Flacon Bouchon Coeur (Heart Shaped Stopper) c1912-Present

The Flacon Bouchon Cœur (Heart-Shaped Stopper Bottle), first introduced around 1912, remains one of Guerlain’s most enduring and romantic perfume presentations. Originally created to hold extraits of L’Heure Bleue, Fol Arôme, and later Mitsouko, the design became an icon of the house, instantly recognizable for its curving silhouette and distinctive heart-shaped stopper. Over the years, its enduring appeal has ensured its continued use, reappearing for limited and special editions such as La Petite Robe Noire, Mitsouko Fleur de Lotus, and Shalimar.

The bottle was designed by Raymond Guerlain in collaboration with the master glassmaker Baccarat, combining a refined sense of Art Nouveau elegance with the precision of early 20th-century French crystal craftsmanship. Its softly curved shoulders and symmetrical lines lead gracefully upward to the stopper, whose two opposing scrolls join to form a stylized heart. This romantic touch symbolized both the emotional pull of perfume and the house’s intimate connection to its clientele, turning each flacon into a small work of art.

Throughout its long production, the Flacon Bouchon Cœur has been manufactured by several renowned glassmakers, including Baccarat, Pochet et du Courval, Verreries Brosse, Cristalleries de Nancy, and Cristal Romesnil. While subtle differences in glass quality and finish exist between these manufacturers, the essential design has remained remarkably faithful to Raymond Guerlain’s original vision, a testament to its timelessness.

Still in production today, more than a century after its debut, the Flacon Bouchon Cœur bridges Guerlain’s rich past with its modern identity. Whether cradling legendary classics like L’Heure Bleue or dressing contemporary editions in historic finery, it continues to embody the romance, artistry, and heritage at the very heart of Guerlain.

Baccarat:

• 37ml/1.25 oz - 4"
• 40ml/1.35 oz - 9,5cm/3.74" (1912, updated edition in 1947)
• 50ml? - 10.8 cm/4.2" - (1911)
• 74ml/2.5 oz - 4.50"
• 80ml/2.77 oz - 11,8cm/4.65" (1912, updated edition in 1947)
• 80ml/2.5 oz - 4.75" (1947)
• 3 oz - 5"
• 119ml/4 oz - 5.25"
• 5.50"
• 125ml/4.2 oz - 13,8cm/5.43" (1912, updated edition in 1947)
• 236ml/8 oz - 6"
• 250ml/8.4 oz - 16,5cm/6.5" (1912, updated edition in 1947)
• 500ml/16.9 oz - 20cm/7.87" (1912, updated edition in 1947)
• 1 liter/1000ml - 24,5cm/9.65" (1912, updated edition in 1947)

Other manufacturers:

• 7,5ml/1.25 oz - 6cm/2.36" (1984) : plastic stopper
• 10ml/0.388 oz - (1954) : ground glass stopper
• 15ml/0.5 oz - 7cm/2.76" (1979) : plastic stopper
• 20ml/0.676 oz - 8,2cm/3.23" (1935) : ground glass stopper, changed to plastic in 1968
• 30ml/1 oz - 9,2cm/3.62" (1924) : ground glass stopper, changed to plastic in 1960
• 37ml/1.25 oz - 4.50"
• 50ml/1.7 oz - 10,3cm/4.06" (1930) : ground glass stopper
• 60ml/2 oz - 13,4cm/5.28" (1962) : ground glass stopper, changed to plastic
• 85ml/2.87 oz - (1911) : changed to 80ml in 1929
• 125ml/4.2 oz 16.5cm/6.49"- (1911)
• 250ml/8.4 oz - (1911)
• 500ml/16.9 oz - (1911)

Flacon Borne (Boundary Stone) c1931- 1960s

The Flacon Borne (Boundary Stone Bottle), produced from around 1931 into the 1960s, is one of Guerlain’s most distinctive and architectural perfume presentations. Made by Pochet et du Courval, the design was intended for Guerlain’s most prestigious extraits, including Shalimar, Mitsouko, Jicky, L’Heure Bleue, Sillage, and others. Its form was inspired by the stone boundary markers that lined the roads of France, a fitting symbol for Guerlain’s role as a guiding landmark in the landscape of French perfumery.

