West End c1838

West End by Guerlain was launched in 1838, a year that places it in the early years of the celebrated Parisian house. The choice of name is intriguing: why “West End”? The term itself comes from English, pronounced simply as it is written—west end. It refers to the fashionable western district of London, synonymous with elegance, leisure, and high society. For a French audience of the 1830s, the words “West End” would have conjured images of sophistication, cosmopolitan flair, and the allure of England’s most glamorous quarter. It suggested refinement, luxury, and the glittering social world of theaters, ballrooms, and promenades.

The time of its launch—1838—falls within the early Victorian era in Britain, and the July Monarchy in France under King Louis-Philippe. Europe was in the midst of industrial and social change, but also a blossoming of the arts, literature, and luxury trades. Fashion in Paris leaned toward romanticism, with voluminous skirts supported by layers of petticoats, fitted bodices, and hairstyles adorned with ribbons and flowers. In perfumery, trends favored elegant florals, enriched with amber, musk, or spices, designed both to delight the senses and to assert refinement in a rapidly modernizing society.

For women of the period, a perfume called West End would have carried a cosmopolitan resonance. It was more than just a fragrance; it was an evocation of place, of an elite world of leisure and luxury across the Channel. To wear it might have been to signal sophistication and a fashionable awareness of international culture. The name itself would suggest a scent that is polished, urbane, and worldly, much like the district it references. In olfactory terms, one might imagine “West End” as translating into a perfume of floral brightness, enlivened with citrus for freshness, deepened with amber warmth, and accented by a touch of spice for elegance and intrigue.

Classified as a floral amber with citrus and spice, West End aligned with popular structures of the time while also standing apart through Guerlain’s refinement. During the 19th century, “West End” fragrances became something of a category unto themselves, with nearly every perfumery producing its own variation. Recipes appeared frequently in formularies, and while the basic composition remained recognizable, each perfumer sought to distinguish their version with small adjustments—an added note of orange blossom here, a stronger hint of clove or cinnamon there. Guerlain’s decision to introduce their version in 1838 positioned the house firmly within this trend while also allowing it to showcase its growing identity as a leader in Parisian perfumery.

At this time, formulas were built almost entirely from natural extracts, tinctures, and infusions, with perfumers relying on flowers, resins, woods, and spices. However, by the close of the century, modern synthetics began to revolutionize the art. These new materials offered affordable substitutes for rare ingredients and could highlight or extend natural accords in ways not possible before. Thus, while Guerlain’s West End was born of traditional methods, its longevity into the late 19th and even 20th centuries demonstrates how adaptable the fragrance family was, bridging the world of natural essences and the dawn of modern perfumery.

La Mode, 1845:

"Today, perfume cellars are being made much like those invented a few years ago for liqueurs, which were once served alongside Guerlain coffee. Designed as refined and luxurious gifts, these cellars are finely crafted—some in rosewood, adorned with porcelain or enamel medallions framed with pearls. Their true essence, however, is the spirit of flowers. When opened, they release the sweetest and most enchanting fragrances, filling the room with a delicate atmosphere.

From them exhale the pink lily, the Water of Judaea, the Water of Portugal, the Bouquet de Chantilly, and the Essence of the West End. At Guerlain, too, one finds charming boxes to hold the celebrated four-seed paste, the famous goose fat (which surpassed bear fat in popularity), and the violet rice powder—applied with a tuft of swan’s down mounted on a silver-gilt handle to refresh a lady’s complexion. And then there are the incomparable bottles, where chiseled gold is married with luminous rock crystal.

The transition from flowers to perfume is a natural one. After speaking of spring and Cartier, one must also mention a name synonymous with fragrance: Guerlain. Of all the fashionable shops now frequented, none surpasses the beauty of the great perfumer’s establishment on the Rue de la Paix. Perfumes are among life’s greatest pleasures, and no one has made them more delicate, more refined, or more suitable for sensitive complexions than Guerlain. He understands the fragility of the skin and has measured his creations with exquisite care. With him, it is not only the sense of smell that is gratified—the eye, too, is charmed by bottles of exceptional beauty, elegant vases, and potpourris such as might have delighted Louis XIV or the amorous Louis XV.

Among the many bottles that bring freshness and relief in crowded, overheated places, Guerlain’s flacons of aromatic vinegar are especially renowned. This specialty alone provides endless possibilities for gift-giving. Yet beyond such luxuries, Guerlain also offers countless useful preparations: the most refreshing lotions, the richest soaps, the most emollient oleins, the softest pastes, and cold creams of unmatched benefit to the skin.

As wedding gifts, nothing could be finer than a magnificent Guerlain flacon of rock crystal and chiseled gold, holding one of the world’s most exquisite waters, or a Viennese box inlaid with mother-of-pearl and gold containing a complete assortment of perfumes—Bouquet Victoria, Bouquet de West End, Bouquet de Chantilly, Bouquet de Portugal, and more."

Fragrance Composition:

So what does it smell like? West End is classified as a floral amber fragrance with elements of citrus and spice.

• Top notes: lemon, bergamot, cassie, limette, verbena, neroli, cloves, rose geranium, lavender
• Middle notes: jasmine, tuberose, violet, rose, orange blossom, orris, ylang ylang, benzoic acid
• Base notes: bitter almond, storax, ambergris, musk, cedar, tonka bean, civet, benzoin, vanilla, sandalwood

 

Scent Profile:

At the very first breath, West End opens with a sparkling citrus brightness. The crisp zest of Sicilian lemon brings a radiant clarity—its sharp, almost effervescent tang cutting through the air like sunlight striking glass. Calabrian bergamot, softer and rounder, lends a green, floral sweetness that balances the sharper lemon; it is prized above all other bergamots for its complexity, with a delicate interplay of citrus and tea-like facets. Then comes the aromatic snap of limette, or lime, more bitter and resinous than lemon, adding both vivacity and a slightly bitter greenness. Verbena, with its lemony-herbal character, contributes a fresh, grassy brightness, while neroli from Tunis or Morocco—distilled from orange blossoms—adds a delicate honeyed floralcy, its silken sweetness softening the brisk citrus.

