Lathyrus Odorans 1848

Lathyrus Odorans by Guerlain was launched in 1848 as part of the Jardin d’Hiver Collection, a series of botanical perfumes inspired by the cultivated conservatories and hothouses of mid-19th-century Paris. The name derives from the Latin Lathyrus odoratus — the sweet pea — whose blossoms were beloved for their exquisite, airy fragrance. In simple terms, the name Lathyrus Odorans (pronounced La-thee-rus Oh-doe-rans) translates to “fragrant sweet pea.” It carries the grace and erudition typical of the era, when Latin names lent a sense of scientific sophistication and natural purity to beauty products and perfumes alike.

The choice of this flower was deliberate. During the 1840s, Europe was fascinated with botanical exploration and horticultural refinement. Greenhouses filled with exotic and temperate blooms became fashionable symbols of wealth and intellect. By naming this perfume Lathyrus Odorans, Guerlain aligned himself with the cultural ideal of the cultivated woman — elegant, educated, and attuned to nature’s finer expressions. The sweet pea, delicate yet vivacious, embodied gentility and refinement, making it a fitting muse for the women of Parisian high society.

The word itself evokes soft pastels and sunlit glasshouses — a cascade of climbing vines heavy with blossoms, their fragrance drifting like silk in the morning air. It suggests freshness, innocence, and romance — qualities prized in mid-century femininity. In a time when fashion emphasized lightness and grace, with airy muslin gowns, lace details, and pale colors, Lathyrus Odorans would have seemed a perfect olfactory counterpart — gentle, floral, and luminously feminine.

In scent, Lathyrus Odorans would have been interpreted as a soft, floral-green composition capturing the tender sweetness of sweet pea blossoms. The natural aroma of the flower combines honeyed, rosy, and mildly powdery facets, with faint notes of orange blossom and hyacinth. Since sweet pea itself yields no extract, Guerlain would have recreated its character through a blend of natural floral essences and early synthetic accords such as benzoin, rose, violet, heliotrope, and orange flower, giving the impression of dew-touched petals warmed by sunlight. The result would have been ethereal and luminous, neither heavy nor overly sweet — the scent of pure refinement.

Launched in the revolutionary year of 1848, this perfume arrived at a time of great social and cultural transformation in France. Yet amid political change, the fashionable elite continued to seek beauty, elegance, and signs of cultured distinction. Perfumes like Lathyrus Odorans reflected a yearning for natural simplicity — a reaction to the earlier excesses of musky, ambery compositions of the Empire period.

In the context of 19th-century perfumery, Lathyrus Odorans stood out as part of a new botanical modernity — an early move toward floral abstraction and delicacy. While others still favored bold, animalic scents, Guerlain’s Jardin d’Hiver line celebrated refinement, light, and nature’s poetry. Lathyrus Odorans, with its name steeped in classical beauty and its fragrance evoking the tender charm of the sweet pea, embodied the elegance and intellect of a new age in perfumery.

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? Lathyrus Odorans is classified as a floral fragrance for women.

• Top notes: sweet pea, bergamot, lemon, orange, aldehyde, green hyacinth accent, cassie
• Middle notes: tuberose, orange blossom, jasmine, ylang ylang, lily of the valley, violet, orris, sweet pea, rose
• Base notes: vanilla, vanillin, rosewood, caraway, sandalwood, spices, balsamic notes, resins, tonka bean, musk, ambergris, civet

Scent Profile:

Lathyrus Odorans unfolds like a walk through a late-spring conservatory — a dreamscape of delicate blossoms, golden sunlight, and faintly warmed woods beneath glass. As the air stirs, the first breath of the perfume opens with a vivid, crystalline freshness.

At the top, sweet pea—the namesake flower—greets you with its tender, honeyed sweetness and faintly rosy nuance. Though the true flower yields no extract, Guerlain recreates its fragrance with a clever interplay of natural floral essences and early synthetics. The sweet pea accord shimmers with the powdery lightness of heliotropin and the gentle creaminess of benzyl acetate, mimicking the soft, pollen-like aroma of the living bloom. Bergamot from Calabria follows, lending its bright, green-citrus sparkle — more refined and rounded than other varieties, due to its high concentration of linalyl acetate, which imparts a delicate floral sweetness rather than a sharp tang. Lemon and orange peel add brilliance and lift, rich in limonene and citral, which flood the air with golden light, while a whisper of aldehydes lends a silken, airy sheen — that faint, champagne-like fizz that gives the floral heart room to bloom. Green hyacinth introduces a watery, verdant facet, cool and dewy, while cassie absolute (from acacia flowers) brings a powdery mimosa-like softness with honeyed undertones of methyl ionone, binding the top accord with gentle warmth.

The heart of Lathyrus Odorans is a cascade of flowers — lush, graceful, and deeply feminine. Tuberose from Grasse breathes a narcotic creaminess, rich in methyl benzoate and indole, which give its white petals both their luminous sweetness and faintly animalic sensuality. Orange blossom absolute, sourced from Tunisia, introduces a radiance of honeyed bloom and green freshness, its linalool and nerolidol contributing to that sunlit, soapy transparency so prized in 19th-century floral perfumery. Jasmine — likely of the grandiflorum variety from southern France — expands the bouquet with voluptuous warmth, its benzyl acetate and indole blending to form a fragrance that feels both innocent and intimate. Ylang-ylang from the Comoros islands adds an exotic touch, with creamy, custard-like notes of benzyl benzoate and p-cresyl methyl ether that soften the sharper florals and enhance the overall radiance.

