Bee Garden c2023

Bee Garden was launched in 2023 as part of Guerlain’s celebration of the 170th anniversary of the iconic “Abeilles” (Bee) bottle, originally created in 1853 for Empress Eugénie, the wife of Napoleon III. The choice of name—Bee Garden—is no accident. The bee has been an enduring emblem of Guerlain ever since the house became perfumer to Napoleon, for whom the bee symbolized immortality and resurrection. To invoke a “garden of bees” in fragrance form is to weave together Guerlain’s heritage with its deep ties to nature, beauty, and artistry.

The name itself is evocative. A bee garden conjures visions of sunlit meadows, buzzing with golden-winged bees darting among blossoms heavy with nectar. It suggests harmony between humans, flowers, and nature’s most industrious creatures. Emotionally, it speaks of joy, vibrancy, and renewal, while also resonating with Guerlain’s history of environmental consciousness and devotion to bees, whose survival is tied to global ecological health.

Launched in the early 2020s, Bee Garden appeared in a cultural moment defined by sustainability, wellness, and a return to nature. This era—often referred to as the post-pandemic period—saw consumers increasingly drawn to authenticity, natural ingredients, and products that connect them to the earth. Fashion was marked by an interplay of nostalgia and modern minimalism, while perfumery leaned toward transparency, lightness, and clean floral or fruity accords. Against this backdrop, Guerlain’s Bee Garden resonated both as a tribute to history and a response to contemporary desires for fragrances that feel fresh, optimistic, and grounded in nature.

Essential Baume de Violette c1870s

Guerlain's Essential Baume de Violette was a delicately formulated violet-scented cosmetic balm, designed for both skin care and subtle cosmetic enhancement. Created as a scented protective preparation, the balm combined a base of pure oxide of zinc with glycerine, providing soothing, moisturizing, and protective qualities to the skin. The addition of orange flower water and a few drops of tincture of benzoin offered a mild fragrance, a gentle preservative effect, and enhanced the balm’s skin-soothing properties. Essence of violets imparted its signature floral aroma, giving the product its distinctive violet character. To achieve a light tint or healthy flush, the formula could be colored with a few drops of ox blood or a small quantity of carmine, allowing the skin to take on a delicate, rosy effect.

Intended as part of a broader beauty regimen, Baume de Violette could be used in conjunction with veloutine, a fine finishing powder, which increased the balm’s effect, leaving the skin smooth, lightly fragranced, and visually enhanced. Though not a perfume in the traditional sense, the balm occupied a unique space between skincare and cosmetics, serving as a subtle scented treatment for the face or exposed skin while providing a protective and moisturizing function. Its combination of fragrant, soothing, and lightly tinting ingredients exemplifies Guerlain’s attention to creating luxurious, multi-purpose products that harmonized beauty, care, and sensorial pleasure.

The Essential Baume de Violette was housed in a refined colorless glass bottle, mould #5829, reflecting Guerlain’s attention to elegance even in its cosmetic containers. The lower half of the bottle is engraved with “Guerlain 15 rue de la Paix,” marking both the brand and its historic Parisian address. The bottle is fitted with a ground glass stopper, providing a secure closure while maintaining the luxurious, classic aesthetic characteristic of Guerlain’s early 20th-century cosmetic packaging. This simple yet sophisticated design complemented the balm’s delicate formulation, emphasizing both functionality and refined presentation.

• Mould #5829

Bottle:

Film Spray 1966 - 1975

Film Spray by Guerlain was a refined expression of modern luxury — a product that bridged the elegance of perfumery with the convenience of skincare. Introduced in the mid-20th century, it represented Guerlain’s understanding of how women’s beauty rituals were evolving: fragrance was no longer confined to a bottle on a dressing table, but could now be applied in motion, with lightness and ease. Presented as a delicate pink, lightly moisturizing body lotion, Film Spray offered an innovative way to both scent and soften the skin in a single gesture. Its texture was gossamer-light, almost ethereal — a fine mist that settled like silk, leaving behind a barely perceptible film of fragrance and hydration. It was designed not merely as a lotion, but as a veil — a scented film that glowed on contact with the skin, living up to its name with poetic precision.

At its heart, Film Spray captured the quintessence of Guerlain’s great perfumes. Each version was infused with one of the house’s most iconic compositions — Chant d’Arômes, Shalimar, L’Heure Bleue, Jicky, Mitsouko, or Vol de Nuit — translating their olfactory signatures into a lighter, more intimate form. The lotion’s formula emphasized two essential characteristics: an unusually high concentration of perfume for such a light emulsion, and an exceptional delicacy that allowed it to be sprayed rather than poured or massaged in like a traditional cream. This gave it a dual identity — part skincare, part fragrance — enveloping the skin in a soft, enduring scent that lasted throughout the day without fading or shifting in tone. Unlike many lotions of the era, it was designed not to dry the skin, but to leave it subtly moisturized and fragrant, an invisible extension of one’s chosen perfume.