The top accord is then warmed with spice and florals. A breath of clove from Zanzibar or Madagascar enters, dry and piquant, lending a shadowy depth beneath the brightness. The green, rosy sharpness of rose geranium adds a metallic sparkle, while the herbaceous Provençal lavender weaves its calming, aromatic character throughout, rounding the top with a touch of pastoral serenity. Cassie absolute from France—extracted from mimosa blossoms—adds a powdery, almond-like sweetness, its subtle animalic undertones hinting at what is to come. Together, these notes create a lively, cosmopolitan introduction: both elegant and assertive, like a walk through a London garden at the height of bloom, but enlivened with exotic spice.

The heart of West End reveals a lush bouquet of florals, sensuous and romantic. Jasmine from Grasse or India unfurls first—heady, narcotic, its velvety sweetness radiating warmth. Tuberose, creamy and voluptuous, joins it with its intoxicating blend of honeyed white petals and soft mentholic coolness. The soft powder of violet lends a shy, tender quality, evoking silk ribbons and pressed flowers. The ever-classic rose, likely of Bulgarian or Damask origin, is rich and opulent, weaving its deep, honeyed sweetness through the composition. Orange blossom, more luminous than neroli, amplifies the floral heart with a radiant, sunlit sweetness. Beneath them, orris root from Florence brings its violet-like powder and earthy creaminess, an expensive material treasured for its ability to give perfumes a velvety texture. Ylang ylang from the Comoros contributes its exotic creaminess, at once fruity, floral, and slightly leathery, lending sensual weight.

Supporting the florals is benzoic acid—a nod to perfumery’s early use of chemistry. Though it occurs naturally in balsams, here it heightens the balsamic, almond-like sweetness and serves as a fixative, anchoring the heart and extending the life of the delicate flowers. This was among the earliest examples of a natural isolate used to stabilize and enhance perfumery, bridging the gap between pure naturals and later synthetics.

As the perfume settles, the base emerges—warm, resinous, and enveloping. Bitter almond, with its sweet, marzipan-like aroma, adds a gourmand touch, blending into the balsamic depth of storax resin, dark and smoky with leathery undertones. Ambergris, the rare treasure of the sea, lends a salty, animalic smoothness, softening and radiating all the notes above. Musk, originally from Tonkin deer, would have added a deep, sensual warmth, almost skin-like in its intimacy, while civet—pungent and feral—brought an animalic bite that heightened the floral heart, transforming it into something more carnal.

Wood and spice anchor the base further. Cedarwood from Lebanon or Virginia offers dry, resinous clarity, while sandalwood from Mysore—the most coveted—imparts its creamy, milky sweetness, unmatched by any other origin. Tonka bean from Venezuela or Brazil, rich in natural coumarin, adds a hay-like warmth with facets of almond and vanilla, harmonizing beautifully with the sweet smoothness of benzoin resin from Siam. Finally, vanilla from Madagascar or Mexico, lush and gourmand, ties everything together with its golden sweetness.

The interplay of natural and early synthetic elements makes West End a bridge between tradition and innovation. The naturals—flowers, woods, resins—convey richness, complexity, and terroir. The isolates—benzoic acid, coumarin (from tonka), and eventually vanillin—added stability, longevity, and refinement, extending the life of volatile florals and enhancing their beauty. Together, they created a perfume that was not only fashionable in its day but also adaptable across generations, explaining why West End remained beloved well into the 20th century.

Bottle:

Presented in the elegant Carré flacon (parfum).

Fate of the Fragrance:

Discontinued, date unknown

Plagia c1895

When Plagia was launched in 1895, it emerged during a time of transition and modern awakening — the fin de siècle, when the 19th century was giving way to the modern sensibilities of the 20th. This was an age of discovery, of fascination with the natural world, botany, and exotic plant species newly arriving in Europe from faraway lands. It was also the height of the Belle Époque, when elegance, art, and sensuality merged in daily life, and fragrance was as much a statement of refinement as a reflection of mood.

The meaning of Plagia remains mysterious. Guerlain itself cannot offer an explanation, though several theories exist. One interpretation links it to the French word plagier — “to plagiarize” — an unlikely association for a fragrance, yet perhaps a tongue-in-cheek nod to imitation in art and perfumery. Another theory points toward Plagianthus, a genus of flowering shrubs native to New Zealand and southern Australia, known for their delicate, white, sweetly perfumed blossoms. The name derives from Greek roots — plagios, meaning “oblique,” and anthos, meaning “flower” — describing the uneven petals of the plant. Pronounced “PLAH-zhee-ah” in French, the name carries a soft, lilting rhythm that sounds both lyrical and exotic, perfectly suited to a late 19th-century fragrance steeped in natural romanticism.

If Plagia was indeed inspired by Plagianthus lyallii, introduced to Europe in 1871 as an ornamental greenhouse plant, the connection is fitting. Guerlain was deeply engaged in the art of extracting essences from plants, creating perfumes that captured the living breath of flowers. The small, drooping white blossoms of the Plagianthus were said to exude a light, musky sweetness — a quality that could easily have inspired a perfumer of Pierre-François Pascal Guerlain’s lineage. It’s possible that Plagia sought to recreate the delicate, creamy scent of these blossoms, blending it with the warmth of woods and spice to suggest both purity and sensuality.

 

The word Plagia evokes images of distant gardens — perhaps a conservatory filled with rare flora, their pale petals glowing under filtered sunlight. It conjures serenity and grace, a fragrance for a woman who favored subtlety over extravagance. At a time when perfumery was evolving from simple soliflores toward more complex compositions, Plagia’s description as a spicy, woody floral would have marked it as modern and refined.

The 1890s were a period when perfumes often reflected the sophistication of their wearers. Women of the era, dressed in flowing silks and corseted gowns, might have turned to Plagia for its understated sensuality. Unlike the overtly powdery or aldehydic perfumes that would dominate the decades to come, Plagia likely offered a more natural scent — something close to the skin, evoking polished wood, warm spice, and the softness of white petals. Its musky undertone would have suggested quiet intimacy rather than opulence, aligning with the restrained elegance of the period.

Interpreted in scent, Plagia would open with the freshness of delicate blooms touched by spice — perhaps a whisper of clove or cinnamon — before deepening into a heart of wood and musk, evocative of polished floors and fine furniture in a sunlit drawing room. The woody notes would lend grounding and warmth, while the spice added intrigue. It was likely both comforting and quietly sensual, a scent for women who appreciated grace, subtlety, and the quiet poetry of nature.

In the context of perfumery, Plagia stood at an intersection between old and new. While floral and musky compositions were not uncommon in the late 19th century, its woody-spicy character hinted at the evolving tastes that would later define Guerlain’s masterpieces — those fusions of warmth, depth, and natural beauty that became the house’s signature. Though its name may puzzle us today, Plagia remains a window into Guerlain’s early artistry — a perfume that captured the refinement of its time and the quiet intensity of a flower half-forgotten by history.

Fragrance Composition:

So what does it smell like? Plagia is classified as a spicy, woody floral fragrance for women.

• Top notes: ambrette, orange blossom, bergamot
• Middle notes: sandalwood, ylang ylang, Tonkin musk, spices and suede
• Base notes: orris, tonka bean, benzoin and vanilla

Scent Profile:

To smell Plagia is to step back into the elegance of the Belle Époque, where natural essences and hand-tinctured materials were transformed into poetry through scent. It opens with a delicate radiance — an interplay of ambrette, orange blossom, and bergamot — that feels both fresh and intimate, like the soft light filtering through lace curtains at dawn.

The ambrette seed, a natural musk derived from the seeds of Hibiscus abelmoschus, imparts a sensual warmth from the very beginning. Originating primarily from India, ambrette is valued for its rare ability to mimic animalic musk through plant origin — a quality owed to ambrettolide, a naturally occurring macrocyclic lactone that creates a silky, slightly fruity muskiness with undertones of pear and wine. This gentle, musky diffusion elevates the opening, giving the floral and citrus notes a sensual halo. The bergamot, likely sourced from Calabria, Italy, contributes brightness and sophistication. Its key aroma chemicals — linalyl acetate, limonene, and bergapten — lend a sparkling yet soft citrus accord, never sharp, but sun-warmed and aromatic. The orange blossom, perhaps from Neroli oil of Tunisia or Morocco, bridges the gap between the two: it smells honeyed, dewy, and luminous, containing linalool and nerolidol, molecules that bring both freshness and floral creaminess. A touch of synthetics such as Hedione or ethyl linalool may have been used to amplify this transparency, enhancing what nature provides with greater radiance and longevity.

As the heart unfolds, the perfume deepens into a luxurious tapestry of sandalwood, ylang-ylang, Tonkin musk, spices, and suede. The sandalwood, most likely Mysore sandalwood from India, would have been one of the most prized materials in 19th-century perfumery. Renowned for its creamy, milky texture and balanced sweetness, Mysore sandalwood contains santalols — aroma molecules that produce its iconic, long-lasting warmth. Unlike other varieties, its scent is soft yet tenacious, smooth as polished wood. The ylang-ylang, sourced from the Comoros or Madagascar, contributes an intoxicating floral dimension — heady and voluptuous, with natural molecules such as benzyl acetate and p-cresyl methyl ether that give it a creamy, banana-like richness interwoven with jasmine facets. In Plagia, it plays against the leathered softness of suede, possibly interpreted through a blend of isobutyl quinoline and natural labdanum, evoking the supple touch of fine gloves — an elegant nod to the late 19th century, when perfumed leather goods were a mark of refinement.

The inclusion of Tonkin musk — the legendary animal musk sourced from the musk deer of Tibet and Tonkin (northern Vietnam) — adds a haunting depth. At the time, this rare and costly material symbolized sensuality and luxury, its aroma both warm and faintly powdery, containing muscone and other macrocyclic ketones that diffuse a natural skin-like warmth. When blended with spices — perhaps a veil of cinnamon, clove, or cardamom — the effect becomes hypnotic: a balance of warmth, tenderness, and intrigue. The spicy heart of Plagia gives the perfume its “spicy-woody” classification, bridging its floral delicacy with the depth of its base.

The base of Plagia is a masterwork of comfort and sensuality. Here, orris, tonka bean, benzoin, and vanilla melt into one another, creating an aura that feels simultaneously powdered and resinous, soft yet enduring. The orris root, derived from the rhizome of the Iris pallida of Tuscany, releases its scent only after years of aging, when it develops irones — molecules that smell of violet, suede, and fine face powder. It lends a noble, vintage quality that was highly prized by perfumers like Guerlain. The tonka bean, sourced from Venezuela or Brazil, contributes coumarin, a naturally occurring aromatic compound that smells of hay, almond, and warm tobacco. Its sweetness supports the benzoin — a resin from the Styrax tree of Siam (Thailand) — whose benzoic acid derivatives create a balsamic, slightly vanillic aroma reminiscent of incense and polished amber.

Finally, vanilla, likely from Madagascar or Réunion, rounds the composition with a creamy, comforting sweetness. Natural vanilla contains over 250 aroma components, with vanillin and p-hydroxybenzaldehyde giving it its signature warmth and depth. To extend and amplify its richness, early synthetic vanillin or ethyl vanillin may have been incorporated — a hallmark of Guerlain’s pioneering style — reinforcing the natural note with precision and radiance.

To experience Plagia is to breathe in a story told in layers — from the bright whisper of citrus and floral musk, to the soft caress of sandalwood and suede, and finally the powdered warmth of orris and vanilla resins. It feels both intimate and refined, a perfume that could have graced a silk-clad woman of the Belle Époque as she strolled beneath gaslit arcades. The scent speaks of timeless elegance — at once natural and artful, tender and knowing — a fragrance where every note, both natural and synthetic, serves to illuminate the beauty of the other.

Bottle:

Presented in the Carre flacon.

Fate of the Fragrance:

Discontinued, date unknown.

Bouquet Princess Alexandra 1863

Bouquet Princess Alexandra by Guerlain, introduced in 1863, was created by Pierre-François Pascal Guerlain to commemorate one of the most celebrated royal events of the Victorian era—the marriage of Princess Alexandra of Denmark to the Prince of Wales (later King Edward VII of England). The name, Bouquet Princess Alexandra, directly references the princess’s bridal bouquet, a symbol of purity, grace, and regal beauty. The word “bouquet” is French (pronounced boo-kay), meaning a carefully arranged collection of flowers—a fitting name for a perfume inspired by the tender and romantic sentiment of a royal wedding. The full name, when spoken, evokes elegance and refinement—an image of silken gowns, floral garlands, and the glow of candlelight upon polished silver.

The perfume was said to capture the combined scent of the flowers carried by Princess Alexandra down the aisle: orange blossom, white rosebuds, lily of the valley, orchids, and myrtle. Each flower held symbolic meaning in the language of the era—orange blossom for purity and eternal love, white rose for innocence, lily of the valley for sweetness and humility, orchid for rare beauty, and myrtle for marital fidelity. Together, they formed not only a romantic bridal bouquet but also a fragrant allegory of ideal womanhood as imagined by Victorian society. Guerlain’s interpretation of this blend transformed these floral ideals into an elegant perfume that exuded both purity and sensuality—qualities that mirrored the public image of the young princess herself.

The year 1863 fell within the height of the Second French Empire, a period of grandeur, refinement, and technical innovation in the arts. Paris was the epicenter of fashion and luxury, and perfumery was fast becoming a defining element of personal style. Women wore gowns with tightly cinched waists, voluminous crinolines, and rich fabrics trimmed with lace and ribbons. The romanticism of floral perfumes mirrored the ideals of femininity celebrated in fashion, art, and literature. In this cultural context, a perfume named Bouquet Princess Alexandra would have resonated deeply with women who aspired to elegance and refinement, allowing them to share in the grace and prestige of a beloved royal figure.

To the 19th-century woman, wearing Bouquet Princess Alexandra was a way of embodying the spirit of modern royalty—delicate, poised, and dignified. The scent’s floral oriental (floral amber) structure likely combined the luminous sweetness of its white flowers with a warmer, resinous base—possibly amber or vanilla—to give it richness and longevity. The result would have been a soft, luminous fragrance with both freshness and depth, bridging the innocence of bridal white flowers with the sensual warmth of oriental notes.

At the time of its release, the concept of a “bouquet” perfume was well established, yet Guerlain’s version stood apart due to its royal association and the refinement of its composition. Many perfumeries across Europe created their own Bouquet Alexandra, but Guerlain’s stood at the forefront of elegance and prestige. The fragrance aligned with prevailing trends in perfumery—romantic florals imbued with natural essences—while also elevating them through artistry and symbolism. As perfumery evolved later in the century, and synthetics began to supplement or highlight natural materials, Bouquet Princess Alexandra remained a testament to Guerlain’s mastery in translating human emotion and historical moment into fragrance—a delicate union of love, beauty, and timeless sophistication.

Fragrance Composition:

So what does it smell like? Bouquet Princess Alexandra is classified as a floral oriental fragrance for women.

• Top notes: bergamot, orange blossom, cassia
• Middle notes: carnation, rose, rose geranium, lily of the valley, orchid
• Base notes: myrtle, ambergris, vanilla

Scent Profile:

Bouquet Princess Alexandra unfolds like the opening of a royal bridal procession—each note unfurling with stately grace and romantic delicacy. Its first impression is luminous and regal, evoking the soft light of a spring morning through the veil of a young bride. The bergamot rises first, sparkling and elegant, sourced likely from the sun-drenched groves of Calabria in southern Italy where the world’s finest bergamot is cultivated. The oil from this fruit’s peel is rich in linalyl acetate and limonene, compounds that lend a bright, citrusy freshness tempered by a floral-green softness. This effervescent opening awakens the senses—crisp yet smooth—announcing refinement without ostentation.

Interwoven with the bergamot’s glow is the creamy, honeyed sweetness of orange blossom, distilled from the delicate white flowers of the bitter orange tree, likely sourced from Tunisia or southern France. Tunisian orange blossom oil, in particular, is prized for its lush, narcotic warmth balanced by a dewy freshness. Naturally rich in linalool, nerolidol, and methyl anthranilate, it radiates a tender femininity that feels both innocent and sensual—an olfactory embodiment of bridal purity. Cassia, the soft bark from the cinnamon tree, lends an unexpected whisper of spice—sweet, warm, and slightly powdery. Its cinnamaldehyde content imparts a faintly balsamic, almost golden glow that lifts the citrus and florals, hinting at the exotic warmth to come in the base.

The heart of Bouquet Princess Alexandra blooms like a wedding bouquet held close to the heart. The carnation unfurls first, its clove-like spiciness owing to eugenol, which gives it a peppery, full-bodied warmth that feels both vintage and vivacious. It is joined by the timeless rose, likely the opulent Bulgarian damask variety, known for its high citronellol and geraniol content, giving the perfume a deep, velvety richness that evokes silk and devotion. Rose geranium—a botanical cousin of the rose from Réunion or Egypt—adds a green, lemony brightness, balancing the intensity of the true rose and enhancing its natural radiance with subtle minty undertones.

The tender sweetness of lily of the valley lifts the heart into a celestial space. While this delicate flower cannot be extracted naturally, early perfumers in Guerlain’s time recreated its dew-bright freshness through the use of aldehydes and hydroxycitronellal, a molecule that imparts a clean, green floralcy. Its shimmering transparency contrasts beautifully with the sensual bloom of orchid, a flower often rendered through accords rather than true extraction. The imagined scent of orchid—creamy, faintly powdery, with a touch of vanilla and balsamic depth—adds a sophisticated exoticism that reflects the luxury and refinement of its royal namesake. Together, the heart notes create a lush, multi-petaled harmony: soft yet structured, radiant yet dignified.

As the perfume settles, the base reveals its quiet majesty. Myrtle, with its resinous-green and faintly herbal aroma, evokes wreaths of myrtle traditionally worn by brides—a symbol of love and immortality. Its freshness bridges the florals above with the warmth below, where ambergris lends an ethereal, oceanic smoothness. This precious material, once found floating on the waves of the Atlantic, adds a soft, animalic undertone that enhances every preceding note, binding them with its subtle salt-sweet sensuality. Modern interpretations of ambergris rely on synthetics such as ambroxan or cetalox, which beautifully capture its musky, skin-like radiance—allowing the composition to glow long after the florals fade.

Finally, a veil of vanilla—likely from Madagascar—settles over the composition, its vanillin molecules exuding warmth, sweetness, and comfort. This base note gives the perfume a lingering creaminess, transforming the floral bouquet into something tactile and enduring, like the memory of a silk gown brushed with scent.

In Bouquet Princess Alexandra, every note seems to echo the symbolism of its inspiration—the purity of citrus and white flowers, the passion of roses, the devotion of myrtle, and the serenity of amber and vanilla. It is a fragrance that captures both the innocence and splendor of a royal wedding, suspended in a timeless harmony of light, warmth, and grace.

Fate of the Fragrance:

Discontinued, date unknown. Still being sold in 1886.

Terracotta Voile d'Ete 1999

Terracotta Voile d’Été by Guerlain was launched in 1999, drawing inspiration from the luminous, sun-kissed elegance of summer. The name itself, translated from French, means “Terracotta Summer Veil” (pronounced teh-rah-ko-tah vwahl deh-teh), evoking the warmth of sun-baked clay and the delicate lightness of a sheer summer fabric brushing the skin. This imagery conveys sun-drenched sophistication, a carefree elegance, and the gentle intimacy of a summer’s day spent outdoors, perfectly capturing the sensorial atmosphere the perfume seeks to embody. The evocative combination of “Terracotta” and “Voile d’Été” signals both warmth and lightness, a subtle interplay of strength and delicacy in the fragrance’s composition.

The perfume emerged at the close of the 20th century, a time when perfumery trends were embracing lighter, more wearable interpretations of classic scents, yet still celebrating opulence and complexity. The late 1990s saw a rise in versatile fragrances that could be worn day or night, blending traditional floral-oriental richness with a more modern, airy transparency. Fashion at the time favored effortless chic: minimalism tempered with luxe fabrics, natural bronzed tones, and accessories that evoked travel and leisure. In this context, Terracotta Voile d’Été reflected the era’s desire for fragrances that transported the wearer, evoking warm Mediterranean afternoons, sun-warmed skin, and the elegance of a summer retreat.

 

Created by Mathilde Laurent, Terracotta Voile d’Été draws on the vintage formula of Jacques Guerlain’s Quand Vient l’Été, infusing it with a modern sensibility while retaining the signature floral-oriental heart. Women of the late 1990s would have been drawn to the perfume for its luminous, sun-drenched character, offering both sophistication and accessibility. Its scent could be interpreted as a floral-oriental embrace: airy, radiant florals softened by warm, subtly oriental notes, conjuring images of sunlit gardens and lazy, golden afternoons. In a market increasingly favoring lighter, more versatile fragrances, it struck a balance—nodding to classical Guerlain elegance while remaining contemporary and wearable, making it a uniquely appealing choice among summer perfumes of its time.

 

Fragrance Composition:

So what does it smell like? Terracotta Voile d'Ete is classified as a floral oriental fragrance for women.

• Top notes: bergamot, mint, pear, white lily 
• Middle notes: jasmine, rose, carnation, heliotrope, ylang ylang
• Base notes: vanilla, tonka bean, orris 

Scent Profile:

Terracotta Voile d’Été opens with a luminous and refreshing top accord, where the sparkling citrus of bergamot immediately awakens the senses. Sourced traditionally from Calabria in southern Italy, Calabrian bergamot is prized for its uniquely sweet, slightly green citrus facets, with natural compounds such as linalyl acetate and limonene imparting a sparkling brightness that synthetic alternatives often seek to replicate but cannot fully match in depth. Layered with mint, the top notes provide a crisp, cooling clarity that balances the citrus warmth. Pear contributes a juicy, subtly honeyed sweetness, softening the initial lift, while white lily adds a delicate, dewy floral touch, carrying a green-fresh nuance that evokes early morning blooms in a sunlit garden.

The heart of the fragrance blossoms with a rich floral bouquet, each note unfolding in turn. Jasmine—likely from Grasse or Madagascar—brings its iconic opulent, narcotic sweetness, abundant in indole and jasmone molecules, which give it depth and sensuality. Interwoven is rose, a classical floral whose Bulgarian or Turkish varieties lend a spicy, slightly metallic nuance thanks to phenylethyl alcohol and citronellol. Carnation introduces a subtly clove-like warmth, with eugenol contributing a spicy, slightly rosy undertone. Heliotrope imparts a soft, powdery sweetness with hints of almond, derived from vanillin-like compounds naturally present in the flower. Ylang ylang, with its rich, creamy, and slightly balsamic floral facets, adds an exotic richness, its volatile esters contributing both heady floralcy and a subtle tropical undertone.

The base settles into a soft, gourmand warmth, anchoring the airy florals. Vanilla, sourced from Madagascar or Tahiti, offers a comforting sweetness through vanillin, complementing the tonka bean, whose coumarin content lends a warm, slightly hay-like richness reminiscent of sunbaked fields. Orris, derived from the rhizome of Italian iris plants, introduces an elegant powdery and violet-like facet, balancing the gourmand depth with refined, lingering floral sophistication. The interplay of natural extracts and synthetics in the base—especially the gentle enhancement of vanilla with vanillin or the powdery lift of orris with subtle aromachemicals—ensures longevity and radiance, allowing the fragrance to evolve gracefully over hours.