Lily of the valley and violet contribute cool, powdery freshness, conjured largely through the early use of synthetics such as hydroxycitronellal and ionones, respectively — materials that captured, for the first time, the airy purity of blossoms that could not be distilled. Orris root from Florence lends a luxurious, buttery depth, its natural irones unfolding in soft, violet-like waves. Rose — almost certainly from Grasse or Bulgaria — provides the composition’s emotional center, its geraniol and citronellol weaving a velvety sweetness that harmonizes every petal in the bouquet. Through it all, the sweet pea accord reappears, delicately threading the composition together — a gossamer veil of honeyed powder and spring air.

As the scent settles, the base emerges like warm sunlight on polished wood. Vanilla from Madagascar, with its rich vanillin content, imparts both sweetness and warmth. Guerlain enhances it with synthetic vanillin, deepening its creamy, gourmand character — a hallmark of the house’s early innovations. Rosewood adds a silken, faintly rosy woodiness through its natural linalool, while sandalwood from Mysore contributes a milky, balsamic softness known for its creamy santalols, prized for both depth and longevity. Tonka bean and its natural coumarin bring a sweet, almond-like dryness that fuses perfectly with caraway’s spicy, resinous edge. Subtle balsamic resins and ambergris lend smoothness and fixative power — the latter providing a soft, animalic warmth that wraps the bouquet like sunlight through amber glass. Civet and musk, used sparingly, give body and sensuality — a faint heartbeat beneath the florals.

In the air, Lathyrus Odorans feels both alive and nostalgic — a perfume that shimmers between innocence and sophistication. Its notes unfold as though carried by a spring breeze through an old Parisian winter garden — tender green stems, dew-covered petals, sunlight diffused through glass, and at its heart, the timeless grace of the sweet pea. It is a fragrance that bridges nature and artifice, where each synthetic whisper enhances the natural beauty of the flowers — not to replace them, but to give them an eternal bloom that never fades.

Bottle:

Presented in the carre flacon.

Petit courrier des dames: Journal des modes, 1848:

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

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

New odors composed by Guerlain:

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

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

Shalimar - Talisman Byzantin Flacon 2015

For the 2015 holiday season, Guerlain introduced one of its most opulent collector’s editions—the Shalimar Talisman Byzantine, an extraordinary creation that united haute parfumerie with the artistry of French jewelry-making. This monumental flacon, holding 1.5 liters (50.7 oz) of Shalimar Parfum, was conceived as both a perfume vessel and a work of art. The bottle itself, sculpted in crystal, was adorned with a magnificent, detachable piece of jewelry crafted by the renowned Parisian jewelry house Maison Gripoix. The ornament featured sapphire-blue glass paste cabochons set among creamy pearl-like beads, all arranged in 24-karat gold filigree and inspired by the splendor of Byzantine art.

Maison Gripoix—celebrated since the late 19th century for its mastery of pâte de verre (poured glass)—brought to Guerlain the same meticulous craftsmanship once reserved for couture houses such as Chanel, Dior, and Givenchy. The decorative medallion that crowned the flacon echoed the jewel-encrusted talismans of antiquity, embodying both mystery and protection—qualities long associated with Shalimar itself.

The Shalimar Talisman Byzantine was produced in an extremely limited edition of only 25 numbered pieces, each priced at $11,800, making it one of the most luxurious perfume presentations ever created. Through this dazzling creation, Guerlain celebrated not only the timeless sensuality of Shalimar but also the enduring dialogue between perfume and the decorative arts—where scent, glass, and gold unite to form an object of pure enchantment.

Meteorites Fragrance 2000

Météorites by Guerlain, launched in 2000, was conceived as the olfactory counterpart to the house’s beloved face powders of the same name—those ethereal pearls of color that captured and reflected light on the skin. The word “Météorites” (pronounced may-tay-oh-REET) is French for “meteorites”, fragments of celestial matter that fall from the heavens to Earth. The name carries a sense of wonder, light, and luminosity—conjuring images of the night sky scattered with shooting stars, of radiance descending from the cosmos. It speaks of something both delicate and otherworldly, something meant to illuminate and transform. Guerlain’s choice of the name was fitting: just as the Météorites powder bestowed an inner glow upon the skin, the fragrance sought to envelop the wearer in a soft, radiant aura of scent.

The early 2000s marked a transitional moment in perfumery. It was the dawn of a new millennium—a period defined by technological optimism, minimalism, and an emerging fascination with transparency and light in both fashion and design. Perfumes of the late 1990s had often been bold, intense, and sensual—think of Giorgio Beverly Hills, Obsession, and Angel—but as the new century began, there was a collective longing for clarity, freshness, and purity. The aesthetic softened: pale colors, iridescent fabrics, and sheer textures replaced the excess of the previous decade. Météorites, with its tender pastel theme and luminous floral composition, fit this new mood perfectly.

Women of the time, stepping into a world charged with futuristic imagery yet yearning for calm, would have seen Météorites as a symbol of celestial femininity—modern yet timeless. The name itself suggested something rare and precious, a fragment of the heavens rendered wearable. It evoked an emotional response of serenity and wonder, appealing to the woman who sought beauty not through intensity, but through radiance. This was not a perfume of seduction but of lightness, of grace—the scent of self-assurance that whispered rather than declared.

Created by Jean-Paul Guerlain, Météorites translated the delicate scent of the powder into fragrance form. The perfume rests on a bouquet of Parma violet, iris, and heliotrope—a trio that together create the impression of soft lilac light and powdery sweetness. Parma violet, known for its crystalline floral note, lends a nostalgic, candy-like delicacy. The iris, sourced from Italy, brings a cool, silken texture—a noble floral that smells of polished suede and powdered skin. Heliotrope, with its almond-vanilla undertone, deepens the softness and introduces a touch of warmth, suggesting sunlight diffused through mist. The result is luminous and tender—like the scent of the Météorites pearls themselves, crushed into a veil of scented stardust.