The original version, introduced in 1931, held 82 cc (82 ml / 2.7 oz) of extrait and measured 10.5 cm (4.13") tall. Crafted in clear glass, the flacon was strikingly ornamented with a bold cobalt blue enamel band running down its center, a vertical accent that emphasized the bottle’s strong geometry. The stopper added to the originality of the design: a ground blue glass piece truncated into the shape of a French policeman’s cap (képi), lending the bottle a distinctly modern, masculine touch that contrasted with the softness of the perfumes inside. This juxtaposition of strength and refinement made the Flacon Borne a memorable and collectible design of its era.

During World War II, the bottle underwent a simplification. The wartime version was produced entirely in clear glass, with the cobalt blue enamel band omitted, likely due to shortages of materials and the general austerity of the period. Even without its colorful accent, the bottle retained its powerful architectural presence, reflecting Guerlain’s ability to adapt its luxurious presentations to the realities of the time.

The Flacon Borne thus represents both stability and adaptability within Guerlain’s history. Its bold, columnar form made it instantly recognizable, while its variations tell the story of the house navigating prosperity, war, and recovery. Today, it remains a striking example of Guerlain’s collaboration with Pochet et du Courval and a cherished collectible that embodies both Art Deco modernism and mid-20th-century resilience.

The original version: with a blue band and stopper, base molded with "Guerlain - Paris - France", and fitted with red, white and blue paper label, and matching cardstock box covered in red, white and blue paper.

The version made during WWII: with a clear glass band and fitted with the black, white and red Marley horse labels identical to those on the "Guerre Flacons." Housed inside of the blue "temporary" design box.

Sizes:

Pochet et du Courval produced one mould:

• Mould #14738 = 82cc/82ml/2.7 oz - 10,5cm/4.13" (1931), ground blue glass truncated stopper in the shape of a French policeman's cap. 
• World War II Version, all clear glass, without cobalt blue band, clear round blown glass stopper.

Scents: 

• A Travers Champs
• Bouquet de Faunes
• Candide Effluve
• Champs Elysees
• Coque d'Or
• Fleur de Feu
• Fleur Qui Meurt
• Gardenia
• Gavotte
• Geranium d'Espagne
• Guerlilas
• Guerlinade
• Imperial Russe
• Jasmin
• Jasmiralda
• Jicky  
• Kadine
• Kriss
• L'Heure Bleue
• Lilas
• Liu
• Mitsouko
• Shalimar 
• Tsao-Kao
• Vague Souvenir
• Vega
• Verveine 

Flacon Amphore (Amphora) c1955-1982

The Flacon Amphore, produced between 1955 and 1982, is one of Guerlain’s most recognizable and enduring perfume bottles. Its origins trace back to the launch of Ode in 1955, when the design was first introduced as the “Ode” flacon. Baccarat produced the earliest examples in two sizes, 40cc and 80cc, both under mould #816. The bottle itself was a delicate composition of clear crystal with frosted drapery accents, capped with a ground glass stopper molded into the shape of a rosebud. The presentation was equally refined: Draeger, a renowned Parisian design house, created exquisite floral illustrations that adorned the silk-covered boxes, available in both flat and hatbox styles.

Following the success of Ode, Guerlain adapted and slightly modified the “Ode” bottle into a standard design that would come to be known as the “Amphora” flacon. This version was produced over several decades and used for a wide variety of Guerlain extraits, including Shalimar, Mitsouko, Jicky, L’Heure Bleue, Liu, Chant d’Aromes, Muguet, Chamade, Sous le Vent, Vol de Nuit, and others. Production was not limited to Baccarat alone; over the years, the amphora was manufactured by five major glassworks: Baccarat, Pochet et du Courval, Saint-Gobain Desjonqueres, the Romesnil glassworks, and Brosse. Baccarat’s original moulds set the precedent, but subsequent variations were introduced to accommodate broader production.

The presentation boxes reflected Guerlain’s tradition of aligning packaging aesthetics with the character of each fragrance. While Ode retained Draeger’s original floral silk-covered designs, other perfumes housed in the Amphora flacon were sold in flat boxes decorated with motifs and colors specific to the scent: pink and green for Chant d’Aromes, parquet-patterned for Mitsouko and L’Heure Bleue, and bold zebra striping for Sous le Vent. In some instances, perfumes were presented in a standard coffee-bean patterned box, a recurring Guerlain motif of the era.

The labels used on the Amphora flacon also varied but remained distinctive. The most iconic is the gold-foiled “bat-wing” paper label, identical in design to the one first used on Ode bottles, though slightly adjusted in size (2.2cm x 0.4cm). Other examples include black-and-white demi-lune labels, similar to those employed for the Stilboide Fluide. These subtle but thoughtful variations in labeling and presentation highlight Guerlain’s enduring dedication to detail and luxury, ensuring that the Amphora bottle remained both versatile and unmistakably elegant throughout nearly three decades of production.

Sizes:

Baccarat Flacons:

• Mould #816 = 40cc/40ml/1.35 oz - 14,5cm/5.71" (1955) 
• Mould #816 = 80cc/80ml/2.7 oz - 18,3cm/7.2" (1955)

 Pochet et du Courval:

• Mould #18691 = 15cc/15ml/0.5 oz - 11.5cm/4.53" (1959) ground glass rosebud shaped stopper, changed to plastic rosebud screwcap in 1978. 
• Mould #18151 = 20cc/20ml/0.676 oz - 11.5cm/4.53" (1955): frosted drapery, transparent or gold screw cap.
• Mould #18140 = 30cc - 12.5cm  (1955) frosted drapery, ground glass stopper 

Saint-Gobain Desjonqueres:

• Mould #52097 = 15ml - 11.5cm (1978) plastic screw stopper, base engraved "Guerlain - Bottle Made in France"

Bottles:

Scents:

• Apres L'Ondee
• A Travers Champs
• Atuana
• Chamade
• Champs Elysees
• Chant d’Aromes
• Chypre 53
• Dawamesk
• Fleur de Feu
• Geranium d'Espagne
• Heliotrope
• Jasmin
• Jicky 
• Kadine
• L’Heure Bleue
• Liu 
• Mitsouko
• Mouchoir de Monsieur
• Muguet  
• Ode
• Parure
• Rue de la Paix
• Shalimar
• Sous le Vent
• Une Rose
• Vega
• Verveine
• Vetiver
• Vol de Nuit 

Flacon Vinaigrier Ottoman (c1870s-1915?)

The Flacon Vinaigrier Ottoman, created for Guerlain around the 1870s and produced until roughly 1915, is one of the most exceptional and rare perfume presentations of the house. Made by the master glassmaker Pochet et du Courval, the bottle is remarkable for its amphora-like silhouette, recalling ancient vessels once used to store precious oils and elixirs. Its design captures the 19th-century fascination with Orientalist themes, translating them into a luxurious object that blended historical inspiration with the decorative tastes of the Belle Époque.

Standing an impressive 21 cm tall, the flacon features a cylindrical section that expands into a lobed, bulbous belly before tapering into a tall funnel neck. This dramatic profile is further enhanced by the rich surface decoration: hand-painted, polychrome enamel designs in olive green, red, and deep blue, all intricately accented with gilt. The stopper, too, is finely ornamented, continuing the theme of opulence and artisanal detail. Each example was individually enameled by hand, meaning no two bottles were identical, and their elaborate decoration elevated them beyond mere perfume containers into the realm of art glass.

Because of the time and craftsmanship involved, the Vinaigrier Ottoman was offered only by special order, making it an object of privilege and exclusivity even in its own day. Its rarity is compounded by the fragile nature of the painted enamels and the limited numbers produced. Today, surviving examples are considered treasures of Guerlain’s early history—testimonies not only to the artistry of Pochet et du Courval but also to Guerlain’s longstanding commitment to pairing its fragrances with bottles of extraordinary beauty and cultural resonance.

Flacon Aigle (Eagle) c1985-1993

The Flacon Aigle (Eagle Bottle), produced between 1985 and 1993, was an exclusive design created to house Guerlain’s distinguished men’s fragrance Derby. Manufactured by the renowned French glassmaker Pochet et du Courval, the bottle embodied both strength and refinement, qualities that perfectly mirrored the character of the scent it contained. Its name, “Aigle,” directly references the eagle—an enduring symbol of power, nobility, and freedom—which lent the flacon a distinctly masculine identity.

Reserved solely for Derby, the Flacon Aigle became inseparable from the fragrance itself, marking it as a connoisseur’s choice within Guerlain’s masculine range. The design’s exclusivity emphasized Derby’s special position in the house’s catalog, distinguishing it from other Guerlain releases of the time. Although produced for less than a decade, the Flacon Aigle remains a notable example of Guerlain’s collaboration with Pochet et du Courval, uniting heritage glassmaking with evocative symbolism to create a vessel that was as striking and dignified as the fragrance it carried.

