Bouquet de Lord Seymour c1840

Bouquet de Lord Seymour by Guerlain, launched around 1840 and also known simply as Bouquet Seymour, was one of the earliest perfumes created by Pierre-François-Pascal Guerlain. The name itself was chosen in homage to Henry de Seymour (1805–1859), a wealthy English aristocrat and descendant of the Dukes of Somerset. A flamboyant figure in Parisian society, Seymour founded the prestigious Jockey Club of Paris, a gathering place for noblemen and horse enthusiasts. Guerlain’s decision to dedicate a fragrance to such a man was no coincidence—it reflected both the refined elegance and daring modernity that defined the brand from its earliest days.

The name Bouquet de Lord Seymour is French and translates literally to “Lord Seymour’s Bouquet.” The title evokes the image of a distinguished gentleman surrounded by polished splendor—the rustle of fine fabrics, the gleam of carriage lamps along the Boulevard des Italiens, and the faint echo of laughter from a salon filled with English and French nobility. The word bouquet in perfumery was often used to signify an elegant composition of blended floral and herbal essences, suggesting sophistication rather than a single flower’s simplicity.

The early 19th century, when this fragrance was created, was a period of renewal and cosmopolitan taste in Paris. The Bourbon Restoration had recently given way to the July Monarchy, and Paris was once again alive with a mingling of aristocratic refinement and bourgeois ambition. English culture exerted a strong influence over French fashion—London tailoring, equestrian sports, and Anglo-French salons were the height of chic. Within this atmosphere, Guerlain’s Bouquet de Lord Seymour would have embodied both gentlemanly elegance and continental grace, appealing equally to refined men and women of society.

Women of the time, enamored with the glamour of English nobility, would have viewed a perfume named after Lord Seymour as a mark of fashionable worldliness. It suggested aristocratic charm, a touch of reckless adventure, and refined sensuality—qualities that fit perfectly with the romantic spirit of the early Victorian age. To wear it was to adorn oneself with the invisible signature of English sophistication filtered through French artistry.

Interpreted in scent, Bouquet de Lord Seymour would likely have drawn inspiration from the popular “Jockey Club” compositions of the day, which blended aromatic herbs, citrus, and floral notes with leather and musky undertones. These fragrances were created to evoke the gentleman’s milieu—polished riding boots, freshly cut hay, and fine grooming oils—tempered with the soft sweetness of orange blossom or rose to make them approachable and refined. Guerlain, with his gift for harmony and balance, would have elevated this idea, giving the perfume both masculine depth and romantic softness, a bridge between the rugged English countryside and the polished salons of Paris.

In the wider context of perfumery, Bouquet de Lord Seymour aligned with the trends of its time but bore the distinct Guerlain touch that would become a hallmark of the house. While many perfumers produced floral or fougère compositions, few infused them with such narrative charm—a scent born of personality, place, and prestige. It was an early example of Guerlain’s genius for weaving storytelling and sophistication into fragrance, a tradition that would carry the house into global renown.

In 1828, the first Guerlain perfumery opened its doors within the elegant Hôtel Meurice in Paris—a place long favored by English travelers of means. At that time, the hotel’s façade featured small boutiques flanking its grand carriage entrance, giving it the charm of a private arcade. This was the era when English aristocrats journeyed to Paris in post carriages, bringing with them an air of refinement and curiosity for French luxury. Among these distinguished visitors was Lord Henry Seymour, whose arrival in his mail coach became a familiar sight. A figure of both notoriety and fascination, Seymour was affectionately—and somewhat scandalously—nicknamed “Milord l’Arsouille” by Parisians. The term arsouille, a colloquialism of the time, referred to a reckless, pleasure-seeking man—someone given to excess and mischief.

