with vitality and reminiscent of freshly picked berries in summer. The citrus notes, likely including Italian bergamot or Sicilian lemon, add a crisp, tangy lift, balancing the richness of the raspberry with a sparkling freshness. Together, these top notes create a lively, effervescent introduction—bright, cheerful, and mischievous, perfectly reflecting the playful personality suggested by the fragrance’s name.

In the heart, almond blossom and jasmine unfold, bringing a soft floral elegance that deepens the fragrance’s character. The almond blossom has a delicate, slightly nutty sweetness, light and powdery, reminiscent of spring orchards in bloom, while jasmine, likely sourced from the Grasse region in France, contributes a luminous, creamy floral note with gentle indolic warmth. Jasmine’s natural complexity is often enhanced by subtle aroma chemicals that amplify its radiance, ensuring the floral heart remains clear and vibrant against the playful top notes. The combination of almond blossom and jasmine produces a sophisticated, feminine core—softly floral, lightly gourmand, and irresistibly inviting.

The base is anchored by tonka bean, patchouli, and vanilla, providing depth, warmth, and longevity. Tonka bean, often sourced from Brazil or Venezuela, contributes a sweet, slightly spicy, and almond-like warmth, enhancing the gourmand facets of the fragrance. Patchouli adds an earthy, subtly woody richness, grounding the lighter, playful notes with a hint of sophistication and mystery. Finally, vanilla, likely Madagascan in origin, provides creamy sweetness and a soft balsamic warmth, rounding the fragrance into a comforting, enveloping trail. Synthesized vanillin or ethyl vanillin may be blended to accentuate the natural vanilla, ensuring the gourmand facets are smooth, enduring, and not cloying.

The interplay of these elements—sparkling raspberry and citrus, soft almond blossom and luminous jasmine, and the warm, comforting base of tonka, patchouli, and vanilla—creates a fragrance that is simultaneously playful, feminine, and sophisticated. My Insolence is a multi-dimensional composition that dances between mischief and elegance, offering a lively introduction, a radiant floral heart, and a long-lasting, cozy finish, reflecting Guerlain’s mastery in balancing complexity and approachability in modern perfumery.

Fate of the Fragrance:

My Insolence was discontinued by 2013, marking the end of its brief but memorable presence in Guerlain’s portfolio. Despite its popularity as a playful, fruity-floral fragrance, changing market trends and the brand’s evolving collection led to its withdrawal. Today, it remains a sought-after fragrance for enthusiasts who appreciate its lively raspberry top notes, soft almond blossom and jasmine heart, and warm, gourmand base, preserving its legacy as a youthful, audacious, and sophisticated signature scent.

Cyparisse Elaidon 1848

Cyparisse Elaidon by Guerlain, launched in 1848 as part of the Jardin d’Hiver Collection, embodies the maison’s fascination with mythology, classical references, and botanical elegance. The name itself is richly evocative: Cyparisse recalls the Greek myth of Kyparissos, a young hunter transformed into a cypress tree, while also referencing the Italian cypress (Cupressus sempervirens), traditionally associated with mourning, eternity, and solemn beauty. Elaidon likely derives from the Greek word Elaia, meaning olive, conjuring images of the sacred olive tree and its mythological connections to Athena. Pronounced simply as "See-pa-REESE Eh-LYE-don", the name evokes an air of refined antiquity, a connection to nature’s symbolism, and the intellectual sophistication appreciated by 19th-century perfumery patrons.

The fragrance itself would have translated these layered references into scent. The cypress note offers a cool, resinous, slightly green-woody aroma, reminiscent of sun-drenched Italian hillsides and shaded Mediterranean groves. It carries a quiet solemnity, paired with subtle hints of herbal and balsamic facets that enhance the natural woodiness. Complementing this, the olive-inspired nuances contribute a soft, slightly fruity-green undertone, adding warmth and richness, evoking the serenity and endurance of the ancient Mediterranean landscape. Together, these elements create a fragrance that is both contemplative and elegant, delicate yet grounded in natural authenticity.

In 1848, France was undergoing political upheaval with the February Revolution, yet high society still sought symbols of refinement and taste. Women of the time would have recognized Cyparisse Elaidon as a perfume of distinction—intellectual, artistic, and subtly emotional. The fragrance’s literary and mythological associations would have appealed to the cultivated elite, offering a means of expressing both cultural awareness and personal refinement. It was a scent to accompany salons, soirées, and the contemplative pleasures of private boudoirs, providing both elegance and a hint of introspective sophistication.

In olfactory terms, Cyparisse Elaidon conjures an image of a sunlit cypress avenue, where the crisp, aromatic foliage blends with soft Mediterranean earthiness and the quiet warmth of olive groves. It is simultaneously serene, meditative, and subtly luxurious, a fragrance in step with the 19th-century trend for single-botanical notes elevated into complex bouquets, yet unique in its profound mythological resonance and refined compositional artistry. It stood apart from simpler floral or sweet compositions of the time, demonstrating Guerlain’s ability to fuse storytelling, symbolism, and natural elegance in perfume form.

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? Cyparisse Elaidon would evoke a refined, contemplative, and slightly solemn scent, grounded in natural greenery and resins. Imagine walking through a quiet Mediterranean landscape at dawn:

The cypress (Cyparisse) note is dominant, giving a crisp, resinous, and lightly woody aroma, slightly balsamic and green, with a subtle sharpness that feels almost herbal. It carries a stately, contemplative air, evoking tall, dark cypress trees and sun-dappled avenues. The olive-inspired (Elaidon) nuances contribute a softer, rounder green facet, with gentle fruity undertones, akin to the warmth and subtle earthiness of olive leaves and fresh wood. This balances the sharper cypress resin, adding warmth and a hint of smooth richness.

Overall, the fragrance would be green-woody and resinous, with quiet elegance rather than sweetness, offering a sophisticated, almost aristocratic aura. It’s not a bright floral or fruity scent; instead, it evokes serenity, intellect, and a connection to nature and classical refinement, suitable for a 19th-century salon or a contemplative stroll in a formal garden.

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."

Double Extrait d'Hymenaea Nitida 1848

Double Extrait d’Hymenaea Nitida by Guerlain, launched in 1848 as part of the Jardin d’Hiver Collection, exemplifies the 19th-century fascination with exotic botanicals and classical references. The perfume’s name, carefully chosen, reflects both its composition and its inspiration. Hymenaea refers to a genus of tropical American trees in the legume family, celebrated for their glossy foliage and large, striking white or purplish flowers. The tree’s resin, commonly known as copal, was prized as incense for its bright, sweet, and woody aroma, with subtle hints of pine and citrus. By designating the fragrance as a “Double Extrait,” Guerlain emphasized the richness and intensity of the perfume, suggesting a concentration that amplifies the natural resinous character. In layman’s terms, Double Extrait d’Hymenaea Nitida could be pronounced as “Doo-bl Ex-tray dee Hee-meh-neh-ah Nee-tee-dah,” evoking a sense of scholarly sophistication and exotic allure.

The imagery conjured by the name is one of an opulent tropical garden bathed in sunlight, the air perfumed with the resinous sweetness of copal mingling with delicate floral undertones. In the context of 1848 Paris, a year of political upheaval and social transformation, the fragrance offered an escapist luxury, transporting women of refinement to distant lands and serene natural landscapes. The mid-19th century was defined by the Romantic fascination with nature, classical learning, and the exotic—elements that permeated fashion, interior design, and perfumery alike. Fragrances with Latin or pseudo-Latin names were particularly esteemed, signaling both education and taste.

Women of the time would have perceived Double Extrait d’Hymenaea Nitida as a perfume of rare elegance and subtle opulence. Its resinous floral profile, lighter and sweeter than the more austere frankincense, allowed it to be worn both in private and at refined social gatherings, offering a sophisticated alternative to the heavier, more ubiquitous Musc and Chypre compositions of the era. In essence, the scent captures the brightness of tropical woods, the gentle sweetness of copal, and the refined floral undertones that were the hallmark of Guerlain’s Jardin d’Hiver Collection. Within the mid-19th century perfume landscape, it aligned with the trend of botanical singularity and Latin-inspired nomenclature, yet distinguished itself through its exotic inspiration and the exquisite intensity suggested by the “Double Extrait” designation—a fragrance both scholarly and seductive, intended for the most discerning connoisseurs.

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 floral resinous fragrance.

• 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 Polyoleus 
• 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."

Parfum de Toilettes 1987 - 1990

Introduced in the late 1980s, Guerlain’s Parfum de Toilette line represented a refined balance between the house’s lighter Eau de Toilette and its more concentrated Parfum Extrait. Created around 1986–1987, this range was offered in some of Guerlain’s most cherished fragrances—Jicky, Liu, L’Heure Bleue, Mitsouko, Nahema, Chamade, and Shalimar—allowing wearers to experience these classics in a new, harmoniously balanced strength.

According to Guerlain, Parfum de Toilette was their own interpretation of what many other perfumers called an Eau de Parfum: a concentration designed to provide more depth and persistence than an Eau de Toilette, yet lighter and more diffusive than the pure Parfum Extrait. Typically containing a higher percentage of aromatic oils—often around 10–15%, compared to an Eau de Toilette’s 5–8% and an Extrait’s 20–30%—this concentration allowed the fragrances to unfold with luxurious smoothness, revealing greater warmth and complexity without becoming heavy.

In wear, the Parfum de Toilette versions of Guerlain’s classics emphasized the heart and base notes, lending each perfume a rounder, more velvety impression. For instance, Shalimar Parfum de Toilette deepened the sensual amber-vanilla accord, L’Heure Bleue became more enveloping in its powdery heliotrope and iris, and Mitsouko gained a richer, spicier mossy resonance. The result was an ideal format for those who wanted longevity and richness without the intensity of the extrait form.

Produced only for a brief period, roughly until 1990, the Parfum de Toilette range was eventually discontinued and replaced by the now-standard Eau de Parfum. Today, these vintage bottles stand as treasured finds for collectors and perfume enthusiasts alike—embodying an era when Guerlain sought to perfect the equilibrium between delicacy and depth.