Berkeley London

Vintage Lavender Brilliantine

Tres Flores Brilliantine an old staple in the grease pomade community. This stuff has been around a while and is very prevalent it the Hispanic community as well.

With Morfose Brilliantine, you can easily shape your hair and have a bright appearance. With a light refreshing scent and strong formula just a small amount goes a long way to giving your hair a healthy looking shine.

Garnier Fructis Style Brilliantine Shine Glossing Spray is a glossing spray gives hair a sleek, high shine finish. Fructis Style Brilliantine Shine Glossing Spray is a paraben free formula made with Argan Oil from Morocco.

VITALIS SOLID BRILLIATINE PRINT AD, 1957 Old school barber shops are becoming trendier these days—specializing in timeless haircuts styles d...

The Solidified Brilliantine 'Tjap Lali Djoengkatan' from Jogjakarta, ID

Fowler has been wearing a bob since June and has picked up some great tips for styling it. "The Bumble and Bumble Brilliantine is quite good for giving it

@collinastrada AW25 Collection debuted on the first day of #NYFW with hair looks that were all about individuality — with a unique twist of "hair horns." Bb.Editorial Stylist @mustafayanaz who led the hair shared: “We want grungy lived-in hair.” His team used a combination of the below to achieve the look: ✨ Hairdresser’s Invisible Oil Primer ✨ Brilliantine ✨ Spray de Mode Hairspray #Bumbleandbumble #CollinaStrada #FashionWeek

Shopping for Father's Day can be a challenging endeavor as you want the best gift for that one special man in your life. If you find yourself absolutely clueless this Father's Day, here is the ultimate Father's Day gift guide to help you find that perfect gift. To use this guide you must first determine into which father-type your dad best fits depending on his personality, work and hobbies, then pick out a gift that he will like the most. 1. The Working Dad. Whether he is a humble employee, a big shot at Bay Street or the president of his own company, these dads have a couple of things in common. They are constantly surrounded by other people and they value their appearance and style. They are the hardworking pops who provide, spend, nurture and could definitely need a break. If this is your dad, he might fancy: A new leather bag or briefcase to go with his look. A new suit. Grooming products sets like a classic shaving set. Father's Day gift certificates where he can do his own shopping. Tickets to his favorite game or concert. A weekend getaway. 2. The Classic Dad. This dad is between 45 and 65 years old. He had a blast in the '60s and '70s, acquired a taste for whiskey and cigars and enjoys the occasional golf games or visits to blues bars. The classic dads usually have one hobby that they are ridiculously passionate about, be it carving, sailing, cooking and what not. If this is your dad, he might fancy: A new leather wallet with a modern touch. A roller rock whiskey glass (accompanied preferably with a good ol' whiskey bottle). An accessory for his hobby. Does your dad love to cook for instance? How about some quality Japanese kitchen knives? Hair thickening shampoo and other men's grooming products such as hair pomade for men, brilliantine and hair tonic. A classic pair of Aviator shades. 3. My Old Man Dad. These are the older gentlemen who have retired from their jobs and are now living the life as retired men. Retirement is one of the most difficult and potentially fun transitions in any man's life as they now enjoy the slower pace and a lot of free time. The best things you can give your old man are things that will make his retirement more enjoyable and that wouldn't make him feel too old. If this is your dad, he might like any of the following Father's Day gift ideas: Fedoras, panama hats or flat hats for the casual yet debonair older gentleman. Perfume and fragrances. Does your dad collect something? How about another addition to his collection. A special bottle of wine, wine gift certificate or a stay at a winery if your dad is a wine connoisseur. A leather-bound journal to write down his adventures and a quality Sheaffer ballpoint pen to go with it. Special shaving cream for your dad's sensitive skin. 4. The Dad Who Has It All. This is probably one of the hardest types of dad to bestow with gifts. What do you give to a man who has everything and who can virtually afford everything? One thing you have to remember is that the thought counts more than the value of the present. If this is your dad, he might like: A fountain pen. The fountain pens are the highest in the world of pens and signify a commanding personality worthy of respect and authority. If you can afford to spend 500 bucks for a pen, you might fancy the Aurora 88 Fountain pen. An heirloom watch. Watches are a man's most prized and often times the only piece of jewelry they constantly wear. Although this dad may have several watches already, he may not have an heirloom watch from Cartier or an antique pocket watch from Patek Philippe. Gold-plated brass cufflinks. A one-of-a-kind horn-handled shaving brush. 5. The Sporty Outdoors Dad. This dad loves to live life to the fullest. He spends his weekends engaging in sports and outdoor activities and he is the type of dad who would drag the entire family to the lake on a sunny Sunday afternoon. He loves to travel and experience the world. If this is your dad, he might like: A new travel kit or toiletry bag for men like the J. W. Hulme Co. Dopp Style Travel Kit, American Heritage. This can come in handy if your dad loves to travel a lot. If your dad is into sports, the Father's Day gift ideas are endless. Would he be happy with an inflatable raft, a fishing set, a new bicycle or hunting gear? How about new hiking gear, running shoes, motorcycle gear or swimming trunks? Shaving and grooming accessories. Your dad may be tough and rough but he sure loves to pamper himself too. Some good facial products and moisturizing lotions specifically made for men may be good for him if he is outdoors a lot. Father's Day gift certificates. Although not the most personal gift, you can never go wrong with a Father's Day gift certificate for your dad to splurge.