Despite his flamboyant reputation, Lord Seymour was known among those close to him as a generous and warm-hearted patron, a man whose extravagance was tempered by genuine kindness. Beneath the eccentric surface lay a refined sensibility and a love of beauty—qualities that drew him to Pierre-François-Pascal Guerlain’s perfumery. Seymour became one of Guerlain’s earliest and most influential patrons, captivated by the subtlety and sophistication of the young perfumer’s creations. His admiration and endorsement lent the fledgling house immediate prestige, establishing Guerlain as a perfumer of distinction and innovation among both French society and visiting foreign elites.

Through this early connection, Guerlain’s reputation blossomed. The perfumes he crafted were celebrated for their refinement, novelty, and balance, qualities that mirrored the cosmopolitan elegance of his clientele. The patronage of men like Lord Seymour not only helped secure Guerlain’s place among Paris’s most esteemed artisans but also set the tone for the brand’s enduring association with aristocracy, taste, and the art of living beautifully. It was in this refined yet exuberant world—of carriages, candlelight, and whispered scandal—that Guerlain’s legacy first took root.

Fragrance Composition:

So what does it smell like? Bouquet de Lord Seymour is most likely based on the popular perfume of the day, Jockey Club, which would be a nod to Lord Seymour's Jockey Club in Paris. Jockey Club was designed to evoke the fresh greens at Epsom Downs. It is classified as a floral oriental fragrance for men and women.

• Top notes: bergamot, orange, lemon, citron, neroli petale, orange blossom, cassie, mimosa, rose, benzoic acid, amyl cinnamate, cinnamon
• Middle notes: lavender, English honey, Bouvardia base, tuberose, jasmine, rose, rose geranium, clove, heliotropin, violet
• Base notes: orris, storax, vanillin, ambergris, civet, coumarin, musk, medlar, tonka bean, Peru balsam, Mysore sandalwood, oakmoss, calamus, musk ambrette, styrax, Siam benzoin, tolu balsam, patchouli

Scent Profile:

Bouquet de Lord Seymour, likely inspired by the popular Jockey Club fragrance of the early 19th century, was a perfume crafted to evoke the fresh green air of the English countryside, mingled with the polished elegance of Parisian refinement. It was a floral oriental, the kind that balanced pastoral freshness with sensual depth—a composition that perfectly mirrored its namesake, Lord Seymour, whose extravagant charm concealed a cultivated and refined soul. To smell it would be to walk through an English garden at dawn, dressed in silk, with sunlight catching the dew on the hedgerows and the faintest trace of polished wood lingering in the air.

The fragrance opens with a burst of bright citrus—Calabrian bergamot, Sevillian orange, lemon, and citron—each bringing its own nuance of sunlight. Bergamot offers that soft, slightly bitter green edge, rich in linalyl acetate and limonene, which adds both brilliance and smoothness. The orange and lemon, high in citral and limonene, contribute zest and clarity, creating a sparkling freshness that feels effervescent rather than sharp. Then comes neroli pétale and orange blossom, both from the sun-drenched groves of Tunisia or southern France. Their sweet, honeyed facets—driven by linalool and indole—soften the citrus with a silky white floral sheen. Into this radiant bouquet, cassie and mimosa weave their delicate powdery warmth, their benzaldehyde and anisic aldehyde lending a faint almond-vanilla breath. A trace of rose rounds the accord, while the faintly spicy sweetness of benzoic acid, amyl cinnamate, and cinnamon hints at something deeper beneath the surface—a touch of Parisian exoticism hidden within English restraint.

As the top fades, the heart unfolds into lush florals and gentle aromatics, evocative of a sun-warmed conservatory. Lavender from Provence lends its clean, herbal freshness, rich in linalool and coumarin, bridging the crisp top notes with the warmth to come. English honey brings a golden sweetness, smooth and waxy, wrapping around bouvardia, tuberose, and jasmine—a trio of creamy, narcotic blooms filled with natural indoles and benzyl acetate. Rose and rose geranium echo the earlier floral notes, reinforcing their romantic core, while clove and heliotropin (a synthetic discovery of the late 19th century) add a spicy, almond-like note that enhances the natural heliotrope facet already present in the floral blend. Violet, high in ionones, adds a cool, powdery veil—an elegant restraint that makes the composition feel tailored and genteel, like a well-fitted riding jacket.

Then, beneath the florals, the base emerges with rich, sensual gravity—a masterful blend of natural resins, musks, and woods. Orris root, with its buttery, powdery elegance from ionones and irones, pairs beautifully with storax, styrax, and Siam benzoin, whose vanillic balsamic sweetness lends warmth and longevity. Vanillin, one of the earliest synthetics, amplifies these creamy aspects, creating a soft halo of sweetness around the deeper animalics. Ambergris tincture and civet add depth and sensuality, their subtle marine and leathery nuances evoking the warmth of skin. 

Tonka bean, coumarin, and medlar (a rare fruit note) give the base a round, almond-vanilla tone, further enriched by Peru and Tolu balsams with their caramel-like warmth. Mysore sandalwood, prized for its buttery richness and high santalol content, merges seamlessly with oakmoss and patchouli, creating a velvety, mossy finish. The inclusion of musk ambrette (a natural seed musk) and early synthetics like musk xylene would have enhanced the sillage, ensuring the perfume left a long, soft trail—an echo of the very word “sillage.”

Together, these ingredients tell a story of contrast and harmony—the crisp, green brightness of England meeting the lush sensuality of the Orient, interpreted through French craftsmanship. The citrus and herbs lend movement, the florals add romance, and the resins and musks ground the perfume in timeless sophistication. Bouquet de Lord Seymour would have smelled both fresh and aristocratic, an olfactory reflection of its patron—refined, daring, and unforgettable, leaving behind a lingering trace of elegance long after the wearer had passed.

Fate of the Fragrance:

Discontinued (date unknown) Still being sold in 1886. 

Naissance Shalimar Exceptional Presentation 2009

For Christmas 2009, Guerlain unveiled an extraordinary collector’s piece that celebrated the timeless legacy of Shalimar—a perfume that has come to embody sensuality and refinement for nearly a century. Entitled “Naissance Shalimar Guerlain,” this breathtaking creation was designed by the renowned French sculptor Serge Mansau, whose visionary approach to perfume presentation transformed flacons into art. Mansau’s concept was to represent the birth of Shalimar itself—an olfactory legend brought to life through a sculptural narrative of transformation and revelation.

The composition features five Baccarat crystal flacons, all vintage and originally produced in the 1930s, displayed within a transparent Plexiglas slab that measures 38.5 cm in length and 15 cm in height. Four of these exquisite flacons, empty and suspended within the clear structure, seem to emerge gradually from the acrylic—each bottle revealing a little more of its shape than the one before it, symbolizing the progressive “awakening” or evolution of Shalimar. The fifth and final bottle, a 20 ml flacon filled with freshly made parfum extrait, stands free at the front—its rich golden liquid glowing like a living heart at the center of the composition.

The interplay between the crystal and the Plexiglas evokes a sense of time suspended, of fragrance crystallized in motion. The Baccarat bottles, with their sensual curves and the familiar fan-shaped stoppers, are reminders of Shalimar’s Art Deco heritage and Guerlain’s long partnership with the famed French glassmaker. The contrast between the solid, modern Plexiglas and the delicate, hand-blown vintage crystal mirrors the meeting of eras—1930s elegance reinterpreted through the lens of contemporary artistry.

Mansau’s sculpture captures more than beauty; it tells a story. The gradual emergence of the flacons suggests not only the “birth” of the perfume but also the rebirth of Shalimar through the generations—its formula reimagined, its bottle reinvented, yet its soul eternally the same. Only 19 sets of this extraordinary piece were ever produced, making it one of the most exclusive and conceptually profound Shalimar editions in Guerlain’s history.

