Flacon Gratte Ciel (Sky Scraper) c1948-1960

Guerlain’s Flacon Gratte Ciel (Sky Scraper), created in 1948, was originally designed to house the perfume Fleur de Feu. The striking verticality of the design earned it the nickname “Gratte Ciel,” or skyscraper, while it was also sometimes referred to as Grand Parapluie (large umbrella) for its towering conical form. Though introduced for Fleur de Feu, the bottle was later adopted in 1952 to hold the extrait of Atuana, appearing in three sizes—40cc, 80cc, and 125cc. Its use was relatively short-lived, as the design was discontinued by 1960, making surviving examples highly prized among collectors today.

The bottle itself was made of colorless pressed glass, with a distinctive architectural silhouette. It was molded in the shape of a grooved conical urn, its body tapering upward with vertical fluting, and was mounted on a square pedestal that emphasized its sculptural, monumental presence. The design was completed with a grooved oval cylinder stopper, which echoed the bottle’s linear ornamentation while maintaining a balanced proportion with the urn-shaped body. This harmony of form and structure gave the flacon a refined modernity that suited Guerlain’s postwar aesthetic. Six moulds were created by Pochet et du Courval to produce this bottle, dedicated solely to the extraits of Fleur de Feu and Atuana.

The presentations of the Flacon Gratte Ciel were as luxurious as the perfumes it contained. For the larger sizes, Guerlain housed the bottle in finely crafted wooden presentation cases made of poplar. These elegant cases were designed to open like a book, lined with white silk interiors that cradled the flacon. The exteriors were covered with colored silk to distinguish the perfumes: Atuana in vivid red silk, and Fleur de Feu in white silk. Smaller bottles, while less elaborate, still reflected Guerlain’s attention to detail and refinement. These came in cardboard cases covered with suede-textured paper scattered with golden leaf designs, with interiors also lined in white silk. The Atuana cases were finished in red suede paper, while Fleur de Feu was presented in gray suede paper.

The bottles were labeled with pampille-style paper tags, attached to the neck with a cord wound neatly around the glass. These labels were small, jewel-like details that added both functionality and decoration. For Fleur de Feu, the large sizes carried labels measuring 2.1cm x 2cm, while the smaller bottles bore labels measuring 1.7cm x 1.7cm. For Atuana, the label proportions were slightly different: the 125cc bottle had a circular label measuring 2.2cm in diameter, while the 40cc and 80cc bottles carried smaller 1.8cm diameter versions. These subtle distinctions highlight Guerlain’s precision in presentation, tailoring every element of packaging to scale and proportion.

Sizes:

• Mould #17354 = 20cc/20ml/0.676 oz - 11.5cm/4.53", octagonal foot (May 1949)
• Mould #17264 = 28cc/28ml/0.947 oz - 12.8cm/5.08", octagonal foot (Dec 1948) (limited edition 1999 30ml/1 oz - 12cm)
• Mould #17356 = 40cc/40ml/1.35 oz - 13.8cm/5.43", octagonal foot (June 1949)
• Mould #17072 = 80cc/80ml/2.7 oz - 18.2cm/7.17", square foot (Feb 1948)
• Mould  #17387 = 125cc/125ml/4.2 oz - 20.6cm/8.11", square foot (July 1949)
• Mould #17389 = 250cc/250ml/8.4 oz - 25.1cm/9.88", square foot (July 1949)

Bottles:

Scents:

• Atuana
• Fleur de Feu

Flacon Goutte (Teardrop) c1923-2001

Guerlain’s Flacon Goutte (Teardrop Bottle), introduced in 1923, became one of the house’s longest-lived standard presentations, remaining in use until 2001. Created by Pochet et du Courval, and later also produced by Saint-Gobain Desjonqueres, the bottle was originally designed to hold only eaux de toilette. Its form was intended as the new standard for Guerlain’s toilet waters, replacing the “flat fancy” bottle of 1890. Elegant yet practical, the design emphasized both refinement and accessibility, a balance that helped cement its enduring presence in the Guerlain line.