The 1966 presentation of Film Spray Body Lotion by Guerlain, Inc. in New York exemplified this harmony of beauty and functionality. Packaged in a three-ounce glass bottle, it featured an ingenious cap and collar mechanism produced by Bridgeport Metal Goods Mfg. Co., paired with a precision lotion pump by the Valve Corp. of America. This clever design allowed the bottle to lock securely — transforming it into a practical “traveller,” eliminating the need for an overcap. It was a marriage of French refinement and American innovation, an object that was as pleasing to the eye as it was functional.

By the mid 1970s, Guerlain adapted Film Spray for a new generation. From 1975 through 1987, it was reintroduced as Film Spray Body Lotion, now housed in a sleek plastic tube — a modern, streamlined version that reflected the practical beauty ideals of the time. Though the packaging changed, the essence remained the same: a light, creamy, and perfumed lotion that offered a moment of quiet luxury in everyday life. Whether in its glass “traveller” bottle of the 1960s or its elegant plastic tube of the 1980s, Film Spray remained an emblem of Guerlain’s enduring artistry — transforming skincare into an act of perfumed grace.

Scents:

• Chant d’Arômes
• Jicky
• L’Heure Bleue
• Mitsouko
• Shalimar
• Vol de Nuit

Lyre Bath Oil Flacons c1952

Guerlain’s Lyre Bath Oil Flacons, introduced in 1952, carried forward the graceful lyre-shaped design that had already become iconic through the brand’s talcum bottles. These elegant glass flacons, produced in a single size of 15ml, were created specifically to hold Guerlain’s luxurious bath oils, offering clients a way to extend their perfume ritual into bathing. The bath oils were available in six of the house’s most celebrated fragrances: Shalimar, Mitsouko, Liu, Fleur de Feu, L’Heure Bleue, and Vol de Nuit. The small yet refined flacon echoed the same lyre silhouette associated with classical beauty and harmony, reinforcing Guerlain’s dedication to marrying artistry with function. Though modest in size, the bottles possessed a delicate presence, their lyrical form making them stand out on the vanity. These bath oils remained part of Guerlain’s offerings well into the early 1980s, a testament to both their popularity and the enduring appeal of the lyre bottle design.

Talcum "Lyre" Poudreur Flacons c1922-1960

Guerlain’s Talcum “Lyre” Poudreur Flacons, used for the Talc Parfumé, produced between 1922 and 1960, are among the most charming and collectible accessory bottles of the house. Made exclusively by Pochet et du Courval, they were available in a single size of 150cc. The design is immediately recognizable: a frosted glass body shaped like a lyre or guitar, a graceful reference to classical motifs and the harmonious luxury Guerlain wished to evoke in its ancillary products. The elegant silhouette made even a practical item like talcum powder feel refined and artistic.

The frosted glass version, introduced in 1922, was initially topped with a metal cap, a finish that underscored the sense of luxury. By 1951, however, the metal closure was replaced with a more modern black Bakelite cap, aligning with the postwar shift toward streamlined, durable materials. Despite this change, the bottle retained its lyrical form and frosted surface, which diffused the light and gave the glass a soft, velvety glow.

These flacons held talcum powders in a wide range of Guerlain’s iconic scents, ensuring that the house’s clients could enjoy their favorite perfumes in a lighter, everyday form. Scents packaged in the Lyre bottles included Shalimar, Mitsouko, Djedi, Bouquet de Faunes, Guerlilas, Guerlarose, Guerlinade, À Travers Champs, Rue de la Paix, Une Rose, Jicky, Après L’Ondée, Violette, Vol de Nuit, Liu, Fleur de Feu, and L’Heure Bleue. This breadth of offerings demonstrates Guerlain’s commitment to extending the experience of its perfumes beyond the extrait or eau de toilette into personal grooming.

The bottles were presented in blue-banded cardboard boxes, which served as both protection and a visual identity for the line. This packaging paired simplicity with refinement, echoing Guerlain’s aesthetic of understated elegance.

By the late 1960s, Guerlain discontinued the frosted glass design and replaced it with a white plastic canister, a move that reflected changing manufacturing practices and the growing demand for lighter, more practical packaging. By the 1980s, the design evolved again, with the talcum powders sold in a turquoise plastic canister, which aligned with the colorful branding trends of that decade. While practical, these later iterations lacked the artisanal charm of the original frosted glass lyre-shaped bottles, which remain cherished today as symbols of Guerlain’s golden age of design.