Within the landscape of early 2000s perfumery, Météorites stood out for its restraint and refinement. While other houses were pursuing sharp ozonic accords, sugary gourmand explosions, or sheer aquatic florals, Guerlain returned to its heritage of tenderness and polish. Météorites did not follow fashion—it offered a moment of stillness amid the noise, a modern powdery floral that captured the turn-of-the-century fascination with light, transparency, and the ethereal. In doing so, it bridged Guerlain’s classical past with its luminous future, offering a fragrance as soft and infinite as the starlit name it bore.

Fragrance Composition:

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

• Top notes: green notes and iris
• Middle notes: Parma violet
• Base notes: heliotrope

Scent Profile:

Smelling Météorites for the first time is like stepping into a soft beam of morning light filtered through powder-pink silk. It opens with a tender freshness — a breath of green notes that evokes newly cut stems and dew-sprinkled leaves after rain. These green notes serve as the fragrance’s awakening gesture, a delicate contrast to the powdered sweetness that follows. They bring the scent to life, adding vibrancy and lift, much like the first hint of dawn brightens a pale sky. The iris emerges almost immediately — cool, sophisticated, and silky, like the faint scent rising from a box of face powder. The iris used here, most likely orris butter from Italy’s Tuscany region, is among the most prized in perfumery. Unlike the brighter, more rooty orris from other sources, Tuscan orris possesses a refined, buttery depth, with a texture reminiscent of fine suede and a faintly metallic glint. Its aroma is elegant, melancholy, and endlessly smooth — the perfect representation of Guerlain’s idea of refinement.

As the perfume develops, violet begins to unfold at the heart. This is not a sharp or candied violet, but rather the soft, powdery Parma violet that has long been associated with French confectionery and the glamour of vintage perfumery. Its sweetness is delicate and nostalgic, carrying a faint memory of violet pastilles and lace sachets. To enhance and stabilize this fragile natural note, Jean-Paul Guerlain likely used ionones and methyl ionone, the synthetic molecules that revolutionized violet-based perfumery since their discovery in the late 19th century. These aroma chemicals not only capture the soft, powdery quality of violet petals but also extend their presence, blending them seamlessly with the iris and heliotrope. The ionones, with their velvety, woody undertones, provide both structure and radiance, allowing the violet to hover gently in the air without fading too quickly.

In the drydown, heliotrope takes center stage — warm, creamy, and faintly almond-like. Its scent is reminiscent of sunlit skin dusted with vanilla-scented powder, or the faint sweetness of sugared almonds. The heliotrope used by Guerlain may have been complemented by heliotropin (piperonal), a synthetic molecule that enhances its characteristic creamy, almond-floral accord. This molecule bridges the powdery iris and violet with a tender, comforting sweetness, lending the composition its dreamlike aura. Together, they create a base that is at once soft and luminous — never cloying, but enveloping like the fine shimmer of Guerlain’s Météorites powder itself.

The effect is a study in texture and light. Where natural materials bring depth and nuance, synthetics provide brilliance and air — a careful balance that makes Météorites both timeless and modern. The green opening sparkles like starlight, the heart glows with pastel florals, and the base lingers as a gentle halo of warmth. It feels ethereal, weightless, and impeccably feminine — not a perfume that commands attention, but one that glows quietly from the skin, much like the luminous finish of the face powder that inspired it. To smell Météorites is to experience the sensation of light itself — diffused, soft, and infinitely tender, a fragrance that seems to float somewhere between heaven and earth.

Bottle:

Available as a 100ml eau de toilette spray, it was housed in a disk-shaped bottle featuring the Météorites logo found on the compacts and powder boxes.

Fate of the Fragrance:

The fragrance was discontinued by 2008.

2018 Version:

By 2008, Météorites quietly disappeared from Guerlain’s fragrance catalog, leaving behind a soft trail of nostalgia among its admirers. A decade later, in 2018, Guerlain’s in-house perfumer Thierry Wasser reimagined the beloved scent for a new generation, giving rise to Météorites Le Parfum. This reformulation reflected both evolving tastes and the tightening regulations imposed by the International Fragrance Association (IFRA), which restricts or limits the use of certain natural materials—such as oakmoss, specific musks, and even certain violet and heliotrope compounds—due to allergenic concerns. Wasser’s challenge was to reinterpret the powdery, pastel magic of the original fragrance while adhering to these modern safety and ethical standards, crafting a scent that felt contemporary without losing its celestial charm.

Météorites Le Parfum retains the soft femininity of the original but trades some of its vintage, confectionary sweetness for a fresher, more luminous profile. The green top notes—once a delicate whisper—now take on a more defined presence, crisp and invigorating, like the scent of crushed leaves mingling with morning air. This amplified greenness gives the composition a sense of purity and movement, reflecting modern preferences for cleaner, airier fragrances. Where the 2000 version leaned heavily on the candied charm of Parma violet and heliotrope, the 2018 reformulation reins in that sugar-dusted quality, allowing the floral and woody nuances to shine more naturally.

The violets, once the heart and soul of Météorites, now play a subtler role, shyly peeking through layers of transparent white musk and soft woods. The heliotrope, too, is more restrained—less of the almond-vanilla powder puff and more of a sheer floral mist. Wasser’s composition feels lighter, more radiant, and tailored for a modern woman who prefers sophistication over sweetness. In doing so, Météorites Le Parfum bridges past and present: it honors the nostalgic tenderness of Guerlain’s original creation while embracing the clarity, freshness, and compliance demanded by the 21st century.

The result is a perfume that captures the same sense of light and luminosity—like the shimmer of the famous Météorites powder—but through a contemporary lens. If the original was a tender pastel dream, the 2018 version is a sheer watercolor wash: more ethereal, more breathable, and perfectly attuned to modern sensibilities.

The 2018 version is classified as a floral woody musk fragrance for women.

• Top notes: apple, green notes, bergamot and cassis
• Middle notes: violet, mimosa and rose
• Base notes: white musk, orris, woody notes and sandalwood

Scent Profile:

Smelling Météorites Le Parfum (2018) for the first time feels like stepping into soft daylight — cool, luminous, and gently diffused, much like the shimmer of Guerlain’s famous powder pearls. The opening is immediately brighter and greener than its 2000 predecessor. A crisp bite of apple mingles with tender green notes and the airy sparkle of bergamot. The bergamot, likely from Calabria, Italy, has that unmistakable sunlit freshness — effervescent and slightly floral, lending the perfume its graceful lift. Cassis adds a subtle tang of blackcurrant leaf, with its green, fruity sharpness suggesting crushed stems and dewy fruit skins. Together, these notes replace the candied sweetness of the original Météorites with a modern, almost sheer greenness that feels clean, youthful, and radiant.

As the fragrance settles, the heart unfolds with an elegant bouquet of violet, mimosa, and rose. The violet, once the centerpiece of the 2000 version, now feels lighter — less of the sugared Parma variety and more of a soft, velvety petal note, like the faint scent left on fingertips after brushing against the flower. Mimosa, likely sourced from the Tanneron region of France, brings a powdery golden warmth, its honeyed and slightly almondy tone adding a tactile softness to the heart. The rose, possibly a blend of Bulgarian and Turkish varieties, lends a classical structure and faint sensuality, bridging the airy floral top with the tender base. In contrast to the earlier Météorites, where violet and heliotrope dominated in a nostalgic cloud of sweetness, the 2018 version feels more transparent, refined, and attuned to contemporary minimalism — floral without being overtly powdery.

The base is where Météorites Le Parfum truly diverges from its original form. The heliotrope that once anchored the composition with its almond-vanilla richness has been replaced by a soft interplay of white musk, orris, sandalwood, and modern woody notes. The orris — derived from the rhizome of the iris, likely of Italian origin — imparts a buttery, powdery smoothness that echoes the makeup inspiration of the fragrance but in a subtler way. Its cool, earthy texture is elevated by the gentle warmth of sandalwood, which adds creamy depth without heaviness. The white musk, a modern synthetic innovation, provides a clean, skin-like aura — it lingers like the memory of soft fabric or freshly washed hair. These musks, far safer and more stable than the natural deer musk of the past, create a transparent, sensual trail that resonates with today’s taste for freshness and purity.

Comparing the two, the original Météorites (2000) feels nostalgic — a delicate confection of violet, iris, and heliotrope that evokes pressed powder, porcelain compacts, and pastel clouds of femininity. It was tender, nostalgic, and unmistakably cosmetic in tone. The 2018 Météorites Le Parfum, on the other hand, translates that idea into something more diaphanous and modern. Its apple-green opening and musky-woody base strip away the vintage sweetness, replacing it with clarity and light. The signature Guerlain softness remains, but it now breathes with contemporary restraint — more celestial air than powdered silk. Both versions capture radiance and beauty, but where the 2000 edition glowed like a soft-focus candlelight, the 2018 version shines like morning sunlight scattered through crystal.

Bottles:

Fate of the Fragrance:

Meteorites Le Parfum was discontinued in 2021.

Mimosa Fragrans 1848

Launched in 1848 as part of Guerlain’s Jardin d’Hiver Collection, Mimosa Fragrans reflects the 19th-century fascination with singular botanical notes elegantly distilled into perfumes. Guerlain chose the name “Mimosa Fragrans” to highlight the delicate flower at the heart of the fragrance. “Mimosa” refers to the soft, powdery, and subtly sweet blooms of the Acacia mimosa, while “Fragrans,” derived from Latin, emphasizes its aromatic richness. The name can be pronounced mee-MO-sa FRAH-grans, evoking images of sunlit flowering gardens, gentle breezes, and refined elegance. The title alone suggests a serene and intimate floral experience, immediately conjuring feelings of warmth, sophistication, and delicacy.

The perfume itself is a tender floral oriental, showcasing mimosa’s distinctive softness alongside a supporting blend of resins and subtle balsamic notes. In 1848, France was on the cusp of political and social change, yet the world of haute perfumery remained a haven of refinement and artistry. During this period, known as the late Romantic era, fashions emphasized elegance, ornamentation, and a cultivated taste for luxury. Women of the time would have embraced a perfume called Mimosa Fragrans as a statement of refinement and personal distinction, a scent that conveyed both sophistication and the gentle power of nature’s blossoms.

Mimosa Fragrans stands out in the context of 19th-century fragrances for its dedication to a single floral note, blended with subtle oriental elements to enhance its depth without overwhelming its delicate character. Unlike the heavier amber, musk, and spice-laden perfumes that were also popular at the time, this creation presented mimosa as the focal point, allowing its airy, powdery charm to shine. The fragrance’s name and its scent work in tandem: the Latinized elegance of “Fragrans” mirrors the soft, enduring aroma of mimosa, translating visual and emotional sophistication into an olfactory experience that would have been both recognizable and aspirational to the women of Guerlain’s era.

Jardin d’Hiver Collection:

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

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

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

Fragrance Composition:

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

• Top notes: cassie, mimosa, hydroxycitronellal, geranium
• Middle notes: rose centifolia, jasmine, ylang ylang, cinnamic alcohol, orris
• Base notes: Peru balsam, terpineol, methyl acetophenone, tolu balsam, mastic, ambrette, musk, benzoin 

Scent Profile:

Mimosa Fragrans opens with a luminous, airy top that immediately evokes a sun-dappled garden in full bloom. The first note that caresses the senses is cassie, or mimosa absolute, whose origin in the warm climates of South America imparts a soft, powdery sweetness, interlaced with the delicate green facets of fresh foliage. This is accompanied by mimosa, reinforcing the floral heart with its subtly honeyed nuances. Hydroxycitronellal, a synthetic ingredient, adds a sparkling freshness reminiscent of dew on early-morning blossoms, amplifying the natural sweetness while providing a luminous clarity that makes the top notes vibrant and airy. Geranium, sourced traditionally from regions like Egypt and Morocco, introduces a soft rosy-green facet, slightly minty and invigorating, providing contrast and depth to the initial effervescence.