Altogether, Terracotta Voile d’Été is a sun-drenched floral oriental: sparkling, airy, and radiant at first, blossoming into a soft, complex floral heart, and settling into a comforting, gourmand warmth that evokes summer afternoons, sun-warmed skin, and the understated elegance of a Mediterranean retreat. Each ingredient contributes its distinctive character while harmonizing seamlessly with the others, creating a perfume that is simultaneously luminous, sophisticated, and deeply evocative of warmth and light.

Product Line:

The Terracotta Voile d’Été product line expands the sensory experience of the perfume into multiple facets of daily beauty, creating a fully immersive summer-inspired ritual. At its core is the Eau de Toilette, a luminous floral oriental fragrance that translates the sun-kissed, radiant qualities of the original scent into a wearable daily signature. The fragrance captures the sparkling freshness of top notes like bergamot, mint, and pear, the delicate floral heart of jasmine, rose, carnation, heliotrope, and ylang ylang, and the warm, comforting base of vanilla, tonka bean, and orris. This Eau de Toilette allows women to wear the essence of Mediterranean sunlight, embodying both elegance and understated glamour.

Complementing the fragrance, the Huile Sèche Satinée (Radiant Dry Oil) adds a sensorial, tactile dimension to the Terracotta experience. Infused with hydrogenated castor oil, the formula provides a lightweight yet luxurious texture that leaves the skin soft, smooth, and subtly radiant. Benzophenone-2 offers gentle UV protection, helping to preserve the skin’s natural tone while preventing the formula from fading. The dry oil captures the warmth of summer sun on the skin, enhancing the luminous qualities of the fragrance with a gentle shimmer, making it ideal for layering over the Eau de Toilette or wearing alone for a sun-kissed glow.

Rounding out the line is the iconic Terracotta Bronzing Powder Compact, first launched in 1984 and now seamlessly integrated into the Terracotta Voile d’Été collection. Designed to evoke the natural warmth of sunlit skin, this compact offers a subtle, buildable bronzing effect that complements the radiant, summery mood of the fragrance. Its finely milled powders provide a smooth, natural finish while enhancing the skin’s luminosity, creating the perfect canvas to reflect the fragrance’s sunny and floral facets. Together, these products transform the Terracotta Voile d’Été line into a multisensory celebration of light, warmth, and elegance—allowing women to embody the radiant, carefree spirit of summer in both scent and beauty.

Fate of the Fragrance:

Terracotta Voile d’Été underwent several transformations in its lifecycle, reflecting Guerlain’s ongoing efforts to adapt to changing tastes while maintaining the essence of its sun-drenched, floral oriental identity. Originally launched in 1999, Terracotta Voile d’Été was discontinued in 2001, marking the end of its first iteration. In 2002, Guerlain revived the fragrance under the name No. 25, though this version was eventually discontinued as well, making it a brief but notable chapter in the brand’s summer-inspired lineup.

In 2005, the perfume resurfaced once more, now renamed Quand Vient l’Été, and incorporated into the Parisiennes line. This iteration featured a subtle reformulation that emphasized the brightness of the ylang ylang and the delicate, radiant character of lily notes. By highlighting these floral elements, Guerlain enhanced the luminous, sunlit quality of the composition, aligning it with the carefree elegance and sophistication associated with the Parisiennes range. Each version of the fragrance retained its connection to the warmth and vibrancy of Mediterranean summers, yet the reformulations and rebrandings allowed the scent to remain relevant, adapting to evolving trends in perfumery while preserving the original spirit of Terracotta Voile d’Été.

Aqua Allegoria Passiflora c2018

Aqua Allegoria Passiflora was launched in 2018 as part of Guerlain’s celebrated Aqua Allegoria collection, a line dedicated to intensely fresh fragrances that combine the immediacy of a cologne with the lasting elegance of a Guerlain perfume. The name Passiflora, pronounced as "pa-see-FLOR-a", is the Latin term for the passion flower. It evokes images of sun-soaked tropical gardens, delicate climbing vines, and exotic blooms that are both playful and sensuous. The word carries connotations of vitality, brightness, and natural elegance, immediately suggesting a fragrance that is both lively and luminous.

The fragrance was created in a period when perfumery increasingly emphasized freshness, wearable complexity, and a sense of escape or sensory vacation. Launched in 2018, Passiflora arrived at a time when trends favored vibrant, naturalistic fragrances that could be enjoyed daily, reflecting modern lifestyles and global inspirations. Women—and men—seeking a fragrance called Passiflora would likely associate it with energy, sunshine, and effortless sophistication, imagining a scent that is juicy, floral, and subtly exotic. The perfume’s name itself conveys a sense of lightness and intrigue, suggesting the airy sweetness of tropical flowers and the succulent brightness of fruit.

Olfactorily, Passiflora is classified as a fresh floral-fruity fragrance, designed to capture the feeling of a sunlit day beside crystalline waters. The perfume opens with the sparkling vibrancy of bergamot, Guerlain’s signature “Calabrian green gold,” providing a crisp, luminous lift that immediately energizes the senses. At the heart, passion fruit lends a sun-soaked, tropical juiciness, bright yet not cloying, balanced by the smooth, floral creaminess of ylang-ylang, whose warm, slightly exotic aroma enhances the fragrance’s lushness. The overall effect is airy and refreshing, with an aquatic facet reminiscent of a serene lagoon, where fruity brightness meets gentle floral elegance.

In the context of the 2010s, Passiflora aligned with broader trends in perfumery, where freshness, fruity-floral accords, and versatile wearability were highly prized. Yet it retained a distinctive Guerlain signature: refined balance, the soft complexity of the Guerlinade base, and the subtle depth that transforms a sparkling cologne-like freshness into a memorable, elegant perfume. Encased in a pure, refined bottle adorned with a golden mesh—a homage to the legendary Bee bottle—the fragrance not only delivers a radiant scent but also embodies Guerlain’s long tradition of combining modernity, artistry, and sensory storytelling.