Sizes:

Pochet et du Courval:

• Mould #13333 = 150cc - 15cm

Bottles:

Scents:

• Apres L'Ondee
• A Travers Champs
• Bouquet de Faunes
• Djedi
• Fleur de Feu
• Guerlarose
• Guerlilas 
• Guerlinade
• Jicky 
• L'Heure Bleue
• Liu
• Mitsouko
• Rue de la Paix
• Shalimar
• Une Rose
• Violette
• Vol de Nuit

Natural Spray Colognes c1966-1977

Guerlain’s Natural Spray Colognes, produced between 1966 and 1977, were designed to hold the eaux de cologne concentrations of the house’s most iconic perfumes, including Shalimar, L’Heure Bleue, Jicky, Mitsouko, Vol de Nuit, Chamade, Liu, and Chant d’Arômes. This format was introduced as a refinement over aerosol sprays, which had begun to lose favor due to the chemical propellants that often altered or dulled the natural balance of the fragrance. By contrast, the natural spray mechanism preserved the true character of Guerlain’s creations while offering modern convenience.

The bottles themselves were most likely manufactured by SGD (Société Générale des Verreries) or Pochet et du Courval, both longtime partners of Guerlain. Their design featured vertical ribbing along the body, a stylistic nod to the earlier parapluie bottles, though with a more contemporary, streamlined interpretation. 

The identification of the perfume was handled with the same understated sophistication. A black band encircling the upper body of the bottle displayed the perfume’s name in gold lettering, while an additional label was placed on the underside to confirm the fragrance and concentration. These details reinforced consistency across the line, allowing collectors and consumers to easily distinguish between Guerlain’s classics in this format.

For presentation, the Natural Spray Colognes were housed in the same black-and-white patterned boxes as the disk bottles, a packaging choice that emphasized harmony within Guerlain’s product line of the era. The overall effect was both modern and timeless, balancing the house’s reputation for luxury with the practicality and innovation of spray technology.

Updated Bottles:

In 1971, the bottle shapes remained the same but their spray mechanisms were changed. At the top, each bottle was fitted with a black spray mechanism that was hidden beneath a gold-tone cap. The flat top of the cap was finished with a black plastic disk bearing a raised “G” for Guerlain, a discreet but elegant branding element.

Scents:

• Chamade
• Chant d’Arômes
• Jicky
• L’Heure Bleue
• Liu 
• Mitsouko
• Shalimar
• Vol de Nuit 

Vaporisateur de Voyage (Travel Spray) c1930 - ?

The Vaporisateur de Voyage (Travel Spray), introduced around 1930, was Guerlain’s elegant solution for travelers who wished to carry their perfume safely and stylishly. Manufactured in crystal by Baccarat, the cylindrical spray bottle was designed for both practicality and refinement. Each bottle was sold in a fitted case, often containing one, two, or even three siphon tubes, allowing the user to replace or interchange them as needed. The atomizer hardware itself was supplied by Step Paris, a renowned maker of spray mechanisms.

The bottle was housed within a luxurious protective leather case known as a “gaine sellier”—literally meaning “saddler’s sheath” or “saddler-style casing.” This term refers to the traditional saddle-stitch leatherwork technique used by fine leather artisans, most famously by Hermès, for whom the design was allegedly first conceived before Guerlain adopted it for its travel sprays. The cases were offered in a wide variety of leathers—box calf, pigskin, lizard, crocodile, Russian leather, or morocco—and in colors such as red, navy blue, green, and black, underscoring Guerlain’s desire to merge perfume with the artistry of luxury leather goods.

Every detail was carefully thought out for the traveler’s convenience. A small plastic plug or stopper, stamped Guerlain, was included to prevent leakage, stored in its own miniature box. A fine, twisted wire tool was provided to unclog the siphon tube after long storage or to clean away any perfume residue. Inside the leather travel case, fitted compartments held two glass tubes (one serving as a spare in case of breakage or loss) that could be screwed into the atomizer top to enable the spray mechanism. A small brochure accompanied the set, noting that the atomizer could be used not only with perfume but also with Eau de Cologne, Eau de Toilette, or even pre- and after-shave lotions.

To ensure proper function, Guerlain included a leaflet with careful maintenance instructions. Users were advised never to travel with the atomizer unless fitted with its closing device, to rinse the empty atomizer with high-proof alcohol or Eau de Cologne before refilling, and to spray a small amount of fresh cologne through the mechanism afterward. For the travel version specifically, the enclosed wire was to be used to clear the tiny air vent beneath the bulb tube. Guerlain also assured clients that if the spray ceased functioning despite these precautions, it could be returned for complimentary servicing (with the exception of damaged parts, which required replacement).

The travel atomizer was produced in a generous 125 ml (4.2 oz) size, measuring 8.9 cm (3.5") without the bulb, making it both portable and substantial. A perfect marriage of functionality, luxury, and craftsmanship, the Vaporisateur de Voyage remains one of Guerlain’s most refined accessory flacons, reflecting the house’s dedication to combining perfume with the artistry of the decorative arts.

Sizes:

Baccarat:

• 125cc /125ml/4.2 oz- 8.9cm/3.5" (without bulb)

Bottles: