New Mown Hay c1852

New Mown Hay (also known as Foin Coupé) was introduced by Guerlain around 1852, during an era of optimism, elegance, and change in mid-19th-century France. The name “New Mown Hay” refers quite literally to freshly cut hay — the phrase itself evokes the green, sweet, and slightly coumarinic aroma that fills the air after fields are harvested in summer. Its name carries a simple rustic charm. In French, Foin Coupé (pronounced fwah(n) koo-pay) translates the same way, but with a touch of refinement that made it sound more poetic to contemporary ears. The phrase conjures images of golden fields bathed in late-afternoon sunlight, the scent of grass warming underfoot, and a soft country breeze — the kind of pastoral tranquility that appealed to a society yearning for a return to nature amid rapid industrial progress.

The early 1850s were part of the Second Empire in France, a period marked by prosperity, artistic innovation, and a fascination with beauty in all its forms. Paris was the epicenter of fashion and culture, where silk gowns rustled beneath parasols, and perfumery began to emerge as a sophisticated art. Eugène Rimmel and Pierre-François-Pascal Guerlain were among the leading names defining this new luxury. The idea of a perfume inspired by something as humble as hay would have seemed refreshingly modern and romantic — a contrast to the heavier, resinous scents of previous decades. New Mown Hay captured the spirit of pastoral nostalgia fashionable in painting, poetry, and design — a celebration of the natural world and the idealized countryside, which stood as a sentimental refuge from the bustle of city life.

For women of the time, New Mown Hay would have embodied innocence, warmth, and subtle sensuality. Its name suggested simplicity and purity, yet the scent itself carried a deeper, almost languid sweetness beneath the grassy top — much like the duality expected of the ideal 19th-century woman: demure yet alluring. The fragrance’s floral-oriental composition likely blended the green, hay-like notes of coumarin (naturally present in tonka bean and clover) with soft florals and warm resins, creating a balance between freshness and comfort. To wear such a scent would have been a statement of refined taste — evoking sunlit meadows rather than the heavy incense of salons — a poetic nod to both nature and sophistication.

 

Though New Mown Hay was not the first of its kind, Guerlain’s interpretation became one of the most admired. The “cut hay” theme had become a classic by the mid-19th century, and nearly every perfumer offered a version. The early formulas relied on natural extracts, tinctures, and infusions — tonka bean for its sweet, almond-hay warmth; vanilla for roundness; and ambergris for its smooth, animalic depth. As time passed, advances in chemistry transformed the perfume’s profile. By the late 19th century, synthetics such as coumarin, anisic aldehyde, isoeugenol, and vanillin were introduced. Coumarin, discovered in 1868, was particularly transformative — it captured the scent of hay more vividly and consistently than natural extracts alone. Rather than replacing nature, these early aroma chemicals allowed perfumers to amplify its beauty, making New Mown Hay more radiant, longer-lasting, and expressive than ever before.

In context, New Mown Hay represented a bridge between two worlds: the natural and the modern, the pastoral and the urban, the romantic and the scientific. Guerlain’s version stood out for its refinement — a cultivated interpretation of rusticity — and helped shape the enduring olfactory theme of warm, coumarinic perfumes that would later influence classics such as Houbigant’s Fougère Royale (1882) and Guerlain’s own Jicky (1889). What began as an ode to freshly cut grass evolved into a symbol of innovation — a fragrance that captured both the simplicity of a summer field and the sophistication of a Parisian salon.

Fragrance Composition:

So what does it smell like? New Mown Hay is classified as a floral oriental fragrance.

• Top notes: bergamot, lemon, neroli, orange, orange blossom, cassie, benzoic acid, anisic aldehyde
• Middle notes: verbena, lavender, jasmine, rose, cloves, benzyl isoeugenol, tuberose, rose geranium, violet, orris, caraway
• Base notes: Brazilian rosewood, Indian rosewood, Indian sandalwood, tonka bean, coumarin, musk, civet, vanilla, vanillin, styrax, oakmoss, thuja, patchouli, ambergris

Scent Profile:

To smell New Mown Hay is to be momentarily transported to a golden field in the height of summer, when the sun-warmed air carries the sweetness of freshly cut grass and drying clover. The fragrance opens with a luminous burst of bergamot, lemon, and orange, their zest effervescent and sparkling—like the first inhale of morning light after dew has lifted. The bergamot, likely from Calabria in southern Italy, introduces a refined green-citrus note, rich in linalyl acetate and limonene, lending brightness and a soft herbal tang that balances the perfume’s forthcoming sweetness. 

Lemon sharpens this impression with its crisp aldehydic lift, its citral and limonene molecules giving a sunlit freshness. Then comes neroli and orange blossom, distilled and extracted from the same bitter orange trees of Seville, their dual nature—one green and petitgrain-like, the other honeyed and white floral—creating a tension between airy lightness and languid warmth. A tender thread of cassie absolute, derived from the Acacia farnesiana flowers of Egypt, weaves in powdery, mimosa-like tones, subtly animalic and sweet with its natural methyl salicylate and anisic aldehyde—molecules that will later echo the hay-like theme at the heart of the perfume. Even benzoic acid, typically a resinous fixative, adds a faint medicinal roundness to the top accord, suggesting the soft warmth of polished wood and sun-warmed skin.