Fragrance Composition:

 
So what does it smell like? Aqua Allegoria Passiflora is classified as a fresh floral-fruity fragrance.

• Top notes: aldehydes, mandarin, Calabrian bergamot, lemon, grapefruit
• Middle notes: passion fruit, aquatic note, ylang ylang, orange blossom, green notes
• Base notes: white musk

Scent Profile:

From the very first spray, Aqua Allegoria Passiflora bursts forth with a sparkling, luminous brightness. Aldehydes lend an effervescent lift, creating a clean, airy radiance that enhances the citrus notes and gives the fragrance a sense of immediacy and freshness. The mandarin introduces a sweet, sun-kissed juiciness, bright and tender, while Calabrian bergamot, often called the “green gold” of Italy, adds a crisp, slightly green sharpness with a floral undertone that distinguishes it from more generic citrus varieties. Lemon contributes its sharp, zesty clarity, cutting through the sweetness with an invigorating tang, and grapefruit provides a slightly bitter, tangy edge that adds complexity and lift. Together, these top notes evoke a sunlit orchard, where dew-fresh citrus fruits glisten under clear skies, awakening the senses with a sparkling clarity.

As the fragrance unfolds, the heart blooms into a tropical, aquatic floral bouquet. Passion fruit delivers a lush, juicy sweetness reminiscent of sun-ripened fruit on a warm island, immediately transporting the senses to a vibrant, exotic paradise. Aquatic notes provide a crystalline freshness, like a gentle lagoon breeze brushing against the skin, while ylang-ylang contributes its creamy, slightly exotic floral warmth, softening the brightness with sensuality. Orange blossom lends a delicate, honeyed sweetness, balancing the tropical fruitiness, and green notes—evocative of freshly crushed leaves—add a natural, verdant facet, keeping the composition lively and light. The middle notes together create an airy, sun-drenched heart, vibrant yet smooth, perfectly capturing the feeling of an endless, luminous summer day.

Finally, the base emerges with the subtle, enveloping softness of white musk. Its gentle, skin-like warmth extends the fragrance, providing a delicate, lingering trail without overshadowing the sparkling top and tropical floral heart. The musk harmonizes the composition, giving it elegance, longevity, and a whisper of sensuality, while allowing the freshness and vibrancy of the earlier notes to remain the focus. In modern perfumery, white musk often complements natural floral and citrus ingredients, enhancing their clarity and persistence, which in Passiflora ensures the fragrance feels both radiant and enduring.

Overall, Aqua Allegoria Passiflora is a masterful fresh floral-fruity fragrance. Its sparkling aldehydes and citrus opening awaken the senses, the tropical floral heart delights with creamy sweetness and aquatic freshness, and the soft musk base ensures a graceful, lingering presence. The perfume embodies a joyous, sun-drenched escape, celebrating the elegance, lightness, and refinement that are hallmarks of Guerlain’s Aqua Allegoria line.

Bottles:

The fragrance was available as a 75 and 125 ml of Eau de Toilette.

Fate of the Fragrance:

Passiflora was discontinued for spring 2021.

Bouquet de Lord Elphinstone c1839

Launched in 1839, Bouquet de Lord Elphinstone by Guerlain carries a name that evokes both distinction and historical significance. The fragrance is named after John Elphinstone, the 13th Lord Elphinstone, a notable British colonial administrator who served as the Governor of Madras and later Bombay. His reputation for leadership during the Indian Mutiny and his high status made him a figure of considerable esteem.

The name "Bouquet de Lord Elphinstone" translates to “Bouquet of Lord Elphinstone” in English, combining the French word "Bouquet," meaning "bouquet" or "arrangement of flowers," with the title of a respected British nobleman. This choice of name suggests a fragrance that aims to capture the elegance and sophistication associated with Lord Elphinstone’s stature. It conveys an image of grandeur and refinement, positioning the perfume as a luxurious and distinguished choice.

The term "Bouquet de Lord Elphinstone" would evoke imagery of an opulent floral arrangement, possibly incorporating exotic and classic blooms that reflect both British nobility and colonial charm. The scent would likely be interpreted as a sophisticated blend of floral and perhaps slightly spicy or woody notes, designed to reflect the exotic and influential nature of its namesake.

Women of the 19th century, particularly those familiar with the prominent figures of the British Empire, would have related to Bouquet de Lord Elphinstone as a fragrance embodying the grace and high status of its namesake. The early 19th century was a period when perfumes often carried names associated with royalty or notable figures, enhancing their allure and prestige. As such, this fragrance would have been viewed as an elegant and exclusive choice, suitable for women who wished to express their sophistication and appreciation for refined scents. The time period was marked by a growing interest in exotic and luxurious goods, influenced by expanding global trade and colonial encounters, making a perfume named after a significant historical figure a particularly appealing and prestigious choice.

 

Fragrance Composition:

I do not have any notes on this fragrance.

Bottle:

Most likely housed in the Carre flacon.

Fate of the Fragrance:

Discontinued, date unknown

Bouquet Suave c1834

Launched in 1834, Bouquet Suave was one of Pierre-François Pascal Guerlain’s early triumphs and a fragrance that would enjoy popularity well into the 20th century. The name itself—Bouquet Suave—is French, pronounced as "boo-KAY SWAHV". The words translate as “gentle” or “sweet bouquet,” conjuring images of softness, refinement, and harmonious beauty. In sound and meaning, the name suggests a floral composition that is both elegant and caressing, designed to soothe the senses while enveloping the wearer in grace. It evokes a sense of calm luxury: fresh flowers arranged not in wild profusion but in a carefully balanced, courtly display, exuding sophistication rather than flamboyance.

The time of its debut was the July Monarchy (1830–1848), a period when Paris was asserting itself as the cultural and fashionable capital of Europe. This was an age of refinement and burgeoning modernity, when women’s fashions moved toward more natural silhouettes after the rigid lines of the Napoleonic Empire style. Flowing gowns, delicate lace, floral motifs, and accessories emphasized softness and femininity, while society itself increasingly embraced the rituals of elegance—perfume being among the most visible symbols of refinement. In this climate, a perfume called Bouquet Suave would have resonated strongly with women seeking a fragrance that mirrored their ideals of grace and romantic delicacy.

In terms of olfactory character, Guerlain’s Bouquet Suave was classified as an opulent floral oriental fragrance for women. Its name suggested a lush arrangement of flowers enriched with depth and warmth, likely drawing upon the era’s preference for violet, rose, orange blossom, and other soft florals, while grounding them in resinous or ambered notes for richness. The word “suave” translated into scent would imply smoothness and balance—florals blended seamlessly with orientalist warmth, producing a fragrance both comforting and luxurious. For women of the 1830s, this would have been not only fashionable but aspirational, embodying both the romance of flowers and the exoticism of distant lands.

Bouquet Suave was not unique to Guerlain alone—nearly every major perfumery of the 19th century offered a version of this popular formula. Recipes circulated widely in formularies of the time, giving perfumers a foundation they could modify by adding or subtracting ingredients to make their own interpretation distinctive. Guerlain’s decision to release a version in 1834 placed the house within a larger trend, yet his artistry ensured refinement and balance that helped the fragrance stand apart in a crowded market. Early iterations of the formula would have relied almost entirely on natural extracts, tinctures, and infusions, with ingredients sourced at considerable expense. By the late 19th century, however, perfumers—including Guerlain—began incorporating synthetic aroma chemicals, either to replace costly naturals or to heighten their effect, ensuring the fragrance could remain both beautiful and enduring in a changing perfumery landscape.

Ultimately, Bouquet Suave became not just a single fragrance but a reflection of its era—a time when women embraced softness and elegance, when Parisian perfumery was beginning its ascent, and when Guerlain established itself as a master of transforming universal trends into singular expressions of artistry and style.

Fragrance Composition:

So what does it smell like? Bouquet Suave by Guerlain is classified as an opulent floral oriental fragrance for women.

• Top notes: lemon, bergamot, neroli, orange blossom, verbena, cassie, rose 
• Middle notes: rose, tuberose, jasmine, violet, iris, mace, clove
• Base notes: rosewood, vanilla, musk, ambergris, tonka bean, tolu balsam, Peru balsam, civet

Scent Profile:

The very first breath of Bouquet Suave sparkles with a lively interplay of citrus and blossoms. Lemon bursts forth with sharp brightness, its zest shimmering like sunlight, quickly softened by the more rounded, slightly bitter-sweet warmth of Calabrian bergamot, prized for its complexity and gentle floral undertones. Neroli, distilled from the blossoms of the bitter orange tree in Tunisia, unfurls with a honeyed, green luminosity that both refreshes and caresses. From the same tree comes orange blossom absolute, deeper and more narcotic than neroli, its creamy white petals releasing a sensual warmth that softens the citric bite. Verbena adds a crystalline green note, lemony but tender, evoking crushed leaves under the fingers. The introduction becomes richer with cassie, a mimosa-like floral with powdery, balsamic depth, infusing a golden, pollen-dusted warmth. Finally, the delicate breath of rose emerges, light but insistent, weaving a thread of romantic softness through the brightness.

As the fragrance settles into its heart, it blooms into a lush, opulent bouquet. Rose takes center stage, fuller and richer here, embodying both freshness and depth, likely drawn from Bulgarian varieties with their velvety, wine-like richness. Tuberose, creamy and intoxicating, brings its voluptuous, almost narcotic quality, while jasmine, perhaps from Grasse or Egypt, glows with sensual radiance, luminous yet animalic beneath the surface. Violet contributes a soft powderiness—its candied, leafy sweetness cushioning the intensity of the heady florals—while iris, with its buttery, woody-powdery facets, adds refinement and texture. Spices flicker at the edges: mace, the delicate lacy covering of nutmeg, lends warm, slightly resinous depth, while clove, rich in eugenol, brings a sharper, fiery accent that cuts through the lush florals with vibrancy. This interplay of flowers and spice makes the heart both romantic and commanding, a fragrance of presence as much as beauty.

The base notes unfold with an opulent, sensual resonance. Rosewood contributes a soft, rosy-woody anchor, its delicate sweetness extending the floral accord into the depths. Vanilla, likely Madagascan, unfurls in rich, creamy warmth, its balsamic sweetness weaving comfort into the structure. Musk envelops everything with a skin-like softness, binding the notes together with sensuality. Ambergris, rare and treasured, contributes a subtle salty, marine warmth, lending radiance and persistence. Tonka bean, rich in coumarin, adds a toasted-almond warmth that harmonizes with tolu balsam and Peru balsam—resinous, caramelic notes that give the base its opulent oriental richness. Finally, civet, with its animalic depth, adds a pulse of sensuality, a whisper of danger beneath the beauty, heightening the natural floral and balsamic notes with an almost primal warmth.

What makes Bouquet Suave so compelling is the seamless balance of natural ingredients with subtle use of synthetics. Compounds like linalool and linalyl acetate naturally present in bergamot and neroli are heightened to emphasize brightness, while ionones derived from violet extend the powdery facets and harmonize them with iris. Eugenol, the key molecule in clove, sharpens and dramatizes the floral bouquet, while coumarin from tonka bean anchors the base with a smooth, sweet warmth that enhances the balsamic notes. These synthetics do not replace nature but rather polish it, ensuring projection, clarity, and longevity.

The result is an opulent floral oriental that unfolds like a grand orchestral composition: a dazzling citrus-floral overture, a lush and spicy heart, and a resinous, animalic, and vanillic finale. Bouquet Suave captures not only the elegance of 19th-century perfumery but also Guerlain’s gift for transforming familiar themes into works of depth, radiance, and lasting beauty.

  

Bottles:

Presented in the Carre flacon.

Fate of the Fragrance:

Discontinued, date unknown Still sold in 1839