The bottle’s most recognizable feature was its frosted glass stopper, cleverly shaped as two interlocking cockle shells. This detail gave the flacon a natural, organic charm while remaining distinctively Guerlain. Early examples bore the famous Étiquette Dauphin, or “Dolphin Label,” which showed two dolphins rendered in a “newsprint” style. This label was reserved exclusively for bottles fitted with ground glass stoppers or with the later “plastemeri” stopper fittings. The dolphin label was used consistently from 1923 until the late 1970s, when it was replaced by a modernized black-and-gold oval label (1980–1987). From 1988 onward, labels disappeared altogether, replaced by silkscreened lettering directly on the bottle.

The stopper system evolved significantly over the decades. From 1923 until 1973, traditional ground glass stoppers were employed. In 1973, Guerlain introduced ground glass stoppers fitted with “plastemeri” plastic dowels to prevent sticking and ensure a secure fit. Between 1980 and 1987, these were replaced with gilded glass screw-on caps, also fitted with plastemeri dowels, reflecting the more glamorous packaging trends of the time. Finally, from 1987 until the bottle’s discontinuation in 2002, Guerlain used simple glass stoppers with plastemeri fittings. These changes illustrate both technological advances in packaging and evolving aesthetic preferences.

The Flacon Goutte was used to present some of Guerlain’s most celebrated fragrances. A 1939 advertisement proudly announced: “Toilet water in an oval bottle with atomizer top is new, $5.” By 1940, the bottle was offered in a $5 size across a wide range of Guerlain’s best-loved perfumes, including Shalimar, L’Heure Bleue, Vol de Nuit, Coque d’Or, Liu, Mitsouko, Sous le Vent, and Jicky. The accessible price point and elegant presentation made these classics available to a broader clientele.

The boxes accompanying the Flacon Goutte also changed over the decades. Initially, the bottles were sold in cardboard boxes decorated with blue bands. These were later replaced by packaging featuring a “coffee bean” motif, and eventually by a striking black-and-white “zigzag” design that reflected mid-century modernist influences. Together, the evolution of the packaging and the bottle itself mirrors Guerlain’s ability to adapt to shifting tastes while preserving the brand’s distinct identity.

Sizes:

Pochet et du Courval:

• Mould #20778 = 50cc/50ml/1.7 oz - 8 to 9cm/3.15" to 3.54" (1973) 
• Mould # 15470 = 100cc/100ml/3.4 oz - 12 to 13cm/4.72" to 5.12" (1938) 
• Mould # 13513 = 250cc/250ml/8.4 oz - 16 to 17cm/6.3" to 6.69" (1923)
• Mould # 13514 = 500cc/500ml/16.9 oz - 20 to 21cm/7.87" to 8.27" (1923)
• Mould #13515 = 1 liter - 25 to 26cm/9.84" to 10.24" (1923)

Saint-Gobain Desjonqueres Bottles:

• Mould #4458 (plan #21886) = 4ml, sample bottle, base engraved "Guerlain" (1976-1987)
• Mould #4840 (plan #71570) = 50ml - 8.9 cm, glass plastemeri stopper (1983-1988)
• Mould #4838 (plan #71571) = 100ml - 12.5 cm, glass plastemeri stopper (1983-1994) 
• Mould #4836 (plan #71572) = 250ml - 16.8 cm, glass plastemeri stopper (1983-1995)

 Base of SGD bottles are molded with "Guerlain-Paris- Made in France."

Stoppers:

• 1923-1973: ground glass
• 1973-1980: glass with plastic dowel
• 1980-1987: gilded glass with screw on plastic dowel
• 1987-2002: glass with plastic dowel

Labels:

• 1923-1979: newsprint dolphin label
• 1980-1987: black and gold oval label
• 1987-2001: no label, silk-screened serigraphy on bottle instead

Bottles:

Scents:

This bottle held over 40 different scents:

1. Apres L'Ondee 
2. A Travers Champs 
3. Bouquet de Faunes 
4. Cachet Jaune  
5. Candide Effluve 
6. Chamade 
7. Champs Elysees 
8. Chant D'Aromes 
9. Chypre 53
10. Coque D'Or 
11. Cuir de Russie
12. Dawamesk
13. Djedi
14. Eau de Cologne du Coq
15. Esprit de Fleurs Nouvelles
16. Fleur de Feu
17. Fol Arome
18. Gardenia 
19. Geranium d'Espagne
20. Guerlilas
21. Habit Rouge 
22. Heliotrope
23. Jasmin
24. Jicky
25. Kadine
26. L'Heure Bleue
27. Lavande
28. Lilas
29. Liu
30. Mitsouko
31. Mouchoir de Monsieur
32. Muguet
33. Oeillet
34. Parure
35. Pour Troubler
36. Quand Vient L'Ete
37. Rue de la Paix
38. Shalimar/No. 90
39. Sous Le Vent
40. Une Rose
41. Vague Souvenir
42. Vega
43. Vetiver
44. Violette
45. Vol de Nuit

Flacon Fleuri (Flower) c1900-1962

Guerlain’s Flacon Fleuri (Flower Bottle), introduced around 1900, is one of the house’s most romantic and charming designs. It was originally created to hold the extrait of Voila Pourquoi J’aimais Rosine but was soon adapted for other perfumes, notably Fleur Qui Meurt in 1901 and Muguet in 1908. The design perfectly reflected the floral character of these fragrances, reinforcing the decorative, feminine aesthetic that was so characteristic of Guerlain at the turn of the century.

The bottle was produced by Pochet et du Courval in two distinct moulds: one with smooth sides and another with ribbed sides. On the ribbed version, a clear, smooth area of glass was deliberately left free to accommodate the label, while the smooth version simply had the label affixed to one of its edges. Both types bore hollow stoppers, which were originally sealed with parchment and later replaced by thin extensible film. The bases of the bottles carried either of two inscriptions, “Guerlain – Paris – France” or “Guerlain Made in France.”

The Flacon Fleuri became closely associated with Guerlain’s traditional Muguet fragrance, especially in the 80cc and 125cc sizes, and continued to be used for it until the 1960s. One of the bottle’s most distinctive features was its charming adornment: early versions were sold with a small bouquet of silk flowers fastened to the neck with a collar. Over time, this decorative touch was replaced by colored ribbons—white for Muguet, mauve for Fleur Qui Meurt, and red for Voila Pourquoi J’aimais Rosine. In later years, however, these symbolic color distinctions were not always strictly followed.

The presentation boxes also evolved over the decades. Initially, the bottles were housed in sky-blue boxes with gilt edging, adding to their delicate, decorative appeal. By 1910, however, Guerlain updated the packaging to a more refined beige box adorned with gold motifs and lined with a white interior. This shift reflected broader stylistic changes of the early 20th century, moving from playful lightness to more understated elegance.

Sizes:

• Mould # 10771 = 80cc/80ml/2.7 oz - 10.4cm/4.09 smooth bottle
• Mould #10845 = 125cc/125ml/4.2 oz - smooth bottle
• Mould #11590 = 80cc/80ml/2.7 oz - 9.3cm/3.66" ribbed bottle (1903 - until the early 1960s)
• Mould #11773 = 125cc/125ml/4.2 oz - ribbed bottle (until early 1960s)

Bottles:

Scents:

• Voila Pourquoi J’aimais Rosine
• Fleur Qui Meurt 
• Muguet

Flacon Escargot (Snail) c1902-1962

Guerlain’s Flacon Escargot—often referred to as the Snail Bottle—was introduced around 1902 and remained in use until 1962. This clear glass flacon was originally designed to hold extraits of Mouchoir de Monsieur and Voilette de Madame, though it was also employed for Aï-Loé. Its unusual triangular form set it apart from the more traditional apothecary styles of the period, giving it a distinctly modern and playful character.

The most striking feature of the Flacon Escargot is its clever use of design to create the “snail” motif. The stylized lettering of the Guerlain name sweeps across the bottle’s shoulder in such a way that it forms the body of a snail, from which the nickname derives. This whimsical integration of branding into the design was both decorative and functional, serving as a discreet yet unmistakable signature of the house.

The bottle was produced in several sizes, though it is most closely associated with the 80cc version, which continued to be used for Mouchoir de Monsieur until the early 1960s. Pochet et du Courval was responsible for the manufacture of the Flacon Escargot, creating four moulds in total. Today, it remains one of the more unusual and imaginative Guerlain flacons, blending elegance with a touch of wit that reflects the brand’s artistic sensibilities at the turn of the century.

Sizes:

• Mould # 11521 = 80cc/80ml/2.7 oz - 11.5cm/4.53" (1902-1962)
• Mould # 11654 = 125cc/125ml/4.2 oz - 13cm/5.12" (1903-1959)
• Mould # 11780 = 250cc/250ml/8.4 oz - 15cm/5.91" (1904-1959)
• Mould # 12154 = 500cc/500ml/16.9 oz - 19cm/7.48" (1904-1959)

Bottles:

Scents:

• Voilette de Madame
• Mouchoir de Monsieur
• Ai Loe

Flacon Encrier (Inkwell) c1936-1959

The Flacon Encrier (Inkwell), introduced in 1936, was created specifically for Guerlain’s perfume Vega and remained in use until the late 1950s. Its name derives from its distinctive shape, which resembled a luxurious inkwell. The flacon was originally produced in clear glass by Baccarat, who crafted five moulds for this design. These Baccarat bottles feature bases that are gently curved and engraved either simply with “Guerlain” or more fully with “Vega – Guerlain – Paris – France.” The bottles were designed to hold only the extrait of Vega, never being adapted for other Guerlain perfumes.

The presentation was equally striking. The Baccarat Flacon Encrier sat within an octagonal base, made either of black Bakelite with two metal clips or of black velvet–covered cardboard. The lid of the box was primarily red with accents of black and white, inscribed on one side with “Guerlain” and on the other with “Paris – France.” This bold and modernist packaging emphasized the exclusivity of Vega, aligning with the bottle’s elegant, functional lines.

For the American market, Guerlain turned to Wheaton Glass of Millville, New Jersey, who created a single mould of 40cc capacity. Unlike the Baccarat bottles, the Wheaton versions had smooth, unmarked bases with no engraving. These editions were marketed only in the United States and were housed in a slightly modified presentation. The octagonal base was again covered in black velvet, but the underside carried two labels: a “Guerlain” guarantee label and another marked “Made in USA.” The box itself was almost identical to the French version, though it was printed with “Guerlain – Paris – Contents 1 fl oz” in black. The bottle’s label was also shorter than its French counterpart and repeated the same inscriptions found on the American box.

Sizes:

Baccarat:

• 60ml/2 oz - 7.3cm/2.87" (reissued in 1997- limited to only 853 copies) 
• 80cc/80ml/2.7 oz - 7.6cm/2.99" 
• 125cc/125ml/4.2 oz - 8.8cm/3.46" 
• 250cc/250ml/8.4 oz - 9.5cm/3.74" 
• 500cc/500ml/16.9 oz - 12cm/4.72" (stopped production in late 40s) 

Wheaton Glass Co: 

• 40cc/40ml/1.35 oz - 6.6cm/2.6" 

Bottles:

Limited Edition:

For the winter season of 1997, Guerlain revived one of its most elegant historic designs with a limited-edition reissue of Vega. For this presentation, the house returned to the original Flacon Encrier design and its striking octagonal box, preserving the luxurious aesthetic that had first accompanied the fragrance in the 1930s. The new edition was once again entrusted to Baccarat, maintaining the connection to the glassmaker that had produced the original bottles more than sixty years earlier.

Only 853 bottles were created, each individually numbered, underscoring the rarity of this release. The flacon, holding 60 ml of parfum, faithfully echoed the original in its clean, inkwell-inspired form and fine Baccarat crystal. The bottle was presented on an octagonal base covered in rich black velvet, a detail that directly recalled the original Vega packaging. This 1997 edition combined historical fidelity with exclusivity, making it both a tribute to Guerlain’s heritage and a highly coveted collector’s piece.

Flacon Empire c1902-1959

Guerlain’s Flacon Empire, introduced in 1902, remains one of the house’s most elegant and enduring early presentations. Originally created to hold the extrait Bon Vieux Temps, the bottle was fashioned in clear glass and adorned with gilded enamel drapery, a motif drawn from the grandeur of the Empire style. With its refined, drum-like silhouette, the design conveyed a sense of neoclassical harmony and balance, perfectly suited to Guerlain’s vision of timeless luxury at the turn of the 20th century. The motif of gilded swags evoked both opulence and order, echoing the decorative traditions of Napoleon’s reign, while simultaneously offering a distinctly Parisian touch of modern elegance.

The inspiration for this flacon is said to have come from the Cirque d’Hiver (Winter Circus) in Paris, a celebrated venue where high society gathered for performances, galas, and extravagant soirées. Built in 1852 by architect Jacques Hittorff, the Cirque d’Hiver was a marvel of design—its polygonal exterior resembling a drum encircled by Corinthian columns, richly decorated friezes, and gilded details. Inside, the space dazzled with chandeliers, painted ceilings, and ornate ornamentation. By the late 19th and early 20th centuries, the circus had become a fashionable playground for Paris’s elite, who attended both circus performances and social events beneath its glittering dome. For Guerlain to draw inspiration from this setting underscored the flacon’s role as a symbol of cultural refinement, pleasure, and spectacle, resonating with the cosmopolitan world in which the house thrived.

Although conceived specifically for Bon Vieux Temps, the Flacon Empire soon demonstrated its adaptability. Guerlain employed the bottle for a number of other creations, including Sillage, Avril en Fleurs, and Fragrans, ensuring its long life within the catalog. By mid-century, it had become most closely associated with Après L’Ondée, which appeared in this form in both 80cc and 125cc sizes until the late 1950s. This enduring use cemented the bottle’s status as one of Guerlain’s classic flacons, embodying both continuity and sophistication.

The flacon was produced by Pochet et du Courval, one of France’s premier glassmakers and a long-standing partner of Guerlain. To support production, the firm created four separate moulds, one of which—mould no. 11880—was officially registered with the Conseil de Prud’hommes (industrial council) on March 7, 1903. The registration illustrates Guerlain’s commitment to safeguarding the originality and artistry of its designs at a time when presentation was becoming nearly as important as the fragrance itself.

Spanning more than five decades of use, from its debut in 1902 to its final circulation in 1959, the Flacon Empire stands as a bridge between Guerlain’s 19th-century apothecary traditions and its 20th-century embrace of artistry and style in perfume presentation. More than just a container, it embodied the theatricality and elegance of its age, uniting the grandeur of Empire design with the modern glamour of Belle Époque Paris.

Sizes:

• Mould # 11373 = 80cc/80ml/2.7 oz - 7.5cm/2.95" (1902-1959)
• Mould # 12167 = 125cc/125ml/4.2 oz - 9cm/3.54" (1907-1959)
• Mould # 12237 = 250cc/250ml/8.4 oz - 11cm/4.33" (1907-1945)
• Mould # 12238 = 500cc/500ml/16.9 oz - 13cm/5.12" (1907-1945)

Bottle:

Scents:

• Apres L'Ondee
• Avril en Fleurs
• Bon Vieux Temps
• Fragrans
• Sillage

Flacon Stiligoutte de Voyage c1934-1983

The name Flacon Stiligoutte de Voyage can be translated as “travel dropper bottle.” The word stiligoutte comes from the French stylo (pen) and goutte (drop), a term historically used to describe dropper-style dispensers designed to deliver a liquid in controlled drops rather than a free pour. In Guerlain’s context, this meant a practical, hygienic design for dispensing its medicinal preparation, Élixir de Guerlain, without waste. The addition of de Voyage emphasizes its intended portability, making it a convenient bottle for travel use.

Created by Pochet et du Courval in 1934, the bottle was specifically designed for Élixir de Guerlain, the house’s antiseptic dentifrice. Only a single mould was produced—Mould #15035—with a capacity of 166cc. The shape was utilitarian but carefully considered, balancing Guerlain’s tradition of refinement with the practical needs of a medicinal product. In the 1970s, this mould was slightly modified, reducing the bottle’s capacity to 150cc while maintaining its essential design.

This flacon remained in production for nearly five decades, reflecting the enduring popularity of Élixir de Guerlain as a staple of the brand’s apothecary line. Though less ornate than Guerlain’s perfume bottles, the Stiligoutte de Voyage exemplifies the house’s commitment to thoughtful design even for its functional health-care products. Its long production life, from c.1934 until October 1983, also underscores the historical importance of Guerlain’s dental hygiene offerings, which once stood alongside its legendary perfumes as a key part of its catalog.