As the top notes settle, New Mown Hay reveals a verdant, spicy heart that perfectly captures the duality of the countryside—both fresh and deeply sensual. The herbal brightness of verbena and lavender emerges first, bringing clarity and lift; the citral in verbena lends a lemony-green facet, while the linalool in lavender introduces an aromatic calm, soft and slightly camphoraceous. These cooling notes soon entwine with florals of deeper character: jasmine from Grasse, with its indolic sweetness; rose from Bulgaria, dense and honeyed with phenylethyl alcohol and citronellol; and tuberose, creamy and narcotic, diffusing its characteristic methyl benzoate and indole, reminiscent of night-blooming gardens. 

The spicy pulse of clove—rich in eugenol—adds warmth and depth, while rose geranium contributes a rosier, greener tone with its geraniol and citronellol. The presence of violet and orris introduces a powdered coolness, enhanced by the ionones naturally found in orris root, which mimic the scent of crushed violets. A thread of benzyl isoeugenol—a molecule often used to enhance spicy florals—bridges the natural spices with the lushness of flowers, ensuring a seamless harmony. And hidden beneath this floral tapestry is a whisper of caraway, earthy and slightly bitter, lending complexity and a dry contrast to the sweet heart.

Then, slowly, the warmth deepens into the true soul of the fragrance—the “new mown hay” itself. This effect blossoms from tonka bean, the seed from Dipteryx odorata trees of South America, whose natural coumarin content gives that unmistakable scent of freshly cut hay mingled with almond and tobacco. Guerlain, ever at the forefront of innovation, would later emphasize this note with the isolated synthetic coumarin, discovered in 1868, which intensified and clarified the hay accord, making it glow with radiance and longevity. Coumarin bridges the natural sweetness of vanilla and benzoin with the green dryness of oakmoss, creating an accord both fresh and enveloping. Vanilla and vanillin provide the golden, creamy sweetness that rounds the base, while styrax contributes a leathery balsamic tone and ambergris lends that elusive, animalic smoothness—soft, saline, and sensual.

Supporting these are the deep woods: Brazilian and Indian rosewood, prized for their reddish warmth and oily richness, exude a faint peppered sweetness through linalool and nerolidol; Indian sandalwood, with its creamy, lactonic santalol, adds a sacred, meditative depth that softens the spice and sweetness into a serene finish. Musk and civet bring a subtle animalic hum—sensual but never coarse—while patchouli adds its earthy, camphorous grounding, its patchoulol molecule giving the perfume a lasting resonance. A touch of thuja, dry and coniferous, recalls the crisp air of cut wood, linking back to the pastoral theme.

In the final dry-down, New Mown Hay becomes a harmony of opposites—both green and golden, airy yet rich. The interplay between natural extracts and early synthetics gives it a texture that feels alive: the coumarin heightens the sweetness of tonka and the dryness of hay; anisic aldehyde lifts the florals with a faintly spicy brightness; vanillin amplifies the creamy warmth of real vanilla. It is both the scent of sun-drenched fields and the polished refinement of a 19th-century salon. To experience it is to breathe in the poetry of a bygone era—an olfactory memory of nature, innovation, and the quiet sophistication of Guerlain’s art.

Bottles:

Starting in 1870, it was presented in the Carre flacon (square flacon) for parfum.

Fate of the Fragrance:

The fragrance has since been discontinued, though the exact date is unknown, it remained on sale at least until 1872. 

Avril en Fleurs c1883

Avril en Fleurs (1883) – The name translates from French as “April in Bloom.” Created by Pierre-François Pascal Guerlain, this fragrance was later reformulated by Jacques Guerlain in 1905. Still being sold in 1917, it was likely Guerlain’s interpretation of the highly popular floral scent “Spring Flowers,” given a distinctive name. Housed in elegant 19th-century flacons, it reflects Guerlain’s signature style of bright, fresh floral bouquets designed to evoke the renewal and fragrance of springtime..

Avril en Fleurs (“April in Bloom”), as described in the American Jewish Chronicle in 1917, evokes the essence of early spring with remarkable immediacy and clarity. The reviewer’s words paint a vivid olfactory landscape: at first sniff, one encounters the freshness of young, half-opened blossoms, their delicate petals conveying a soft, almost crinkly texture, like the tender leaves of newly sprouted plants. This gentle, floral aroma conjures the lightness and vitality of spring, a fragrance that feels alive with the season’s quiet energy.

The description emphasizes the airy, fleeting quality of the scent, akin to the impression of a light blue April sky, dotted with scurrying white clouds and carried on unexpected little breezes. It is not merely a perfume but an olfactory embodiment of nature’s awakening, capturing the freshness, purity, and optimism of early spring. Women of the period would likely have experienced Avril on Fleurs as both uplifting and elegant, a delicate reflection of renewal, femininity, and the intimate joy of stepping outdoors to witness the first blooms of the season.