• 50ml/1.7 oz - 9,3 cm/3.66" (1983) 
• 100ml/3.4 oz - 11,5 cm/4.53" (1983) 
• 200ml/6.7 oz - 14,2 cm/5.59" (1983) 
• 500ml/16.9 oz - 19 cm/4.48" (1983)

 

Flacon Abeilles (Bees) - c1828 - Present

The iconic Flacon Abeilles, or “Bee Bottle,” was originally designed for Guerlain’s Eau de Cologne Impériale, created in 1853 for Empress Eugénie, the wife of Napoleon III. Produced by the distinguished glassmaker Pochet et du Courval, the bottle was instantly recognizable for its exquisite decoration: a field of raised bees, the emblem of the Napoleonic dynasty. The bee, symbolizing immortality and resurrection, had long been associated with power and sovereignty in France, and its adoption for the Empress’s personal fragrance gave the design both political and poetic resonance. Over time, this imagery was so closely tied to Guerlain that the bee became the house’s enduring emblem, still in use today.

The Flacon Abeilles was primarily used to hold eaux de cologne and eaux de toilette, emphasizing freshness, lightness, and daily luxury. Beyond its historic symbolism, the bottle carried with it a sense of personalization and exclusivity. Clients could commission their own monogram to be engraved on the glass, transforming the flacon into a bespoke possession. For those desiring an even greater touch of luxury, the bees themselves could be highlighted in gilded enamel, turning the bottle into a dazzling jewel-like object, suitable for display on a lady’s dressing table.

Elegant, historic, and infinitely adaptable, the Flacon Abeilles quickly transcended its original function. What began as a bespoke gift for an empress evolved into one of the most recognizable icons of French perfumery, embodying Guerlain’s artistry and deep connection to heritage. It remains not only a vessel for fragrance but also a lasting symbol of refinement and continuity within the house’s history.

• 125cc/125 ml/4.23 oz - 14 cm/5.15" (1947), ground ball stopper, then changed to plastic in 1982
• 250cc/250 ml/8.4 oz - 16 cm/6.3" (1947), ground ball stopper, then changed to plastic in 1982
• 500cc/500 ml/16.9 oz - 20 cm/7.87" (1947), ground ball stopper, then changed to plastic in 1982
• 1 liter/1000 ml - 23,5 cm/4.3"-9.25" (1853), truncated ground stopper, then changed to ball shape in 1947
• 2 liter/2000 ml - 31cm/8.27"-12.2" (1920), truncated ground stopper, then changed to ball shape in 1947
• In 1962, a cobalt prototype or limited edition was released, only for that year.

Since the 1990s, Guerlain has modernized the Flacon Abeilles to suit contemporary tastes and practical needs, adapting the historic design to accommodate spray mechanisms. While the silhouette and signature raised bees remain somewhat faithful to the 1853 original, the interior structure of the bottle was discreetly reworked so that it could be fitted with atomizers, allowing for a more convenient and controlled application of perfume. This evolution ensured that the Flacon Abeilles could continue to serve as both a symbol of Guerlain’s heritage and a functional object for modern consumers. The modification preserved the elegance and prestige of the design, while making it compatible with the way fragrance is most often worn today. In this way, Guerlain successfully bridged tradition and innovation, keeping an icon of 19th-century perfumery relevant well into the 21st century.

Aide Memoire

Below is a paragraph-by-paragraph English translation and interpretive description of the poetic promotional text titled "AIDE MÉMOIRE"—a lyrical, dreamlike ode to Guerlain perfumes from the Revue des Deux Mondes, issue of December 15, 1923, likely published as part of a holiday campaign. All perfume names are preserved in their original French, with English translations provided in parentheses.

Translation and Interpretation:

"Feet resting on the andirons and cozily nestled near the hearth, I dozed off the other evening and began to dream: It was "Après l’Ondée" (After the Rain Shower), with the soothing freshness of "Mi Mai" (Mid-May). I had sat down in the "Jardin de Mon Curé" (My Parish Priest’s Garden), on an old stone bench, and near a fountain aged and moss-covered, there frolicked (why had it come here?) an entire "Bouquet du Faunes" (Bouquet of the Fauns)." 

This opening sets a poetic scene: the narrator is daydreaming by the fire and transported into a romantic, fragrant reverie shaped entirely by Guerlain perfume names. Each scent evokes a place, a feeling, or a sensory moment. “Après l’Ondée” suggests the damp, floral calm after rainfall ripe with petrichor, while “Mi Mai” places the dream in springtime. The “Jardin de Mon Curé” invokes rustic innocence, and “Bouquet du Faunes” adds a mythical, mischievous touch—a nod to Guerlain’s more whimsical or nature-inspired blends.

"In the distance, on an old harpsichord, someone was playing an old-fashioned tune—a "Gavotte" from "Bon Vieux Temps" (The Good Old Times). It was "L’Heure Bleue" (The Blue Hour), that exquisite moment when, "Quand vient l’Été" (When Summer Comes), one likes to dream a little—an hour made "Pour Troubler" (To Disturb) the heart."

This paragraph is rich in nostalgia. “L’Heure Bleue,” one of Guerlain’s most famous perfumes, symbolizes twilight’s melancholic beauty. A gentle harpsichord plays the “gavotte,” a medium-paced French dance, popular in the 18th century, further enveloping the scene in an old-world charm. “Quand vient l’Été” and “Pour Troubler” conjure romantic yearning, suggesting the way scents stir memory and emotion at dusk.

"Surrounded by "Pois de Senteur" (Sweet Peas), "Verveine" (Verbena), and "Jasmin de Siam" (Jasmine of Siam), "Une Rose" (A Rose) bloomed at my side, and the perfume of a "Fleur Qui Meurt" (Dying Flower) floated toward me like an enchanting "Sillage" (Scent Trail)."

This passage bathes the reader in a lush, floral landscape. Guerlain perfumes personify the garden: sweet peas and jasmine add heady brightness, while “Fleur Qui Meurt” adds a note of decay—perhaps a dying beauty, underscoring how even faded fragrances have a haunting elegance. The term “sillage” is particularly poignant here, as it refers to the lingering scent trail left by perfume.

"Then, like a "Vague Souvenir" (Vague Memory), my thoughts turned to the Paris I love. My dream wandered from the "Champs-Élysées" to the "Rue de la Paix"—the very heart of the capital. It was the hour for rendezvous: "Voilette de Madame" (Madame’s Veil) lowered, and "Mouchoir de Monsieur" (Monsieur’s Handkerchief) fluttered in farewell."

This paragraph turns nostalgic, invoking Paris as a setting for fleeting romantic encounters. The Champs-Élysées and Rue de la Paix, home to Guerlain’s iconic boutiques, root the story in reality. Scents like “Voilette de Madame” and “Mouchoir de Monsieur” evoke accessories of romantic courtship and longing, suggesting that perfume is as much a part of ritual as gloves and lace.

"Kadine"—for it was she—carried a bouquet of "Violette à Deux Sous" (Two-Sou Violets) under her arm. Her charming little Pekingese, "Mitsouko," was with her. And then my dream drifted to you. I said to myself: “There! I loved Rosine for her sweet innocence.”

This portion introduces characters: “Kadine” (referencing Guerlain’s Orientalist fragrance from 1911) and her pet Pekingese dog named “Mitsouko,” another iconic scent, named after the heroine of a novel. She carries “Violette à Deux Sous,” suggesting simple, affordable charm. “Rosine” references another woman from the dream. The blending of perfumed figures with emotion underscores perfume's role in memory.

"And all around me the flowers stirred in the wind that carries away April in bloom and brings back the "Vere Novo" (New Spring) of nature. All of them, swaying, whispered to one another about nothings—trifles, murmured nothings. It was truly a ballad—or rather, a "Guerlinade!"

 

Here, nature, fragrance, and time merge. “Vere Novo,” Latin for spring’s rebirth, invokes timeless natural cycles. The phrase “Guerlinade,” originally used to describe the signature olfactory base common to many Guerlain fragrances, becomes a poetic summation of this fragrant dream—a “Guerlain ballad,” a life expressed in scent.

"My awakening was soft and very pleasant—soft, because at the piano my wife was playing Werther’s Clair de Lune; pleasant, because it gave me a flash of inspiration: this year, for Christmas and New Year’s gifts, I will offer Perfumes! More Perfumes! That is what pleases women."

 

The dream ends with a return to the real world, where the narrator’s wife plays Werther's “Clair de Lune,” adding a gentle, sentimental flourish. The dream becomes a moment of epiphany—perfume is the ideal gift. Emotional, evocative, luxurious, and intimate, it is what “pleases women”—a notion rooted in both marketing strategy and social custom.

This aide-mémoire is both a poetic fantasy and a clever piece of Guerlain advertising. It artfully blends romanticism, seasonal imagery, and Parisian sophistication to weave a narrative that showcases the brand’s perfumes not just as products, but as experiences—each with a story, personality, and emotion. The inclusion of more than 30 scent names shows the richness of Guerlain’s catalog during this period, and positions perfume as a poetic language of memory, identity, and desire.