The “Naissance Shalimar” stands as both an homage and a meditation—an exploration of the life of a perfume, from inspiration to immortality, captured in glass and light. It is at once sculpture, perfume, and time capsule: a moment of Shalimar’s eternal story made tangible.

 

Jadis c1883

Jadis was launched in 1883 by Aimé Guerlain, a period marked by the elegance and refinement of the late 19th century in France. The name, pronounced as "zhah-DEE", is derived from the French word meaning “in the past.” It evokes nostalgia, romantic reflection, and a sense of timeless elegance—images of candlelit salons, embroidered gowns, and leisurely strolls through manicured gardens. The word suggests a connection to history and memory, inviting the wearer to embrace a fragrance that feels at once classic, sophisticated, and intimately personal.

The late 19th century was a time of opulence and cultural flourish in Europe, with fashion emphasizing ornate detailing, rich fabrics, and a taste for refinement and luxury. Perfumes of this era were designed to complement these lifestyles, offering women and men a subtle yet powerful way to express elegance and personal style. A fragrance named Jadis would have resonated with consumers seeking something evocative, refined, and slightly introspective, connecting them to the romantic ideals of an earlier era while remaining rooted in contemporary sophistication.

Olfactorily, Jadis is classified as a musky vanilla fragrance for both men and women. Its soft, enveloping warmth would have been both comforting and alluring, with vanilla providing a creamy, sweet richness and musk lending a skin-like, lingering sensuality. The combination of these two notes creates an intimate aura, blending gourmand sweetness with subtle animalic depth, allowing the fragrance to feel luxurious yet approachable.

In the context of the 1880s, Jadis fit within popular trends emphasizing soft, opulent accords that balanced sweetness and warmth, yet it distinguished itself through its refined musky-vanilla composition. Unlike many highly floral or heavily spiced perfumes of the period, it offered a more understated elegance, appealing to those who appreciated subtle complexity and the evocative power of scent to conjure memory and emotion. With its evocative name and sophisticated balance, Jadis stands as a testament to Guerlain’s ability to merge artistry, nostalgia, and wearable luxury.

Fragrance Composition:

So what does it smell like? Jadis is classified as a musky vanilla fragrance for men and women.

• Top notes: Tonkin musk, bergamot
• Middle notes: orris, white musk, castoreum, civet
• Base notes: vanilla 

Scent Profile:

Jadis by Guerlain opens with an immediate impression of Tonkin deer musk, a rare and precious material whose aroma is intensely animalic, slightly sweet, and skin-like, creating an enveloping sense of intimacy. Its rich musky compounds—muscone and muscopyridine—lend a warm, lingering presence that is at once grounding and seductive. Alongside this, bergamot—likely sourced from the fertile groves of Calabria in southern Italy—adds a sparkling, citrus brightness with lightly bitter and green nuances. The bergamot’s limonene and linalyl acetate provide a crisp, effervescent contrast to the deep sensuality of the musk, balancing the opening with freshness that elevates rather than diminishes the animalic intensity.

As the fragrance unfolds, the heart reveals a sophisticated interplay of orris, white musk, castoreum, and civet. Orris, extracted from Italian or French iris rhizomes, offers a powdery, slightly floral warmth with soft woody undertones. The irones in orris enhance the bouquet with a creamy, violet-like elegance that complements the animalic notes. White musk adds a clean, soft, modern touch, toning the more potent natural musks while reinforcing longevity and sillage. Castoreum, traditionally obtained from beaver glands, contributes leathery, resinous, and slightly smoky facets, weaving a tactile, almost sensual richness into the heart. Civet adds a subtle warmth and complexity, its naturally occurring civetone deepening the animalic aura while harmonizing with the musk and castoreum to form a luxurious, enveloping heart. Together, these elements create a layered, textural experience: simultaneously powdery, leathery, and animalic, with a refined balance of softness and intensity.

The base of Jadis is anchored by vanilla, sourced from Madagascar or Bourbon pods, offering a creamy, sweet, and resinous warmth that tempers the animalic richness above. Its key component, vanillin, blends seamlessly with the musk and castoreum, transforming the raw animalic power into a soft, enveloping aura that lingers on the skin. This sweet, almost gourmand foundation provides comfort and sensuality, smoothing the fragrance into a velvety finish that is long-lasting and intimate.

Overall, Jadis is a masterful synthesis of animalic and gourmand elements, where the bright citrus of bergamot and the powdery elegance of orris counterbalance the richness of musk, castoreum, and civet. The final result is a fragrance of sophistication and sensuality, simultaneously bold and refined, offering a musky, vanilla-drenched journey that evokes both warmth and intimacy.

 

Bottles:

Presented in 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 1898.

Extrait de Caryophilus album c1848

Extrait de Caryophilus Album, launched in 1848 as part of Guerlain’s celebrated Jardin d’Hiver Collection, exemplifies the maison’s dedication to elevating single botanical notes into refined, aristocratic compositions. The name Caryophilus Album is derived from Latin, referring to the white carnation, and is pronounced as "Ka-ree-OH-fi-lus AL-bum". It evokes images of pristine floral elegance: a bouquet of softly swaying carnations, their petals pure and delicate, exuding a sweetness with a whisper of spice. The title conveys sophistication and classical refinement, mirroring the 19th-century taste for learned and exotic references in luxury perfumery.

The fragrance itself is a spicy floral oriental, built around the nuanced aroma of white carnation. Caryophilus album offers a gently sweet floral heart punctuated by subtle clove-like spiciness, which brings warmth and complexity to its otherwise delicate character. This combination would have been heightened by the skilled blending of natural extracts, infusions, and tinctures, creating a harmonious bouquet that is both graceful and subtly provocative. The spice adds an unexpected depth, balancing the soft floral sweetness and aligning with contemporary preferences for multi-layered fragrances that appeal to both the senses and the intellect.

In the context of 1848, France was in a period of social and political change, with the February Revolution marking the end of the July Monarchy. Yet high society continued to prize elegance and refined taste, often expressed through fashion, jewelry, and fragrances. Women of the period would have related to Caryophilus Album as a statement of sophistication and discernment, a scent that signaled both knowledge of contemporary trends and an appreciation for natural elegance. The perfume’s floral oriental character would have felt both familiar and distinguished, in line with the era’s fascination with botanical essences while standing out for its delicate, spicy signature.

Interpreted in scent, Caryophilus Album conjures the image of a sunlit conservatory, where soft white carnations bloom alongside hints of warm spices. It is simultaneously gentle and intriguing, capturing the refinement of a 19th-century salon while offering a subtle sensuality. In its time, this perfume was both a reflection of popular trends—floral, subtly spiced compositions—and a unique expression of Guerlain’s artistry, demonstrating the maison’s ability to transform a singular botanical note into an elegant, enduring signature of luxury.

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 spicy floral oriental fragrance.

• Top notes: Italian neroli oil, nerol, Tunisian orange blossom, iso eugenol, phenylacetaldehyde, Jordanian almond, Moroccan cassie, amyl salicylate, isobutyl phenylacetate, linalool, Algerian jonquil, hyacinthine
• Middle notes: French carnation, Zanzibar cloves, Ceylon cinnamon, caryophyllene, benzyl isoeugenol, linalool, Grasse rose oil, geranyl formate, Grasse jasmine, Manila ylang ylang, Florentine orris, ionone
• Base notes: heliotropin, Mexican vanilla, vanillin, Venezuelan tonka bean, coumarin, benzyl acetate, terpineol, Hungarian clary sage oil, ethyl benzoate, Tibetan musk, Indian musk ambrette, Maltese labdanum, ambergris

 

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."

Fate of the Fragrance:

Discontinued, date unknown. 

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.