Flacon Vase Medicis c1925-1963

The Flacon Lalique, produced between 1925 and 1963, holds a unique place in Guerlain’s history, as it represents the only bottle ever designed for the house by René Lalique. Known within Guerlain as the “Lalique” bottle and also referred to as the "Vase Médicis", the design first appeared in 1925 for the launch of Bouquet de Faunes. That same year, Guerlain also adopted the bottle for Jasmin, a perfume with deep roots in the house’s heritage, originally dating back to the 1840s and later reformulated in 1906 and again in 1924. While Bouquet de Faunes was short-lived, Jasmin continued to be offered in this bottle until the early 1960s, making it the primary fragrance associated with the design.

The bottle itself is a masterpiece of classical inspiration filtered through Lalique’s refined Art Deco sensibility. Its frosted glass form recalls the silhouette of an ancient Medici vase, complete with a pedestal foot. The decoration is rich with symbolism: laurel leaves encircle the pedestal, while the body is adorned with the heads of two fauns and two nymphs, the latter motif borrowed directly from the sculptural ornamentation at Guerlain’s boutique at 68 Avenue des Champs-Élysées. Just above the foot, the name “Guerlain” is molded into the glass. Two distinct versions of the flacon exist. The earlier, used from 1925 to 1940, features molded wavelets encircling the shoulders below the neck. The later version, produced from 1940 into the 1960s, omits these wavelets and instead bears “Made in France” molded into the foot. The flat, circular stopper, also in frosted glass, is pierced with four holes through which the baudruchage cord was threaded, securing the seal. The cord was typically made of beige, black, or black-and-yellow silk, adding a refined finishing touch.

The presentation box was equally luxurious. The bottle was housed in a cylindrical case clad in green leather and fastened with two press studs. The words “Guerlain” (in italics) and “PARIS” (in capitals) were printed in gold on the sides of the base. Inside, the bottle rested on green satin lining, held in place by two brass clips that embraced the pedestal foot. The elegant simplicity of this box design echoed the grandeur of the flacon itself while ensuring the perfume’s protection.

Archival references show that as late as 1956, Guerlain continued to market both Bouquet de Faunes and Jasmin in three sizes of the Lalique bottle. However, by 1963, only Jasmin remained available, offered exclusively in the 80 ml version. The bottle was finally retired in 1964, bringing an end to Lalique’s brief but significant collaboration with Guerlain. Today, the Flacon Lalique stands as a rare and treasured artifact, celebrated both for its artistry and its status as the sole example of René Lalique’s direct work for the Guerlain house.

Sizes:

• 80ml/2.7 oz - 9.7cm/3.82" (1925-1963)
• 125ml/4.2 oz - 11cm/4.33" (1925-1958)
• 250ml/8.4 oz - 13.5cm/5,.31" (1925-1960)

Versions:

• 1925-1940: 1st version with waves just below neck
• 1940-1963: 2nd flat version without waves, marked "Made in France" on the foot

Bottles:

Scents:

• Bouquet de Faunes
• Jasmin

Flacon Guerlinade c1998

The Flacon Guerlinade of 1998 was created to hold the extrait of Guerlinade, a limited-edition fragrance composed by Jean-Paul Guerlain in celebration of the house’s 170th anniversary. Produced by Pochet et du Courval, the bottle was conceived as a tribute piece, distinct from the earlier Guerlinade perfume of 1921, and firmly rooted in Guerlain’s tradition of drawing upon history and world culture for inspiration.

The design of the bottle was modeled after a bronze wine carafe that Jean-Paul Guerlain had acquired during his first travels to Tibet. Captivated by its archaic yet noble form, he adapted the vessel into what he christened the vase tibétain. Rendered in glass by Pochet et du Courval, the flacon embodied both a sense of timelessness and a worldly sophistication, connecting Guerlain’s heritage to a broader cultural dialogue. A select version of the design was also executed by Baccarat, underscoring the celebratory nature of this anniversary release.

The perfume itself was presented with equal care. Each bottle was housed in a presentation box lined with embossed parchment paper, its surface decorated with richly illustrated polychrome designs that heightened the sense of luxury and occasion. The pairing of an exotic, historically inspired flacon with a finely crafted case made the Flacon Guerlinade not just a container for perfume, but an anniversary keepsake symbolizing Guerlain’s legacy and continuity into the modern era.

Size:

• 50ml/1.7 oz - 11cm/4.33"

Bottle:

  

Flacon Guerlilas c1927-1949

Guerlain’s Flacon Guerlilas, also known as the "tank" bottle, produced between 1927 and 1949, was created specifically to house the extraits of Guerlilas and later, beginning in 1934, Guerlarose. The bottle was manufactured by two of the premier French glassworks of the period, Baccarat and Pochet et du Courval, both of whom were long-standing collaborators with Guerlain. Baccarat, renowned for its refined crystal craftsmanship, produced four moulds, while Pochet et du Courval added one mould of their own. This partnership ensured both availability and consistency in supply, while also reflecting the prestige Guerlain enjoyed in working with such elite manufacturers.

The Flacon Guerlilas itself was a study in restraint and elegance. Its design emphasized clean proportions and clarity rather than elaborate embellishment, making it a versatile form adaptable across several fragrances. Over its period of production, the bottle carried three different label styles, distinguished by their striking color combinations: white and purple, green with silver and black, and yellow with silver and black. Each label contributed to the distinct identity of the fragrance it accompanied. The original Art Deco presentation box was equally refined—black with silver bands—bearing the same label motif as the bottle, reinforcing a cohesive and sophisticated presentation.

Interestingly, the Baccarat version of the Flacon Guerlilas was not exclusive to Guerlain. Rival perfumery Gueldy also adopted this very design for perfumes such as Ambre and Bal des Fleurs. This crossover illustrates the realities of the perfume industry in the interwar years, when glassmakers often supplied the same bottle design to multiple houses. In Guerlain’s case, however, the bottle still carried the prestige of Baccarat’s workmanship and the weight of the house’s own heritage, making it distinct in association even if not unique in form.

Today, surviving examples of the Flacon Guerlilas embody the transitional elegance of Guerlain’s interwar era, a period when the house skillfully balanced tradition with modernity. While understated compared to some of Guerlain’s more elaborate presentations, the bottle remains an object of fascination for collectors. Its dual history—as both a vessel for Guerlain’s perfumes and as a design shared with another house—underscores the complex interplay between exclusivity and practicality in perfume bottle production. It is a testament not only to Guerlain’s artistry but also to the interconnected nature of French perfumery and glassmaking in the early 20th century.

Sizes:

Baccarat produced four moulds (Ref. #711):

• 40ml/1.35 oz - 5.4cm/2.13" (1930-1949)
• 80ml/2.7 oz - 7.4cm/2.91" (1930-1949)
• 125ml/4.2 oz - 8.3cm/3.27" (1930-1949)
• 250ml/8.4 oz - 11cm/4.33" (1930-1949)

Pochet et du Courval produced one mould:

• Mould #14146 = 80cc/80ml/2.7 oz - 7.4cm/2.91"

Bottles:

Scents:

• Guerlilas
• Guerlarose

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