As the perfume settles into its heart, the middle notes unfold with voluptuous richness. Rose centifolia, harvested from the famed fields of Grasse in southern France, offers a rounded, opulent aroma with a honeyed, slightly fruity undertone. Its scent is distinguished from other roses by its velvety depth and lingering warmth. Paired with jasmine, whose indolic richness from India or Egypt carries an almost creamy, sensual sweetness, the bouquet becomes more layered. Ylang ylang, native to the islands of the South Pacific, brings a lush, floral-aural tropicality, while cinnamic alcohol contributes a subtle spicy sweetness reminiscent of soft cinnamon, harmonizing the florals. Orris, derived from the Italian iris root, imparts an earthy, powdery, violet-like nuance, grounding the floral accord with its luxurious, buttery softness. Together, these heart notes evoke the opulent complexity of a stately 19th-century boudoir, a living tapestry of color, fragrance, and elegance.

The base notes provide warmth and resonance, deepening the composition into a true floral oriental. Peru balsam, native to Central America, exudes a rich, sweet resinous aroma with vanillic undertones, while tolu balsam, sourced from South America, contributes a smooth, balsamic warmth. Mastic, a resin from the Mediterranean, adds a slightly piney, clean resinous facet, enhancing the natural earthiness of the base. Ambrette seeds, harvested from India, lend a musky, slightly nutty character, blending seamlessly with traditional musk and benzoin, which deepen the perfume with soft powdery, ambered sweetness. Terpineol and methyl acetophenone, synthetic aromachemicals, enrich the base by emphasizing floral brightness and adding a gentle diffusive longevity that allows the resins and musks to resonate without overwhelming the senses.

Altogether, Mimosa Fragrans is a masterclass in 19th-century floral oriental artistry: the top notes sparkle with fresh, green, and powdery hues, the heart swells with voluptuous florals and soft spices, and the base anchors the fragrance in warm, resinous, musky comfort. Each ingredient—natural or synthetic—interweaves to create a harmonious, enduring bouquet, a perfume that would have epitomized refinement and elegance in its era while still delighting modern sensibilities with its luminous, timeless complexity.

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.  Still being sold in 1872.

Pre d'Automne 1883

Pré d’Automne, launched by Guerlain in 1883, is a name that translates from French as “Autumn Meadow” — pronounced "pray doh-tom". Even in sound, the phrase flows softly, evoking a whisper of wind through dry grasses and the mellow sunlight of late September. The choice of name perfectly captures the emotional resonance of the season — that fleeting transition between summer’s warmth and winter’s chill, a time when nature exhales one last golden breath before its long sleep. To the women of the late 19th century, Pré d’Automne would have suggested something at once natural and refined — the beauty of the countryside distilled into elegance, a perfume that conjured a wistful calm rather than opulence.

The 1880s were a time of great cultural transformation in France, poised between the elegance of the Belle Époque and the scientific modernity shaping the coming century. Paris, still the undisputed capital of luxury, was flourishing under the influence of art, fashion, and innovation. The women who wore Guerlain were elegant yet independent, balancing traditional femininity with newfound freedom — cycling in their long skirts, visiting salons, and collecting the latest fashions from Worth or Doucet. In perfumery, this was the dawn of a revolution: natural essences were beginning to merge with new synthetic molecules, allowing perfumers to evoke impressions and emotions never before achievable with raw materials alone.

The name “Pré d’Automne” would have held special meaning in this context. At a time when city life was rapidly modernizing, the perfume offered an olfactory escape to the pastoral, a retreat into the quiet of nature. It evoked soft grasses warmed by the sun, fallen petals mingled with dried hay, and the gentle musk of earth after rain. For women accustomed to heavier floral or resinous perfumes, this composition would have felt fresh, serene, and intimately personal — a reflection of the new aesthetic emerging in the 1880s, where delicacy and naturalism were favored over grandeur.

Classified as a Floral Woody Musk with a powdery and faintly chypre nuance, Pré d’Automne rested on a structure both classical and forward-looking. The top notes of petitgrain and bergamot gave a brisk green and citrusy freshness, recalling the crisp air of early autumn. The heart of cassie, rose, and ionone formed the fragrance’s floral core — a soft bouquet of blossoms and golden pollen. Cassie, with its balsamic, honeyed quality, lent warmth and nostalgia, while ionone, one of the new synthetic discoveries of the era, contributed its unmistakable violet-powder note, linking floral sweetness to a woody base. The foundation of ambrette, coumarin, and musk grounded the perfume in warmth and sensuality — ambrette imparting a soft, skin-like musk, while coumarin (isolated from tonka beans only a few years earlier) added a sweet hay-and-almond richness that evoked autumn leaves and fields at dusk.

Within the context of its time, Pré d’Automne was both familiar and pioneering. “Meadow,” "prairie," or "field" perfumes had been a mainstay of 19th-century perfumery, appearing in nearly every formulary of the period, yet Guerlain’s interpretation elevated the theme through artistry and innovation. While others relied solely on natural tinctures of orris and tonka, Guerlain began weaving in modern synthetics, allowing the fragrance to feel airier, more diffusive, and enduring — qualities that would later define the modern perfume.

In scent and in sentiment, Pré d’Automne bridged two worlds: the romantic naturalism of the 19th century and the scientific sophistication of the 20th. It smelled not of an idealized bouquet, but of the living world — sunlight fading on meadow grasses, a breeze carrying traces of flowers and dry earth, and the quiet, wistful poetry of autumn captured in a bottle.

Fragrance Composition:

So what does it smell like? Pré d’Automne is classified as a floral woody musk fragrance — with a powdery and slightly chypre nuance due to the ionone–musk–coumarin base.

• Top notes: petitgrain, bergamot, rose geranium, acacia
• Middle notes: orange blossom, jasmine, cassie, rose, orris, ionone
• Base notes: ambrette, tonka bean, coumarin, musk

Scent Profile:

Pré d’Automne unfolds like the soft breath of an autumn wind across a sunlit meadow — a gentle mingling of green, floral, and powdery tones that drift between freshness and nostalgia. Its beauty lies not in dramatic contrasts, but in seamless transitions, as each note melts gracefully into the next. What Guerlain composed here is an olfactory landscape, painted in tender shades of gold and violet, echoing the hush of the season’s waning light.

The top notes open with the crisp brightness of petitgrain, extracted from the leaves and twigs of the bitter orange tree. The finest petitgrain comes from Paraguay, prized for its luminous clarity and balance between citrus zest and green woodiness. It releases a slightly bitter freshness — like crushed leaves rubbed between the fingers — its natural linalool and linalyl acetate lending both brightness and roundness. This is softened by bergamot, that sparkling gem from Calabria, whose oils are unlike any other in the world — more nuanced, floral, and less tart than common citrus. Bergamot contains linalyl acetate, limonene, and bergapten, a trio that gives it that airy yet sensual effervescence, linking the green sharpness of petitgrain to a sunny, golden warmth. 

Threaded through this citrus canopy is rose geranium, rosy yet with a cool, minty edge, carrying hints of citronella and green stems. It bridges the citrus and floral realms perfectly, its geraniol and citronellol brightening the composition while evoking the freshness of a dew-laden meadow. Lastly, a whisper of acacia — honeyed, powdery, and faintly almond-like — softens the opening, hinting at the floral heart to come. Acacia absolute, often sourced from Morocco or Egypt, adds a creamy, warm pollen-like sweetness that tempers the green notes with a breath of tenderness.

As the fragrance warms, the heart notes unfold like late afternoon sunlight filtering through petals. The first to bloom is orange blossom, luminous and radiant, its essence from Neroli oil carrying the clean sparkle of the Mediterranean. Its principal molecule, linalool, gives a translucent brightness, while nerolidol and indole lend depth and a faint animalic undertone that brings the composition alive. Jasmine soon follows, rich and creamy, its source likely Grasse, where jasmine grandiflorum was cultivated for its opulent sweetness and balance between fruit and musk. Jasmine’s natural benzyl acetate and indole molecules weave a texture that feels at once pure and sensual — like warm skin kissed by sunlight.

Cassie, another flower of acacia origin (specifically Acacia farnesiana), introduces a balsamic warmth tinged with spice and leather. Cassie absolute, sourced from southern France and Egypt, is complex — containing methyl salicylate, anisic aldehyde, and ionones, which give it its characteristic mimosa-hay tone. Here, it softens the florals, grounding their sweetness with an ambered, almost suede-like quality. Rose blooms next, full and velvety, likely Bulgarian or French in character — the former prized for its honeyed, slightly lemony tone, the latter for its dry, green freshness. The rose’s citronellol, geraniol, and phenylethyl alcohol bring emotional warmth and an air of romance, the very soul of a Guerlain floral.

Supporting this opulent bouquet is orris, the powdered heart of the violet root, aged and dried for years before yielding its precious butter. The orris note imparts a soft, buttery texture and a violet-powder facet from its natural ionones and irones — molecules that lend both sweetness and a cool, woody floral tone. Guerlain amplifies this effect with synthetic ionone, one of the most important discoveries of 19th-century perfumery. Ionone captures the fragrance of violets — airy, nostalgic, and slightly melancholy — while enhancing the natural materials’ longevity. In Pré d’Automne, this use of ionone bridges natural orris and floral absolutes, creating the powdery “chypre-like” haze that defines the perfume’s heart.

As the fragrance deepens into its base notes, a sensual warmth takes over. Ambrette seed, often called the musk of the plant world, exudes a soft, skin-like warmth with fruity nuances of pear and wine. It comes from the seeds of Abelmoschus moschatus grown in India, and its main compound, ambrettolide, lends a subtle animalic smoothness without heaviness. Tonka bean joins in with its comforting almond-sweet aroma — the smell of sun-warmed hay mixed with vanilla and tobacco. The tonka bean, sourced from Venezuela or Brazil, is rich in coumarin, a molecule that became iconic in perfumery for its ability to add depth, sweetness, and an addictive warmth. Guerlain cleverly reinforces this with added coumarin, a synthetic counterpart that enhances the tonka’s natural tone and gives the fragrance its slightly chypre-powder finish.

Finally, musk completes the perfume’s trail — not the animalic kind of old but a soft, embracing musk that feels like the memory of warmth on skin. Together, ionone, musk, and coumarin form the fragrance’s unmistakable signature — a silky, powdery base that lingers like sunlight on linen. This triad not only extends the perfume’s longevity but transforms its natural ingredients into an impressionistic whole, where floral, woody, and musky nuances dissolve into one another.

In sum, Pré d’Automne smells like the turning of a season — the mingling of freshness and decay, of blossoms giving way to dry grass. Its composition captures the poetic calm of late autumn: the rustle of leaves, the sweetness of distant flowers, and the faint hum of earth before winter’s rest. Through its blend of nature and early synthetic artistry, Guerlain distilled not merely the scent of a meadow, but the emotion of standing within it — serene, nostalgic, and beautifully transient.

Fate of the Fragrance:

Discontinued, date unknown. Still being sold in 1900.

Cyperus Ruber 1848

Cyperus Ruber by Guerlain, launched in 1848 as part of the Jardin d’Hiver Collection, embodied the refined naturalism and intellectual elegance that defined mid-19th-century perfumery. The name itself, Cyperus ruber, is Latin—pronounced roughly "see-PEH-roos ROO-bair"—meaning “red cyperus” or “red sedge.” Guerlain’s choice of name reflects both scientific curiosity and poetic imagination. During this period, perfumers and botanists alike were fascinated by the classification and study of exotic plants, and the use of Latin binomials lent fragrances an air of scholarly sophistication.

The imagery evoked by Cyperus Ruber is one of quiet richness and earthy sensuality—a blend of damp, sun-warmed soil, aromatic roots, and fine herbs drying in the afternoon light. The red sedge, a relative of the papyrus and vetiver families, was known for its fibrous roots, which released a warm, woody, and faintly spicy aroma when crushed. This connection would have positioned Cyperus Ruber as an elegant, earthy composition—an olfactory bridge between the botanical world and the cultivated refinement of the salon.

The year 1848 was one of revolution and transformation across Europe, marking the end of the July Monarchy and the dawn of the Second Republic in France. Amid social upheaval, fashion and art clung to ideals of beauty, nature, and order. In perfumery, a turn away from the heavy animalic scents of amber and musk had begun; Guerlain’s Jardin d’Hiver collection symbolized this new aesthetic—one of natural grace, botanical authenticity, and scientific artistry.

Women of the time, drawn to the intellectual and poetic resonance of nature, would have found Cyperus Ruber intriguing and sophisticated. Its name suggested cultivated taste and a sense of modern refinement, rather than overt sensuality. It would likely have appealed to women who favored understated elegance over ostentation—those who found beauty in subtlety and intellect in fragrance.

In scent, Cyperus Ruber would have unfolded as woody, rooty, and gently spicy, reminiscent of vetiver and papyrus but softer and more rounded. Hints of dried herbs and faint resin might have deepened the base, giving the perfume an aura of grounded serenity. Within the context of mid-19th-century perfumery, this composition would have stood out as unusually modern—less floral, more botanical, and aligned with a growing fascination for natural essences. It represented not just a fragrance, but a quiet statement of refinement: the perfume of someone who found poetry in the earth itself.

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? The name Cyperus ruber points to a sedge plant related to Cyperus rotundus, or nutgrass, which was known for its aromatic rhizomes used in early perfumery. These roots yield a warm, woody-earthy aroma with dry, slightly smoky, and resinous undertones, similar to vetiver or cypriol (nagarmotha). Guerlain would probably have softened these rooty tones with floral or balsamic notes, in keeping with the Jardin d’Hiver style—a “blended bouquet” rather than a single-note botanical study.

Imagine the scent opening with a delicate herbal freshness, perhaps lifted by bergamot or neroli to give a light, airy introduction. Beneath that, the body would unfold into the dry, aromatic warmth of sedge root, tinged with spice—maybe clove or cinnamon—and faint hints of hay or iris, lending smoothness and powdery refinement. A trace of amber or benzoin resin might round out the base, giving it the polished sweetness typical of early Guerlain compositions.

The overall impression would have been woody, slightly spicy, and resinous, with a suggestion of damp roots, dried herbs, and polished wood furniture in a sunlit conservatory. Compared to the sweeter floral waters of the time, Cyperus Ruber would have felt intellectual, mysterious, and modern, appealing to women (and perhaps men) who appreciated depth and restraint over frivolous charm.

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."

Bouquet de Caroline 1836

Launched in 1836, Bouquet de Caroline stands among the earliest creations of Pierre-François Pascal Guerlain, marking the formative years of the House of Guerlain. The name, Bouquet de Caroline, translates from French as “Caroline’s Bouquet” — pronounced "boo-kay duh kah-ro-leen" — a title both regal and intimate. Guerlain dedicated this perfume to Princess Caroline of Denmark (1793–1881), daughter of King Frederick VI, a noblewoman admired for her refinement and dignity. The choice of name reflects not only a gesture of admiration toward royalty but also Guerlain’s early tradition of honoring European aristocracy through perfumery. The word bouquet evokes an image of a carefully composed arrangement of blossoms, suggesting harmony, grace, and craftsmanship — qualities that mirrored both the princess’s persona and Guerlain’s emerging identity as a creator of luxury fragrances.

The early 1830s were a time of cultural refinement and romantic sensibility in Europe. It was the late Romantic era, when emotion, beauty, and nature were idealized in art, fashion, and literature. In France, under the July Monarchy of Louis-Philippe, society was defined by a growing bourgeois elegance and a fascination with luxury goods, particularly those imported or inspired by nature. Women’s fashion emphasized soft silhouettes, delicate fabrics, and floral motifs — gowns of silk and muslin adorned with lace and embroidery, accessorized with gloves and ornate bonnets. Perfume was an essential accessory of refinement, an invisible adornment that completed one’s toilette.

In such a setting, a perfume named Bouquet de Caroline would have appealed deeply to women of refinement. The name alone promised a portrait of femininity captured in flowers — the tender freshness of a morning garden, the elegance of courtly grace, and the emotional delicacy prized by Romantic ideals. The fragrance’s classification as a floral oriental suggests a composition of luminous blossoms interwoven with warm, resinous undertones — an olfactory balance between innocence and sophistication. It combined rose, jasmine, orange blossom, and violet, layered over gentle balsams and a trace of vanilla and ambergris, ingredients that were becoming popular in high-end perfumery of the mid-19th century.

During this period, many perfumers produced their own versions of Bouquet de Caroline, each one based on a shared foundational structure that could be adapted and personalized. The perfume’s popularity was so enduring that formulas appeared in 19th-century perfumery manuals, where variations were noted from house to house. Early renditions would have relied on natural ingredients — tinctures, flower extracts, and infusions — capturing the essence of freshly gathered blooms. As the century progressed, the rise of synthetic aroma chemicals, such as vanillin, coumarin, and aldehydes, allowed perfumers to both enhance and stabilize natural accords, lending new depth and longevity to compositions that were once fleeting.

In this sense, Bouquet de Caroline represents both tradition and transition — a fragrance born of natural romanticism, yet later adapted to the scientific advances of modern perfumery. For the women who wore it, it would have symbolized grace, refinement, and sentimental beauty, evoking not only the gentility of Princess Caroline but also the poetic spirit of an age when perfume was both an art and a language of emotion. While many houses offered their own Bouquet de Caroline, Guerlain’s interpretation — infused with artistry, emotion, and precision — distinguished itself as an expression of timeless feminine elegance, marking the beginning of Guerlain’s long legacy of transforming noble inspiration into scent.

Fragrance Composition:

So what does it smell like? Bouquet de Caroline is classified as a floral oriental fragrance.

• Top notes: lemon, bergamot, orange, limette, verbena, Portugal neroli 
• Middle notes: rose, tuberose, cassie, violet, jasmine, orange blossom, wallflower, caraway
• Base notes: rosewood, orris, ambergris, musk, musk ambrette, civet, tolu balsam, vanilla, tonka bean 

Scent Profile:

When first uncorked, Bouquet de Caroline unfolds like the slow opening of silk drapes on a spring morning — sunlight streaming in, golden and alive. The top notes burst with a dazzling medley of citrus fruits, their brightness both refined and effervescent. The Italian lemon is sharp and crystalline, rich in citral and limonene, its aroma like freshly peeled zest — tangy, mouthwatering, and cleansing. It awakens the senses, setting the stage for a perfume that feels both aristocratic and full of life. Alongside it, Calabrian bergamot lends an elegant green bitterness. Calabrian fruit is prized for its complex sweetness and faintly floral undertone — a quality shaped by the mineral-rich soil and sea winds of southern Italy. 

Orange and limette (lime) add a sweet, juicy brightness, softened by verbena, whose grassy, lemony freshness introduces a gentle herbal thread. Then comes Portugal neroli, distilled from the orange blossoms of the Algarve coast — its honeyed and green aroma, rich in linalool and nerolidol, bridges citrus with bloom, hinting already at the floral heart to come. This neroli is particularly radiant; its sun-drenched warmth differs from its Tunisian or Moroccan cousins, which tend to be more heady and indolic.

As the citrus light dims, the heart of the perfume begins to bloom — a truly sumptuous floral orchestra that would have felt regal and modern in 1837. Rose and tuberose form the central pillars: the rose, likely from Grasse, soft and velvety, filled with citronellol and geraniol that lend both freshness and depth; the tuberose, creamy and narcotic, its methyl benzoate and indoles adding a languid sensuality. These two together weave the balance between innocence and allure. Cassie, a type of mimosa from Egypt, adds powdery sweetness tinged with green honey — its acacia note giving the bouquet a sun-warmed, golden hue. 

Violet, with its delicate ionones, gives a soft, powdery effect reminiscent of pressed petals in an old book, while jasmine (likely Egyptian) breathes a narcotic warmth, its benzyl acetate and indole adding both creamy radiance and sensual shadow. Orange blossom, echoing the neroli in the top, deepens the floral theme with a creamy white-flower intensity, bridging the heart to the oriental base. Unusual for its time, wallflower introduces a spicy-clove-like sweetness, while caraway, with its warm, aniseed aroma, adds an aromatic sparkle that gives life and texture to the otherwise silky floral body.

The base of Bouquet de Caroline is where the fragrance lingers and reveals its luxurious oriental soul — warm, resinous, and faintly animalic. Rosewood, rich in linalool, provides a smooth woody backdrop, while orris, from the root of Florentine iris, imparts a cool, buttery powderiness that softens every edge. The note of ambergris, rare and treasured, adds a shimmering marine warmth — an almost translucent animalic quality that binds the florals to the resins. 

Musk and musk ambrette lend an enveloping sensuality: the natural musk with its dark, warm, skin-like undertone, and the ambrette seed adding a softer, slightly fruity nuance from its ambrettolide content. Civet, used sparingly, gives depth and a subtle hint of lived-in warmth, the faint trace of luxury furs and intimacy. Tolu balsam, from South America, contributes a vanillic, resinous sweetness rich in cinnamic acid esters, evoking polished wood and candlelit parlors. Finally, vanilla from Madagascar and tonka bean from Venezuela provide a creamy, powdery close — the vanillin and coumarin fusing together to create that warm, comforting sweetness that would later become the hallmark of Guerlain’s “Guerlinade.”

Together, these elements create a fragrance that feels like a portrait in scent — elegant, romantic, and deeply human. The natural materials intertwine with subtle synthetic accents that amplify their beauty: coumarin heightening the creamy smoothness of tonka bean, vanillin enhancing the balsamic sweetness, and faint aldehydic touches brightening the citrus and florals. The result is not just a bouquet, but an atmosphere — one that evokes a salon filled with light, polished wood, lace fans, and laughter. Bouquet de Caroline embodies an era of refinement, yet its construction already hints at the future of perfumery: the marriage of nature and artifice, emotion and precision — the very essence of Guerlain’s enduring legacy.

Fate of the Fragrance:

Discontinued date unknown. Still being sold in 1853.