In this way, the fragrance stands as a poetic interpretation of the landscape, using the soft sweetness of blossoms and tender greenery to evoke a time, place, and emotion that transcends the mere act of scent-wearing. It exemplifies the artistry of perfumers in translating visual and tactile impressions of nature into aromatic experiences, inviting the wearer to immerse themselves fully in a sensory memory of spring.

Fragrance Composition:

So what does it smell like? Avril en Fleurs is classified as an opulent floral oriental fragrance for women.

• Top notes: bergamot, sweet orange, cassie, rose, violet, sweet pea
• Middle notes: hyacinth, magnolia, seringa, geranium, rose, violet
• Base notes: verbena, vanillin, sandalwood, ambergris, civet, musk

Scent Profile:

Avril en Fleurs—its name alone feels like a sigh of spring. The phrase immediately conjures the tender, luminous rebirth of nature: the pale gold of sunlight filtering through young leaves, petals unfolding after a long winter, and the delicate hum of life awakening. Guerlain’s choice of this name (if we imagine it emerging from the house’s romantic lexicon) would have been deliberate—an evocation of freshness, femininity, and optimism. “April in Bloom” is both a literal image and a metaphor for womanhood itself—grace in renewal, beauty in full awakening, and sensuality budding beneath refinement.

When Avril en Fleurs was introduced, it would have reflected the sensibilities of its era—a time when perfumery celebrated lush naturalism and romantic femininity. The early-to-mid 20th century was defined by elegance and a longing for sophistication after periods of upheaval. Women’s fashion was shifting toward softness—bias-cut gowns, floral chiffons, and lighter, fluid silhouettes that embraced the natural form. This perfume, with its opulent floral oriental character, would have harmonized perfectly with that aesthetic. Perfumery at the time was steeped in the language of gardens and exotic allure, blending European refinement with hints of faraway sensuality. A perfume called Avril en Fleurs would have appealed deeply to women of the age—symbolizing youth and hope, yet enriched with an oriental warmth that hinted at passion beneath propriety.

To smell Avril en Fleurs is to experience a journey from morning to dusk in a perfumed garden. The opening bursts with bergamot and sweet orange, both sparkling and effervescent, the citrus oils releasing bright linalool and limonene molecules that awaken the senses. Their crisp freshness is softened by cassie—a golden, powdery mimosa note with almondy nuances from its natural benzaldehyde content—and the romantic hush of rose and violet. The sweet pea adds a fragile, pastel sweetness, airy and nostalgic, like petals caught on the breeze.

In the heart, the florals deepen into a heady symphony. Hyacinth brings a green, dewy coolness, while magnolia unfolds with creamy, lemony nuances—its linalool oxide lending both brightness and texture. Seringa, or mock orange, contributes a honeyed, jasmine-like sweetness that bridges the heart to the warmth of geranium, rose, and violet. The result is complex yet harmonious—a floral accord that feels alive, moving from fresh to voluptuous, innocence to seduction.

As it settles, Avril en Fleurs unveils its oriental soul. The base is warm and sensual, grounded in sandalwood—creamy, resinous, and softly smoky—enriched by the balsamic sweetness of vanillin and the marine-animalic nuance of ambergris. Civet adds a barely-there shadow of warmth and animal magnetism, while musk smooths the entire composition into a soft, tactile finish. A thread of verbena lingers from the top, brightening the heavier tones with its green, citrusy clarity. Together, they form a drydown that feels both intimate and expansive—like the scent of skin warmed by the afternoon sun among blooming flowers.

The phrase Avril en Fleurs interpreted in scent becomes a portrait of spring itself: a marriage of freshness and sensuality, of the earth’s awakening and human tenderness. In the context of its time, it would have been considered a sophisticated creation—aligned with the floral richness popular in perfumery, yet distinct for its luxurious oriental base. Where many floral perfumes of the era leaned toward the powdery or the romantic, Avril en Fleurs dared to be both—lush, radiant, and softly carnal beneath its bouquet of blossoms.

It is, ultimately, a perfume about transformation—the same transformation April brings to the world each year. A whisper of rebirth, a promise of beauty, and the fleeting magic of a moment suspended between innocence and desire.

Fate of the Fragrance:

Discontinued, date unknown. Still being sold in 1917.

Skine 1885

Skiné, launched by Guerlain in 1885 and created by Aimé Guerlain, takes its name from a city on the island of Crete — a place steeped in ancient mythology, where art, beauty, and ritual perfumery had flourished since antiquity. The name Skiné (pronounced “skee-nay”) is derived from the Greek language, evoking an aura of Mediterranean sunlight, sea breezes, and the mysterious allure of classical civilization. To 19th-century ears, the word sounded exotic and sophisticated, conjuring visions of distant shores, ancient temples, and the sensual warmth of Southern Europe. It was a name that promised escape — a scented journey to a land both historical and mythical.

The 1880s marked a period of innovation and elegance in Europe, known as the late Belle Époque, when refinement and artistic expression flourished. The industrial revolution had transformed daily life, and luxury goods became increasingly accessible to the upper and emerging middle classes. France, at the height of its cultural influence, looked outward for inspiration — toward the Orient, the Mediterranean, and the ancient world. The fascination with classical Greece and exotic locales permeated art, literature, and fashion. Thus, Guerlain’s choice of a Cretan name reflected both the era’s romantic fascination with travel and archaeology and its passion for ancient-inspired refinement.

Women of this era were embracing new expressions of femininity — poised yet worldly, graceful yet curious. A perfume called Skiné would have appealed to this modern sensibility: sophisticated women who sought to express culture, individuality, and taste through scent. The name’s Mediterranean association suggested warmth, sensuality, and a sunlit vitality — qualities that stood in contrast to the heavier, musky Victorian perfumes of previous decades. The allure of Crete, with its mythic associations with goddesses like Ariadne and Aphrodite, would have given Skiné an aura of divine femininity, subtly reinforcing the ideal of the cultured, radiant woman of the Belle Époque.

In scent, Skiné would likely have interpreted its name through a bright, resinous, and sun-warmed character, evoking the aromatic flora of the Mediterranean — citrus groves, herbs, and sweet balsams. The Guerlain style of the period often wove together natural essences with newly available synthetics to create perfumes of depth and longevity. It is plausible that Skiné contained such early materials — perhaps geranium, orange blossom, labdanum, or amber — harmonized in Aimé Guerlain’s meticulous balance of freshness and warmth.

Within the broader landscape of late 19th-century perfumery, Skiné stood at an interesting crossroads. Many perfumers were producing heavy floral bouquets or oriental fantasies, but Guerlain’s Skiné offered something more refined — a cultivated exoticism, not overpowering but evocative. It aligned with the contemporary fascination for faraway inspirations, yet it remained grounded in Guerlain’s tradition of elegance and restraint. As such, Skiné embodied both the adventurous spirit of its time and the timeless sophistication that would come to define Guerlain’s artistic legacy.

Fragrance Composition:

So what does it smell like? Skiné by Guerlain would likely open with a crisp, sunlit brightness, immediately evoking the warmth of the Mediterranean. The top notes would be lively yet gentle, with hints of bergamot, orange, or other citrus facets mingling with subtle green herbs like sage or rosemary, conjuring the freshness of Cretan hillsides kissed by morning light. This sparkling introduction would give the perfume an airy, invigorating quality, suggesting both vitality and refinement — a scent that feels alive yet elegantly restrained.

As the fragrance unfolds, the heart reveals a radiant floral bouquet, soft yet luminous. Notes of orange blossom, neroli, and geranium would emerge, carrying the delicate sweetness and subtle green facets of sun-drenched blossoms. These middle notes would be full-bodied without overwhelming, embodying a refined femininity that is both natural and sophisticated. One can imagine walking through a garden of white and pale pink blooms, the air rich with their gentle perfume, yet tempered by the warmth of the sun.

The base notes would provide depth and lingering sensuality, grounding the fresh and floral layers with amber, labdanum, and soft musks. These warm, resinous elements would conjure the sensation of sun-warmed stone and ancient Mediterranean landscapes, adding a subtle, enduring richness. The combination of lightness and warmth would create a perfectly balanced fragrance: one that is elegant, exotic, and evocative, transporting the wearer to a mythical, sunlit Crete, where history, beauty, and nature converge in radiant harmony.

Overall, Skiné would smell refined yet exotic, bright yet warmly sensual, capturing the essence of the Belle Époque fascination with distant lands and classical elegance, all while staying true to Guerlain’s artistry and craftsmanship.

Bottles:

Presented in the Carre flacon (parfum).

Fate of the Fragrance:

The exact date of its discontinuation is unknown. The perfume was still available for sale in 1896.

Musc c1836

Musc by Guerlain, created around 1836 or earlier by Pierre-François-Pascal Guerlain, stands among the earliest expressions of sensual refinement in French perfumery. The name Musc (pronounced “moosk”) is the French word for musk — a term that, even in the 19th century, carried an air of mystery and forbidden allure. Musk was synonymous with warmth, intimacy, and animalic sensuality; it evoked the soft whisper of skin and the secret trace of perfume left behind after a lingering embrace. For Guerlain to choose this name was to make a bold statement — to distill the essence of seduction itself into a bottle.

In the 1830s, Paris stood at the dawn of modernity. It was a time of burgeoning luxury, romanticism, and increasing fascination with the exotic. The city’s fashionable elite were enchanted by the Orient — a world imagined through fabrics, spices, and rare materials imported from faraway lands. Perfume followed this trend, moving away from the austere colognes of the 18th century toward compositions that were deeper, more emotive, and more personal. Guerlain’s Musc fit perfectly within this context. It was neither purely floral nor merely powdery; instead, it breathed warmth and depth, offering something almost tangible — a scent that clung to the skin and evolved with the body’s heat.

The word Musc would have stirred emotions of sensuality, mystery, and sophistication among women of the era. To wear such a perfume was to indulge in quiet rebellion — a contrast to the demure ideals of femininity still prevalent in early Victorian fashion. Its scent suggested something more private, intimate, and daring than the crisp citrus colognes or genteel violet waters that had dominated before. Musc translated the exotic allure of the East into a wearable form — a whispered promise of warmth and intrigue behind the silk and lace.

 

In terms of composition, Musc was a floral oriental, a structure that prefigured many of Guerlain’s later masterpieces. Its foundation rested on natural Tibetan musk, an ingredient so prized that it was worth its weight in gold. True musk, derived from the musk deer, carried complex layers of olfactory texture: at first, dark and animalic; then warm, velvety, and faintly sweet as it softened. It was this extraordinary evolution — from rawness to refinement — that made musk so revered. Guerlain’s artistry lay in balancing it with delicate floral notes and resins, tempering the animalic with grace.

During this era, musk perfumes were the height of sophistication, and nearly every perfumery offered its own version. Recipes for musk eaux de toilette and extraits appeared in the perfumers’ manuals of the day, each following a similar framework — musk blended with rose, jasmine, ambergris, and vanilla, lifted by citrus and softened with iris. Guerlain’s Musc, however, distinguished itself through its balance and subtlety. While others might have emphasized the raw, feral aspect of musk, Guerlain refined it, smoothing its edges into a scent that whispered rather than roared.

As the 19th century progressed and natural musk became increasingly rare, synthetic musks and aromachemicals such as nitromusks began to appear. These modern materials, developed toward the century’s close, allowed perfumers to replicate and even amplify the soft, powdery warmth of true musk. Guerlain would later incorporate these innovations seamlessly into his house style, ensuring continuity between natural luxury and modern science.

In its time, Musc was both timeless and trend-setting. It reflected the fascination with oriental warmth that defined 19th-century perfumery while anticipating the romantic sensuality that would characterize Guerlain’s later creations. To wear Musc in 1836 was to embrace a quiet, lingering intimacy — an invisible adornment as evocative as the rustle of silk or the flicker of candlelight on polished wood.

Fragrance Composition:

So what does it smell like? Musc by Guerlain is classified as a floral oriental fragrance.

• Top notes: Calabrian bergamot, Seville orange, Algerian cassie, Moroccan orange blossom, Provencal lavender, linalool
• Middle notes: Florentine orris, Grasse jasmine, Turkish rose, French geranium, geraniol, Portuguese tuberose, Zanzibar clove, Indonesian patchouli
• Base notes: Mexican vanilla, vanillin, Siam benzoin, South American tolu balsam, Tibetan musk, musk ketone, musk xylene, Abyssinian civet, Canadian castoreum, ambergris, Indian musk ambrette seed, Levantine storax, styrax, Mysore sandalwood

Scent Profile:

To smell Musc by Guerlain is to experience one of perfumery’s earliest and most evocative love letters to sensuality — a composition that breathes warmth, texture, and a whisper of the exotic. It opens with a luminous interplay of citrus and herbs, moves into the tender pulse of flowers and spices, and settles finally into the velvet shadows of musk, resin, and wood. Each ingredient feels carefully chosen not merely for its scent, but for its ability to tell part of a story — a story of contrast, refinement, and slow-blooming intimacy.

The first breath is radiant — a shimmer of Calabrian bergamot and Seville orange. Bergamot from Calabria, grown on the sun-warmed slopes of southern Italy, is prized for its perfectly balanced profile: not as sharp as lemon, not as sweet as orange, but a golden equilibrium between the two. Its key aroma molecules — linalyl acetate and linalool — provide a brisk yet velvety freshness, while a trace of coumarin lends a faint hay-like warmth beneath the sparkle. The Seville orange, more bitter and resinous, brings a tart, green brightness that immediately recalls sunlight filtering through citrus groves. The combination is vibrant and alive — citrus with soul.

This brightness is softened by Algerian cassie — the acacia flower — which releases a tender, powdery aroma reminiscent of mimosa but deeper, more honeyed. Its natural ionones and methyl salicylate add both a floral powderiness and a balsamic undertone, linking the freshness above to the sensuality that waits below. Moroccan orange blossom follows, richer and more intoxicating than its Spanish cousin, filled with nerol and linalool, two molecules that lend the creamy, almost narcotic sweetness of white petals warmed by the sun. Around it, Provençal lavender drifts in softly, clean yet herbaceous, with its camphoraceous facets rounding out the brightness and hinting at the more complex musky base to come.

Then, the perfume deepens into its floral heart — an orchestra of textures. Florentine orris, perhaps the most luxurious ingredient in classical perfumery, gives a cool, powdery note that feels like silk against the skin. Its buttery, violet-like scent comes from irones, the molecules responsible for orris’s famously melancholic elegance. Grasse jasmine, warm and narcotic, exudes sweetness touched with indoles — natural compounds that lend an animalic whisper, transforming simple floral beauty into something living and carnal. Alongside it blooms Turkish rose, lush and honeyed, with citronellol and geraniol lending both clarity and depth.

French geranium cuts through with green brightness — rosy yet minty — a precision note that brings lift to the blend. Its high geraniol content makes it a perfect bridge between the citrus and floral elements. Portuguese tuberose, heavy and creamy, pulses with methyl benzoate and indole, its scent at once narcotic and fleshy, conjuring moonlit gardens and whispered confessions. Zanzibar clove lends warmth and spice, its eugenol radiating a slow, sensual heat that entwines itself around the petals. Indonesian patchouli, earthy and woody, grounds this lush bouquet — its patchoulol-rich oil providing both coolness and shadow, like damp earth beneath a carpet of flowers.

As the perfume settles, it transforms — growing richer, darker, and infinitely more intimate. The base is where Musc fully reveals its name. A tapestry of musks and resins unfolds: Tibetan musk, in its natural form, is profoundly animalic — warm, leathery, with the faintest sweetness reminiscent of skin. Guerlain amplifies this natural sensuality through musk ketone and musk xylene, early synthetic musks that add radiance and diffusion, allowing the deep animal warmth to feel softer, more rounded, and infinitely smoother on the skin.

From here, the balsams begin to glow. Mexican vanilla, rich in vanillin, adds creamy sweetness, harmonizing with Siam benzoin and South American tolu balsam, whose resinous warmth brings ambered, honeyed depth. These materials contain natural benzoic acid esters that enhance the perfume’s longevity and give that characteristic Guerlain warmth — a precursor to the Guerlinade accord that would later define the house. Levantine storax and styrax contribute a slightly smoky, leathery undertone, binding the sweetness to the musks.

The animalics — Abyssinian civet, Canadian castoreum, and ambergris — breathe life into the base, giving the perfume its almost human warmth. Civet contributes a creamy, soft animalic nuance; castoreum adds a leathery sensuality; ambergris, with its natural ambrein content, gives a marine smoothness and lasting radiance that lifts the dense base into the air. Indian ambrette seed, the plant-based musk, lends a fruity, slightly floral warmth that softens the raw animal notes, ensuring the perfume’s finish is seductive rather than overwhelming. Finally, Mysore sandalwood, with its high santalol content, melts everything together — creamy, woody, and sacred — a serene counterpoint to the primal hum of musk.

In the end, Musc feels alive — the olfactory equivalent of bare skin brushed by silk and warmed by firelight. It begins in radiance and ends in shadow, a scent that breathes and evolves, both intimate and eternal. Each note, whether natural or enhanced by synthesis, exists not in isolation but in perfect harmony, creating a fragrance that is at once animal and angelic, carnal and refined — the true embodiment of Guerlain’s early mastery of sensual beauty.

Bottle:

It was housed in the carre flacon starting in 1870.

Fate of the Fragrance:

Discontinued, date unknown. It  remained on sale at least until 1914.

Bridal Bouquet c1830

Bridal Bouquet by Guerlain, first introduced in the 1830s, bears a name that instantly conjures images of romance, purity, and celebration. The phrase “Bridal Bouquet" comes from English and French roots—bouquet meaning a collection or arrangement of flowers. The name evokes not just a literal armful of blossoms, but the very essence of nuptial joy: the scent of fresh blooms carried through a sunlit chapel, the rustle of silk, the warmth of candlelight, and the soft tremor of anticipation before a vow. It suggests an idealized femininity—graceful, delicate, and radiant—qualities highly prized in the early Victorian imagination.

The 1830s was a decade of transition in both fashion and society. This was the Romantic era, when sentiment and beauty were woven deeply into daily life. Women’s fashions were defined by voluminous skirts, narrow waists, and floral adornments—often symbolic of virtue or emotion. Weddings became grand public spectacles, their rituals increasingly codified and sentimentalized. In perfumery, the early 19th century marked a move away from the heavy, resinous animalic compositions of the previous century toward lighter, more floral fragrances. The growing popularity of orange blossom, myrtle, jasmine, and rose—traditional symbols of purity and love—reflected these changing ideals.

A perfume called Bridal Bouquet would have resonated deeply with women of the time, representing not only the fragrance of a wedding day but also the social ideal of womanhood—innocence touched with quiet sensuality. The concept would have felt both aspirational and familiar: a scent meant to embody love’s promise, not just its ritual. Its floral heart, likely centered around orange blossom (the traditional bridal flower), rose, jasmine, and lily, would have captured the fresh, dew-kissed aroma of a bridal wreath, while soft notes of spice and amber would suggest the warmth of marital devotion and enduring affection.

 

By the time Guerlain may have reintroduced Bridal Bouquet in 1879 to celebrate the marriage of Princess Margaret of Connaught to Prince Gustaf Adolph of Sweden, the name carried royal as well as romantic associations. The perfume thus bridged eras—it retained the sentimental innocence of early Romantic perfumery while embracing the growing complexity and refinement of late 19th-century fragrance composition.

Classified as a spicy floral oriental, Bridal Bouquet embodied both the charm of Victorian femininity and the richness of Guerlain’s early craftsmanship. The blend of heady florals, warm balsams, and subtle spice reflected the house’s evolving sophistication, standing at the intersection of tradition and innovation. While many perfumers of the time offered similarly themed “bridal” fragrances, Guerlain’s interpretation likely stood apart for its emotional depth and balance—floral purity enlivened by a whisper of sensual warmth.

In scent, Bridal Bouquet would have evoked the very heart of a wedding day: the crisp freshness of morning air, the delicate powder of petals, and the faint trace of warmth as candlelight flickers over silk and lace. It was less a perfume and more a memory made tangible—an olfactory portrait of innocence and promise, created to last long after the bouquet had faded.

Fragrance Composition:

So what does it smell like? Bridal Bouquet is classified as a spicy floral oriental fragrance for women

• Top notes: bergamot, Portugal neroli petale, cassie, coriander 
• Middle notes: pimento, lavender, jasmine, rose, geranium, tuberose, orange blossom 
• Base notes: orris, civet, ambergris, musk, benzoin, sandalwood, vanilla, storax

Scent Profile:

Bridal Bouquet by Guerlain, classified as a spicy floral oriental, opens with a radiant cascade of bergamot, Portugal neroli petals, cassie, and coriander. The bergamot, sourced from the sun-drenched groves of Calabria in southern Italy, releases a sparkling citrus freshness tinged with green and slightly bitter facets, thanks to its high concentration of limonene and linalyl acetate. The Portugal neroli petals—the essence of bitter orange blossoms—bring a delicate floral sweetness with subtle honeyed facets and a gentle green lift, distinguishing them from other neroli varieties by their particularly luminous and refined aroma. 

Cassie, derived from the flowering acacia tree, offers a rich, slightly powdery floral warmth, composed primarily of ionones and farnesol, which enhances the sophistication of the top notes. Coriander seeds add a piquant, slightly spiced citrus undertone, the aldehydes and linalool providing a crisp lift that balances the floral effervescence. Together, these notes form an inviting prelude—bright, aromatic, and subtly spiced.

As the perfume settles, the heart reveals pimento, lavender, jasmine, rose, geranium, tuberose, and orange blossom, crafting a lush, floral tapestry. The pimento (allspice) imparts a warm, cinnamon-like spiciness, with eugenol and chavicol giving depth and resonance to the florals. Lavender, with its French or Provençal origin, contributes a clean, herbal lift, dominated by linalool and linalyl acetate, which harmonizes beautifully with the sweet, narcotic richness of jasmine from Egypt or India. 

Rose, likely Bulgarian or Turkish, offers a heady, velvety floral complexity, full of geraniol, citronellol, and phenylethyl alcohol, which together create a familiar romantic heart. Geranium brings a green, slightly minty facet that sharpens the floral bouquet, while tuberose introduces creamy indolic richness, its molecules of methyl anthranilate and hydroxycitronellal deepening the sensuality. Orange blossom returns in the middle notes, reinforcing the floral sweetness while maintaining the airy elegance of the composition. Each floral note is carefully layered, creating a living, breathing garden of scents that is both opulent and balanced.

The base of Bridal Bouquet grounds the fragrance with orris, civet, ambergris, musk, benzoin, sandalwood, vanilla, and storax, offering warmth, depth, and lasting power. Orris root, the dried rhizome of Iris germanica, provides a powdery, violet-like nuance, distinguished by its soft, woody iris ketones that bring elegance and dry complexity. Civet, sourced historically from African or Indian civet cats, lends a subtle, animalic warmth that enhances the sensuality of the composition without overpowering it. Ambergris contributes a marine, slightly sweet balsamic richness, while musk adds a clean, enveloping warmth. 

Benzoin, originating from Siam or Laos, releases a vanilla-like balsamic sweetness rich in benzoic acid, harmonizing beautifully with natural vanilla from Madagascar or Mexico. Sandalwood, especially Mysore or Australian, adds a creamy, soft woodiness, laden with alpha- and beta-santalol, which rounds out the base with elegance. Finally, storax, a resin from Styrax trees, imparts a warm, balsamic, slightly cinnamon-like undertone that enriches the oriental character of the perfume. Synthetic elements like vanillin and modern aroma compounds accentuate these natural raw materials, enhancing their longevity and projection while emphasizing the nuances of creaminess, warmth, and sweet balsamic depth.

Experiencing Bridal Bouquet first-hand is like walking through a sunlit conservatory filled with freshly gathered flowers, warmed by sunlight and touched with faint spices. The opening is bright and invigorating, the heart floral and intoxicating, and the base deep, sensual, and enduring—a perfect olfactory metaphor for a wedding bouquet, celebrating romance, elegance, and timeless femininity.

Bottles:

Presented in the classic Carré flacon (parfum).

Fate of the Fragrance:

Discontinued, date unknown. It was still being sold in 1879.

Tillia Microphilla 1848

Tillia Microphilla by Guerlain, launched in 1848 as part of the prestigious Jardin d’Hiver Collection, embodies the delicate elegance of a linden tree in full bloom. The name itself is a careful blend of Latin and botanical reference: Tilia, the genus of the linden or lime tree, evokes soft, sun-dappled leaves and gentle floral aroma, while microphilla, meaning “small-leaved,” hints at refinement, subtlety, and an intimate, restrained beauty. Pronounced as “TIL-ee-a MY-cro-FIL-la,” the name conjures images of serene garden walks under graceful, fragrant linden canopies, gentle sunlight filtering through small leaves, and an air of quiet sophistication. The combination of classical nomenclature and botanical reference reflects the 19th-century French fascination with science, nature, and scholarly pursuits, making even the name itself a symbol of refinement.

In the context of its fragrance, Tillia Microphilla is a floral oriental that captures the airy, softly sweet aroma of linden blossoms, evoking a sense of comfort and tranquility. The scent likely opens with bright, green facets reminiscent of tender leaves, mingling with a delicate floral heart that recalls honeyed and slightly powdery blooms. Women of the period, living amidst the grandeur of mid-19th-century Parisian salons, would have appreciated the perfume’s understated elegance and the way it suggested both cultivation and natural beauty. Its scent can be imagined as a tender caress: fresh yet warm, softly floral with hints of honey and gentle sweetness that evoke sunlit afternoons in a private garden.

The mid-19th century in which Tillia Microphilla was launched was a period of refinement and innovation in perfumery, with aristocratic women seeking fragrances that demonstrated sophistication and good taste without overpowering the senses. The perfume’s subtle floral oriental character placed it among the more elegant, nuanced creations of the time, balancing natural linden blossom aroma with hints of resins, balsams, and musks often found in oriental compositions. In a market dominated by heavier, musk- and amber-rich scents, Tillia Microphilla would have stood out for its delicate elegance and light, airy interpretation of floral oriental, offering a quiet, refined statement rather than overt opulence. It was a fragrance for the woman who appreciated subtlety, scientific curiosity, and the beauty of nature distilled into the art of perfumery, encapsulating the 19th-century pursuit of luxury, culture, and understated refinement.

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: bergamot, lemon, petitgrain, cassie, anise aldehyde, blue chamomile, linden blossom, linaloe
• Middle notes: jonquil, heliotropin, hyacinthine, jasmine, African geranium, geranyl formate, clove
• Base notes: terpineol, musk, musk ketone, Bourbon vanilla, vanillin, benzoin, civet, ambrette, ambergris, coumarin

Scent Profile:

Tillia Microphilla unfolds as a floral oriental of rare refinement, capturing the nuanced elegance of mid-19th-century French perfumery. At first breath, the top notes reveal a sparkling citrus heart: Italian bergamot and sunny Sicilian lemon open the fragrance with a bright, zesty clarity, their essential oils rich in limonene and linalyl acetate, lending freshness and a slightly green nuance. Petitgrain, distilled from the tender leaves and twigs of the bitter orange tree, adds an herbaceous, subtly woody layer, contrasting with the powdery sweetness of cassie, a delicate acacia-derived note that brings a light, honeyed floral nuance. 

The airy, herbal facets are heightened by anise aldehyde, providing a soft, licorice-like brightness that teases the senses, while blue chamomile, known for its origin in Egypt and unique azulene content, gives a gentle, sweet-woody calmness. Linden blossom—Tilia microphilla itself—emerges with its honeyed, floral elegance, subtly enhanced by linaloe’s soft, balsamic-wooded aroma, rounding the opening with a refined warmth.

The heart of the fragrance is a complex, opulent floral bouquet. Jonquil and jasmine create a creamy, intoxicating floral richness, with their natural coumarin and indole compounds offering both warmth and sensuality. Heliotropin (synthetic), with its characteristic almond-vanilla facet, amplifies the soft powdery sweetness of the floral heart, echoing the natural warmth of the flowers. Hyacinthine adds a watery freshness, reminiscent of early spring blooms, balancing the creaminess. African geranium, prized for its particularly rosy and slightly green nuance, is heightened by geranyl formate, which enhances its fruity-floral vibrancy. Clove contributes a subtle spicy warmth, with eugenol lending a natural piquancy that harmonizes with the floral opulence.

As the perfume dries, the base notes unfold with a rich oriental depth. Terpineol offers a soft, lilac-like warmth that bridges the heart to the foundation of musks—natural, ambrette, and synthetic musk ketone—which provide a velvety, enveloping sensuality. Bourbon vanilla and vanillin contribute creamy sweetness, perfectly complementing the balsamic richness of benzoin and tolu balsam. Civet and ambergris, long treasured in 19th-century perfumery, give an animalic warmth that is both subtle and compelling, while coumarin and tonka-like facets evoke a powdered, slightly nutty creaminess. The overall effect is an elegant floral oriental that is both fresh and deeply sensual, harmoniously balancing bright citrus and delicate florals with opulent, resinous, and musky depths—a fragrance that would have epitomized refinement, sophistication, and the delicate power of 19th-century haute parfumerie.

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."

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."