Rosiris by LT Piver, launched in 1899, is a name that evokes both elegance and mystery, beautifully marrying the delicate and timeless imagery of the rose and iris with the ancient, almost mythological resonance of Osiris, the Egyptian god associated with death and rebirth. The name itself combines the gentle floral grace of the rose with the regal and symbolic power of the iris, while also hinting at the enigmatic and sacred world of ancient Egypt. Pronounced "Roh-sir-iss" or "rose-iris", it rolls off the tongue with an air of sophistication and intrigue. In terms of meaning, "Rosiris" does not have a direct, traditional definition but carries a layered significance. The rose, as one of the most beloved flowers in perfumery, symbolizes love, beauty, and femininity, while the iris, with its striking beauty and diverse shades, often represents wisdom, eloquence, and royalty. The subtle reference to Osiris adds an aura of mysticism and eternal beauty, linking the floral notes of the perfume to themes of life, death, and transformation. Rosiris was introduced at the close of the Victorian era and the dawn of the Edwardian period, a time marked by a transition from opulence to a more subtle, refined elegance. The world in 1899 was on the cusp of modernity, with societal norms being reshaped by new technologies, ideas, and the influence of Art Nouveau in fashion and design. Women of the time were experiencing a shift in style—moving away from the highly structured, corseted look of the Victorian era toward softer, more natural silhouettes. Fashion was characterized by flowing skirts, delicate fabrics, and soft, feminine lines, much like the delicate nature of the rose and the understated elegance of the iris. It was also a time when perfume became an essential part of a woman’s identity, not just a fragrance but a symbol of status, taste, and sophistication. For women of the turn of the century, a perfume called Rosiris would have represented both the ethereal beauty of nature and the deeper mysteries of ancient cultures. The blend of roses and irises would have appealed to women who appreciated florals with depth, complexity, and layers of meaning. Rosiris was not just a scent; it was a statement. The name, with its references to ancient Egypt, may have suggested a perfume that was timeless and elegant, evoking images of queens, royalty, and the sacred rites of Egypt. It would have appealed to women who embraced a more intellectual and artistic identity—those who were fascinated by the exotic, the beautiful, and the profound. In terms of scent, Rosiris would have been a refined blend of rose and iris, two of the most revered and classical notes in perfumery. The rose would bring a soft, romantic, and lush floral heart, while the iris would add an air of powdery sophistication, creating a fragrance that was both gentle and commanding. The result would have been a perfume that resonated with the essence of a woman who embodied both beauty and depth—timeless, but also deeply connected to the ancient, eternal forces of nature and culture. It would have been a fragrance for those who wished to capture the beauty of life and the mysteries of existence, all while exuding a graceful elegance. Product Line: Rosiris by LT Piver, launched in 1899, was not just a perfume, but a full line of luxurious and sophisticated products designed to immerse the user in a complete sensory experience. The line consisted of the perfume (essence), toilet water, sachet powder, face powder, and soap, each element crafted to complement the others, creating a harmonious collection of beauty products that appealed to the refined tastes of women at the turn of the century. The perfume (essence) itself was the centerpiece of the collection, offering the wearer a concentrated fragrance experience of roses and irises, carefully blended to evoke timeless beauty and mystery. This rich, fragrant essence captured the heart of the Rosiris line, and was likely intended for special occasions, creating a lasting impression with its depth and complexity. The essence would have been used sparingly, offering a sophisticated and intimate way to wear the fragrance. The toilet water was a lighter, more refreshing version of the perfume, designed for everyday use. Toilet waters were a popular choice during this period for their versatility, providing an elegant scent that could be worn casually or used as a refreshing pick-me-up throughout the day. With its delicate balance of rose and iris notes, Rosiris toilet water would have offered a subtle yet sophisticated fragrance for women who wished to carry the allure of Rosiris into their daily routines without the intensity of the perfume essence. The sachet powder and face powder in the Rosiris line further enhanced the concept of personal luxury and fragrance. Sachet powders, often used to scent clothing and linens, would have infused garments and undergarments with the soft, delicate notes of the Rosiris blend, ensuring that a woman’s presence was not only noted by her perfume but also by the lingering fragrance surrounding her. The face powder, with its soft, velvety texture, would have provided a means of beautification while also imparting a subtle scent, creating a complete, layered experience of scent and beauty that was so highly valued at the time. The Rosiris soap rounded out the product line, serving as both a practical and indulgent element in the daily beauty regimen. This soap, infused with the delicate fragrance of roses and irises, would have left a lingering scent on the skin after bathing, ensuring that the wearer carried the essence of Rosiris with them throughout the day. The soap, often richly lathering and luxurious, would have been a means to start and end the day with the full experience of Rosiris, enveloping the user in its floral and refined fragrance. Together, these products formed a complete and indulgent system for maintaining beauty and fragrance, allowing women to surround themselves with the evocative and timeless allure of Rosiris from morning to night. The comprehensive nature of the line speaks to the growing trend of beauty routines becoming more sophisticated, with fragrance becoming a signature element of personal care. For the women of the time, Rosiris offered not just a perfume but an entire experience—one that was steeped in the luxury, elegance, and mystery that defined the turn of the century.     Fragrance Composition: So what does it smell like? It was classified as a floral fragrance for women. Top notes: palmarosa, geraniol, citronellyl acetate, aldehyde C10, Norol, phenylethyl alcohol, citronellol, bergamot, rose geranium, ionone, amyl acetate, irisone, orange, cassie Middle notes: Florentine iris, honey, tuberose, rose, heliotropin, orris, rhodium, ylang ylang, jasmine, orange blossom  Base notes: patchouli, tonka bean, vanilla, lignum aloe, terpineol, civet, benzoin, musk, ambergris   Scent Profile: In the late Victorian and early Edwardian eras, where fragrance was an essential part of a woman’s personal identity, Rosiris was a perfume that embodied the delicate yet sophisticated floral world. As you first inhale the fragrance, the top notes unfold like an intricate bouquet that transports you to a lush garden in full bloom, each element contributing its own unique character. The opening is dominated by the palmarosa, with its soft, almost velvety rose-like scent, tinged with a hint of lemony freshness, as if you’re brushing past fragrant petals on a dewy morning. The geraniol, with its sweet, rose-like qualities, mingles seamlessly with the citronellyl acetate, which carries an uplifting citrusy, green note, reminiscent of freshly picked lemon grass, but with a subtle herbaceous edge that adds a layer of complexity. Then, there’s the undeniable spark of aldehyde C10, which brings a crisp, soapy clean freshness—a nod to the newness of modernity during this period, while maintaining an air of refinement. The Norol enhances the composition, offering a clean, slightly fruity undertone, which pairs beautifully with the floral notes as the fragrance opens up. The addition of phenylethyl alcohol, with its honeyed, soft rose scent, introduces the unmistakable signature of the rose geranium, a nod to Victorian gardens where these blooms were cherished for their complex, green and floral aroma. There's a gentle effervescence from the bergamot, infusing the top notes with a zesty, uplifting touch, alongside the ionone, which adds a faint violet sweetness, evocative of a walk through a shaded garden path. The warm, fruity richness of amyl acetate brings a sense of fullness to the blend, while the delicate, soft irisone transports you to an orchard of iris flowers, their elegant, powdery aroma creating a smooth foundation. The hint of orange evokes memories of citrus groves on a sunlit afternoon, while the subtle, exotic sweetness of cassie adds a lush, floral depth that gently envelopes the senses, as if you are walking through a scented field where wildflowers bloom in abundance. As the fragrance settles, the middle notes emerge, deepening and unfolding with the grace of an evening in full bloom. The Florentine iris, a floral note prized for its elegance, brings forth a soft, creamy powderiness, invoking a sense of luxury and refinement, as if wearing a silk gown in a finely appointed drawing room. The honey note adds a rich, sweet warmth, reminiscent of the golden light at dusk, blending harmoniously with the creamy, soft texture of tuberose. Tuberose, often seen as the epitome of feminine allure during this era, imparts a heady, intoxicating sweetness that is almost overwhelming in its intensity, a testament to the passionate, romantic spirit of the Edwardian period. The rose in the heart is lush, full, and romantic, a tribute to the Victorian fascination with both the natural and the symbolic. Heliotropin, with its powdery, almond-like scent, creates a delicate, almost nostalgic air, as though stepping into an old-world garden, while the delicate notes of orris—the root of the iris—bring a refined, powdery richness, exuding a regal, understated elegance. The sensual depth of rhodium and ylang-ylang introduces a creamy, tropical sweetness, while the jasmine brings a seductive, opulent floral quality that resonates with the rich, luxurious mood of the time. A touch of orange blossom enhances this radiant heart, evoking the delicate yet captivating beauty of white flowers in bloom, their fragrance lingering in the warm air of the evening. As the fragrance begins to dry down, the base notes reveal their full depth and complexity, enveloping the wearer in an aura of sophistication. The earthy, woody aroma of patchouli brings a grounding depth to the composition, its rich, spicy, and slightly balsamic undertones creating a perfect contrast to the sweet, floral heart. The comforting warmth of tonka bean introduces a hint of vanilla-like sweetness, along with a slight almond aroma, as though stepping into an old-world apothecary where the air is heavy with the scent of rare, natural ingredients. The creamy vanilla wraps around the fragrance like a soft cashmere shawl, adding an inviting, indulgent sweetness to the base. The rich, resinous notes of lignum aloe and benzoin evoke an incense-like warmth, a nod to the Victorian fascination with the exotic and spiritual, while the animalic notes of civet and musk lend the perfume a sensual, almost provocative depth, subtly hinting at the hidden, intimate nature of the wearer. Finally, the luxurious, oceanic touch of ambergris imparts a golden, almost ethereal quality to the fragrance, as though the scent were catching the last rays of the setting sun, leaving a trail of elegance and refinement in its wake. Rosiris is a fragrance that speaks to the rich complexity of the era—an era where beauty, refinement, and the pursuit of indulgence were paramount. Its composition evokes a sense of timeless femininity, with its floral heart, deepened by earthy and resinous base notes, creating a luxurious and evocative experience that transports you to a world of elegance and opulence. Bottle: Rosiris, like many perfumes of the time, was as much a visual experience as it was a fragrant one. The perfume was housed in a simple clear glass bottle, its unadorned form focusing attention on the purity of the liquid within. However, the true artistic allure lay in its polychromed paper label, a bold and beautiful representation of the Art Nouveau style that was flourishing in the late 19th and early 20th centuries. The label featured intricate, flowing graphics of roses and irises, two flowers central to the fragrance’s composition. These delicate, stylized floral motifs captured the very essence of the perfume—elegant, feminine, and modern—drawing directly from the visual languages of the era. The design recalled the stunning works of Alphonse Mucha, one of the leading figures in the Art Nouveau movement. Mucha, a Czech artist, became internationally renowned for his distinctive style, which combined flowing lines, organic forms, and detailed decorative elements. His works often featured elegant women in flowing robes, surrounded by nature and intricate, ornamental details, creating an almost ethereal, dreamlike quality. In Rosiris' packaging, Mucha’s signature style was utilized to elevate the perfume’s aesthetic, evoking a sense of beauty and sophistication that complemented the luxurious nature of the fragrance itself. Art Nouveau, a movement that emerged in the late 19th century and continued into the early 20th century, sought to break away from traditional academic art forms, embracing instead a style that was organic and ornamental. Characterized by its fluid, sinuous lines, floral and natural motifs, and the fusion of art with craftsmanship, Art Nouveau found its way into many facets of design, from architecture to furniture, to advertising and packaging. The movement was about harmony between design and nature, and it was particularly noted for its celebration of feminine beauty and the natural world. The Rosiris label, with its flowing curves, detailed botanical illustrations, and the overall softness of its design, perfectly encapsulated the ethos of Art Nouveau—the ideal fusion of artistry, nature, and femininity. Mucha influence on the artwork was more than just decorative—it served as a reflection of the perfume’s identity, ensuring that Rosiris stood out in a crowded market. His intricate floral designs mirrored the fragrance itself, with roses and irises representing both the top and middle notes of the perfume. This visual harmony between the bottle design and the fragrance's floral composition created an experience for the consumer that was not only olfactory but also highly visual. The label, with its vibrant colors and striking imagery, became an essential part of the perfume's identity, lending it an air of sophistication and a connection to the fashionable, artistic spirit of the age. The same Art Nouveau imagery extended beyond the perfume itself, adorning the Eau de Toilette, liquid brilliantine, hair lotion, face powder, and even the soap boxes. Each product was packaged with the same ornate floral motifs, unifying the collection and ensuring that the perfume, along with its associated beauty products, was presented as a luxurious and artistic experience. The image of roses and irises, so evocative of femininity and grace, was not just an artistic choice but a visual language that communicated the fragrance's elegant, refined nature. The inclusion of Mucha-style designs in the packaging and presentation of Rosiris ensured that the perfume was not merely a fragrance but a statement of style and taste. It aligned the product with the emerging Art Nouveau aesthetic, making it visually striking and desirable. The beautiful label was a reminder that in the world of fine perfumery, beauty extended beyond the scent itself—it was in the artistry of the bottle, the box, and the experience as a whole. In this way, the packaging for Rosiris was an integral part of its appeal, making it as much a collectible object as it was a luxury fragrance.  Fate of the Fragrance: The Rosiris line, though discontinued with an exact date unknown, has firmly established itself as a coveted collection item for both perfume aficionados and admirers of Art Nouveau imagery. The last known newspaper advertisement for Rosiris appeared in 1938, suggesting that the fragrance may have faded from public availability shortly thereafter. Despite this, the allure of Rosiris continues to endure through its rare and exquisite packaging, with its stunning Art Nouveau label featuring roses and irises, designed in the distinctive style of Alphonse Mucha. The very rarity of these items adds to their mystique and value, making them highly sought after by collectors. The beauty and craftsmanship of the Rosiris line, from the delicate polychromed paper labels to the thoughtfully designed bottles, speak to a time when perfumery was about more than just scent—it was a luxury experience. These elements draw collectors who appreciate the intersection of fine art, design, and fragrance, as well as those who admire the artistry of the Art Nouveau movement. However, finding these long-lost artifacts from the past is not always an easy task. Perfume bottles, particularly from the early 20th century, are often fragile, and many have been lost or deteriorated over time, adding to the scarcity of Rosiris items in circulation. For collectors, acquiring a piece of Rosiris—whether it be the perfume, face powder, soap, or any of the associated items—is a rare opportunity to own a piece of history. The distinctive Mucha-style designs, paired with the nostalgic fragrance compositions, make it a standout item for those passionate about vintage perfumery. These pieces, often found in secondary markets, auctions, or private collections, are prized not just for their scent but for the aesthetic pleasure they provide. With their limited availability, any opportunity to acquire a Rosiris piece should be seized, as it could be a once-in-a-lifetime chance to own an artifact from an era where artistry and perfumery were intricately intertwined.

This is the list of perfume bottles and bath & body products that Guerlain used. Most information gleaned from the book Guerlain, Perfume Bottles by Atlas & Monniot as well as my own bottles I have owned in the past. This is meant as a guide only and is a work in progress. Discrepancies may occur as bottles were used and reused over the years, some years, as a result, sizes and bottles might not correspond. If you have information to add, please let me know. Flacon Abeilles (Bees) - c1828 - Present Used for eaux de cologne and eaux de toilette. Made by Pochet et du Courval. Originally created to house 'Eau de Cologne Impériale' for the Empress Eugenie, wife of Napoleon III; its decorative bees were a symbol of Napoleon and have since then, become Guerlain’s house symbol. You could get your bee bottle personalized with your monogram or the bees painted with gilded enamel. 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.  Flacon Aigle (Eagle) c1985-1993 Used for Derby only. Made by Pochet et du Courval. 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 Vinaigrier Ottoman (c1870s-1915?) Beautiful ancient amphora styled flacon, sometimes you may find this with enameled designs. Extremely rare and exceptional bottle decanter-style "Vinaigrier Ottoman" colorless glass, molded, pressed cylindrical section, the lobed bulbous belly, high funnel neck, richly decorated with polychrome painted designs of oriental hand stopper olive red and blue painted richly accented with gold, created by Pochet et du Courval glassware. Model available at that time on special order. Stands 21 cm tall. Flacon Amphore (Amphora) c1955-1982 Used for extraits of Ode, Shalimar, Chant D'Aromes, Liu, Jicky, L'Heure Bleue, Mitsouko, Muguet, Chamade, Sous le Vent, Vol de Nuit, Une Fleur. Bottle made by both Baccarat and Pochet et du Courval. Baccarat Flacons: 40cc/40ml/1.35 oz - 14,5cm/5.71" (1955)  80cc/80ml/2.7 oz - 18,3cm/7.2" (1955)  Pochet et du Courval: 15cc/15ml/0.5 oz - 11.5cm/4.53" (1959) ground glass rosebud shaped stopper, changed to plastic rosebud screwcap in 1978.  20cc/20ml/0.676 oz - 11.5cm/4.53" (1955): gilt ground glass rosebud stopper Flacon Borne (Boundary Stone) c1931- 1960s Made by Pochet et du Courval to house extraits of Shalimar, Mitsouko, Jicky, L'Heure Bleue, Sillage and others. 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. Flacon Bouchon Coeur (Heart Shaped Stopper) c1912-Present Flacon originally created to house extraits of L'Heure Bleue, Fol Arome and Mitsouko. Later used for special edition fragrances such as Le Petite Robe Noire, Mitsouko Fleur de Lotus, Shalimar. Flacon manufactured by Baccarat, Pochet et du Courval,Verreries Brosse, Cristalleries de Nancy and Cristal Romesnil. Designed by Raymond Guerlain in collaboration with Baccarat. 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 Bouchon Fleurs (Floral Stopper) c1914-1950 Flacon created by Pochet & du Courval to hold extraits of Mi Mai and Jasmiralda. 83cc/83ml/2.81 oz - 10,5cm/4.13" (1912-1951)  125cc/125ml/4.2 oz - 12cm/4.72" (1912-1951)  250cc/250ml/8.4 oz - (1912-1951)  500cc/500ml/16.9 oz - 18,3cm/7.2" (1912-1951)  1 liter/1000ml - 22,3cm/8.78" (1912-1951) Flacon Bouchon Quadrilobe (Quatrefoil Stopper) c1908-Present Flacon quadrilobe was made by five different glass manufacturers: Baccarat, Pochet et du Courval, St Gobain Desjonqueres, Cristalleries de Nancy, Cristal Romesnil, Verreries Brosse, and BSN-GD Flaconnage to hold extraits for various perfumes. Some later bottles hold eaux de toilette or eaux de parfum. Baccarat flacon #24. Created in 1908 for the fragrance Rue de la Paix and has been used since as the ‘house bottle’. The labels known as ‘etiquette laurier’ because of the laurel leaf borders, except for the perfume Coque D’Or, Dawamesk, Liu and Fleur de Feu which show a more 'modernist' design. Since the bottle shape has been used for many decades, the various glassworks needed to modify their original moulds, including the bottle itself and the stopper. One should remember that with the change from ground glass stoppers to ones with the plastic plugs (plastemeri) - this automatically altered the overall capacity and size of the bottles. Atlas & Monniot in their book, mentioned that it would be "unreasonable" to list all the numerous changes that took place with these alterations. They state that "an original mould may have been modified up to five times for a bottle of the same capacity with only slight differences in the size." Pochet et du Courval used six moulds: 10cc/10ml/0.338 oz - (mould #13613, from 1924) ground glass stopper, changed to plastic in 1962 10cc/10ml (mould #17077, from 1954) - ground glass stopper 20cc/20ml/0.676 oz (mould# 17529, from 1951) - ground glass stopper 40cc/40ml/1.35 oz - (mould#17275, from 1949) - ground glass stopper 60cc/60ml/2 oz - (mould#19106, from 1962) - ground glass stopper, changed to plastic stopper 125ml/4.2oz - (mould#22120, from 1978) - crystal plastic stopper 7,5ml/1.25 oz - 5cm/1.97" (1980) : plastic stopper  10cc/10ml/0.338 oz - (1924) ground glass stopper, changed to plastic in 1962 10cc/10ml/0.338 oz - 5,6cm/2.2" (1954) : ground glass stopper  15ml/0.5 oz - 6,3cm/2.48" (1979) : plastic stopper  20cc/20ml/0.676 oz - 7cm/2.76" (1951) : ground glass stopper  30cc/30ml/1 oz - 8cm/3.15" (1924) : ground glass stopper changed to updated edition plus plastic stopper in 1962  40cc/40ml/1.35 oz - 8,5cm/3.35" (1949) : ground glass stopper  60cc/60ml/2 oz - 9,5cm/3.74" (1962) : ground glass stopper, changed to plastic stopper  80ml/2.7 oz - 9,7cm/3.82"  125ml/4.2 oz - 11,5cm/4.53" (1978) : plastic stopper  250ml/8.4 oz - 13,8cm/5.43" (1979) : plastic stopper  500ml/16.9 oz - 17cm/6.69" (1979) : plastic stopper  1 liter/1000ml - 22,5cm/8.86" (1979) : plastic stopper Flacon Brun Fume (Brown Smoke) c1933 -? Flacon made by Baccarat to hold extraits of Candide Effluve, A Travers Champs and Guerlinade. Candide Effluve was reissued in this Baccarat flacon as a limited edition in October 2007. Baccarat flacon #744 60cc/60ml/2 oz - (2007)  80cc/80ml/2.7 oz - 12,8cm/5.04" (1933) Flacon Canard Flacon Capsule c1920-1971 Pochet & Du Courval created this bottle to hold Lotion Vegetale in various scents, such as L'Heure Bleue, Jicky, Shalimar, Mitsouko, Chant D'Aromes and others. Lotion Vegetale was a hair dressing created in 1900; this presentation was launched in 1920. 250ml/8.4 oz- 14,5cm/5.71" ground glass stopper with metal capsule flacon, discontinued in 1955  250ml/8.4 oz - 12-13cm/4.72" -5.2" - (1955) new size and with screw cap  Newspaper type label from 1920-1966  Oval label used from 1966 to 1971 Flacon Etruscan: The Flacon Etruscan was created in the early 1900s to hold Lotion Vegetale. The cap was made up of gilded metal cast with a foliate motif. The bottle was made by Pochet et du Courval. The luxury edition had gilding on the shoulders and the base of the bottle. The classic bottle has no gilding, except on the stopper. The bottle was made in three sizes: 80cc 90cc 250cc - 15cm tall Some of the scents were: Heliotrope, Jicky, Chypre, Fleurs Ambrees, L'Ether Aromatique, Ultra Fresca, Violette, and others. Flacon Carre (Square) c1879 - ? Created by Pochet et du Courval to hold eaux de toilettes, eaux de colognes and lotion vegetal. It was mostly used in the 1870’s and 1880’s to hold the fragrances from Guerlain; and its apothecary shape was typical of the bottles used by all fragrance houses at that time. 15cc/15ml/0.5 oz - 5,7cm/2.24" (1954, never sold, for demonstration only)  30cc/30ml/1 oz - 6,9cm/2.72" (1930, never sold, for demonstration only)  70cc/70ml/2.37 oz - 9,5cm/3.74" (1875, discontinued in 1939)  80cc/80ml/2.7 oz - 10,5cm/4.13"  125cc/125ml/4.2 oz - 11,5cm/4.53" (1879)  250cc/250ml/8.4 oz - 14,5cm/5.71" (1879)  500cc/500ml/16.9 oz - 19cm/7.48" (1880) Flacon Carre Bas de Forme (Low Square Form) c1880-1939 Bottle made by Pochet et du Courval to hold eaux de toilette, eaux de cologne and lotion vegetal in various scents. 130cc/130ml/4.4 oz - 15cm/5.91"  332cc/332ml/11.23 oz - 19,5cm/7.68"  500cc/500ml/16.9 oz - 23cm/9.06"  1000cc/1 liter - 28cm/11.02"  With or without Femme Drapeaux (woman flags emblem) on reverse 3 different stoppers: truncated, flat disk, and ball, (from 1924 for 16.9 oz and 1 liter) Flacon Chamade c1969 Bottle created by Pochet et du Courval to hold extrait of Chamade only. 9,2ml/0.311 oz - 8,7cm/3.73" (changed to 7,5cm/2.95")  18ml/0.609 oz - 12cm/4.72" (changed to 15ml/0.5 oz in 1979)  34ml/1.15 oz - 15cm/5.91" (changed to 30ml/1 oz)  45ml/1.52 oz  64ml/2.16 oz - 18,4cm/7,24" (changed to 60ml/2 oz)  120ml/4.06 oz - 22cm/8.66" Flacon Chant D'Aromes c1969 Bottle created by Pochet et du Courval to hold extrait of Chant D'Aromes only. 15cc/15ml/0.5 oz - 10,3cm/4.06" (1962-1980). 15ml/0.5 oz updated edition in 1995  30cc/30ml/1 oz - 12,5cm/4.92" (1962-1988, changed in 1979)  58cc/58ml/1.96 oz - 15cm/5.91" (1962-1985)  120cc/120ml/4.06 oz - 19cm/7.48" (1962-1983, changed in 1980) Flacon Chauve Souris (The Bat) c1924 Urn shaped flacon designed by Raymond Guerlain and produced by Baccarat to hold only the extrait of Shalimar. The bottle was also produced by Pochet et du Courval, Saint Gobain des Jonqueres and Cristal Romesnil (1920s). This bottle came in several sizes from miniature to a huge factice. A rare example had a clear stopper, instead of the usual blue wash. Baccarat flacon #597. Shalimar was renamed No.90 for a short time during a lawsuit concerning another company who was using the name Shalimar for their perfume. You may find a rare No. 90 bottle with a clear translucent stopper, made by Baccarat. The earliest bottles feature a small hole drilled into the base of the stopper, in which threads would go through to seal and make a tassel. This feature dates these bottles to 1927-1936 according to a 1927 advertisement I have in the photo gallery showing a bottle with the hole in the stopper. Baccarat: 20ml/0.676 oz - 10.5cm/4.13"  30ml/1 oz - 14.3cm/5.63  60ml/2 oz - 15.5cm/6.1"  80ml/2.7 oz - 16cm/6.3"  125ml/4.2 oz - 20cm/7.87"  250ml/8.4 oz - 22.5cm/8.86"  Other manufacturers: 7.5 ml/1.25 oz - 7.4 cm/2.91" (1991)  10cc/10ml/0.388 oz - 8cm/3.15" (1954)  10ml/0.388 oz - 8.2cm/3.23" wide feet (Saint Gobain from 1981 to 1984)  15ml/0.5 oz - 9.3cm/3.66" wide feet (Saint Gobain from 1981 to 1986)  16.5cc/0.558 oz - 9.3cm/3.66" (1964, changed in 1978 15ml)  20cc/20ml/0.676 oz - 9.6cm/3.78" (1948)  30cc/30ml/1 oz - 10cm/3.94" (1948, changed in 1979 30ml)  40cc/40ml/1.35 oz - 11.4cm/4.49"  60cc/60ml/2 oz - 15cm/5.91" (1962, changed in 1978 to 60ml)  80cc/80ml/2.7 oz - 18cm/7.09"  125cc/125ml/4.2 oz - 20.8cm/8.19" Largest Parfum Bottle 50 oz - 15" tall (2001) - This size also used for factice. Flacon de Cave (Wine Flacon) c1830-1938 Also known as Flacon Chinois. Bottle created by Pochet et du Courval and used for eaux de colognes, eaux de toilettes. May be gilded. 500cc/500ml/16 oz - 21cm/8.27" (1830-1938), engraved with Femme Drapeaux on reverse until 1911  125cc/125ml/4.2 oz - 16cm/6.3" (1911-1938) Flacon de Guerre (War Time Edition) c1938-1945   Pochet et du Courval created this bottle to house extraits of Shalimar, Jicky, Guerlinade, Fleur de Feu, Mitsouko, L'Heure Bleue, Liu, Kadine, Verveine,Vague Souvenir, Champs Elysees,  Geranium d'Espagne, Jasmiralda, Lilas, Bouquet de Faunes, Guerlilas, Gavotte, Coque d'Or, Imperial Russe, Fleur Qui Meurt, Gardenia,  and others. 10cc/10ml/0.388 oz (1939-1945)  20cc/20ml/0.676 oz (1939-1945)  30cc/30ml/1 oz (1938-1945)  40cc/40ml/1.35 oz (1938-1945)  82cc/82ml/2.77 oz - 10,3cm/4.06" (1938-1945)  125cc/125ml/4.2 oz (1938-1945)  250cc/250ml/8.4 oz (1938-1945)  500cc/500ml/16.9 oz (1938-1945) Flacon de Voyage (Travel Bottle) c1955-2002 Created by Pochet et du Courval to hold various eaux de toilette, other glass companies may have also manufactured the bottles over the years. 50cc/50ml/1.7 oz - (1962)  100cc/100ml/3.4 oz - (1955)  200cc/200ml/6.7 oz - 12,8cm (1955)  500cc/500ml/16.9 oz - (1965)  1 liter/1000ml - (1967) Flacon Eau de Guerlain c1974-1993 Flacon made only to hold Eau de Guerlain, bottle made by different manufacturers. 125cc/125ml/4.2 oz - 11.5cm/4.53"  250cc/250ml/8.4 oz - 16cm/6.3"  500cc/500ml/16.9 oz - 18cm/7.09"  1 liter/1000ml - 21cm/8.27" Flacon Elixir c1909-1939 Created by Pochet et du Courval. 15cc/15ml/0.5 oz - 7cm/2.76" (1930-1939)  83cc/83ml/2.81 oz - 11cm/4.33" (1930-1939)  160cc/160ml/5.41 oz - 15.5cm/6.1" (1909-1939)  500cc/500ml/16.9 oz - 19.5cm/7.68" (1910-1939) Flacon Stiligoutte de Voyage c1934-1967? Created by Pochet et du Courval. Used for Elixir de Guerlain Eau Dentifrice. Flacon Empire c1902-1959 Flacon created by Pochet et du Courval to hold extraits of various perfumes such as Apres L'Ondee, and Sillage. Bottle, with gilded drapery, originally created to house the perfume Bon Vieux Temps. 80cc/80ml/2.7 oz - 7.5cm/2.95" (1902-1959)  125cc/125ml/4.2 oz - 9cm/3.54" (1907-1959)  250cc/250ml/8.4 oz - 11cm/4.33" (1907)  500cc/500ml/16.9 oz - 13cm/5.12" (1907) Flacon Encrier (Inkwell) c1936-1959 Flacon created by Baccarat to hold the extrait of Vega only. Other bottles were made by Wheaton Glass in Millville,NJ. 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" (for sale only in the USA) Flacon Escargot (Snail) c1902-1962 Flacon created by Pochet et du Courval to hold extraits of Mouchoir de Monsieur, Voilette de Madame and Ai Loe. Triangular shaped bottle; the stylization of the Guerlain name across its shoulder, becomes the body of a snail from which it takes its name. 80cc/80ml/2.7 oz - 11.5cm/4.53" (1902-1962)  125cc/125ml/4.2 oz - 13cm/5.12" (1903-1959)  250cc/250ml/8.4 oz - 15cm/5.91" (1904-1959)  500cc/500ml/16.9 oz - 19cm/7.48" (1904-1959) Flacon Fleuri (Flower) c1900-1962 Created by Pochet et du Courval to hold extrait of Voila Pourquoi J’amais Rosine, also used for other scents like Muguet. 80cc/80ml/2.7 oz - 10.4cm/4.09 smooth bottle  80cc/80ml/2.7 oz - 9.3cm/3.66" ribbed bottle (1904 - until the early 1960s)  125cc/125ml/4.2 oz - smooth bottle  125cc/125ml/4.2 oz - ribbed bottle (until early 1960s) Flacon Goutte (Teardrop) c1923-2001 Bottle created by Pochet et du Courval to hold eaux de toilette only. Bottle also made by different manufacturers over the years. Created as the standard Eau de Toilette presentation. The frosted glass stopper is made of two cockle shells; the label depicts two dolphins known as ‘Etiquette Dauphin’. “Toilet water in an oval bottle with atomizer top is new, $5.” ( 1939) “Guerlain now has a $5 size of toilet water in all the popular fragrances such as Shalimar, L’Heure Bleue, Vol de Nuit, Coque D’Or, Liu, Mitsouko, Sous Le Vent and Jicky.” (1940, Drug and Cosmetic Industry, Volume 46) This bottle held over 30 different perfumes, some are: Apres L'Ondee  A Travers Champs  Bouquet de Faunes Cachet Jaune  Candide Effluve  Chamade  Champs Elysees  Chant D'Aromes  Coque D'Or  Cuir de Russie  Dawamesk  Esprit de Fleurs Nouvelles  Fleur de Feu  Fol Arome  Gardenia Habit Rouge  Jasmin  Jicky  L'Heure Bleue  Lavande  Lilas  Liu  Mitsouko  Muguet Oeillet Parure  Rue de la Paix  Shalimar  Sous Le Vent  Une Rose Vague Souvenir  Vega  Vetiver Vol de Nuit  Different manufacturers: 50cc/50ml/1.7 oz - 8 to 9cm/3.15" to 3.54" (1973) replaced by 50ml - 8.9 cm (1983-1988)  100cc/100ml/3.4 oz - 12 to 13cm/4.72" to 5.12" (1938) replaced by 100ml - 12.5 cm (1983-1994)  250cc/250ml/8.4 oz - 16 to 17cm/6.3" to 6.69" (1923) replaced by 250ml - 16.8 cm (1983-1995)  500cc/500ml/16.9 oz - 20 to 21cm/7.87" to 8.27" (1923-2001)  1 liter - 25 to 26cm/9.84" to 10.24" (1923-1999)  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, silkscreened serigraphy on bottle instead Flacon Gratte Ciel (Sky Scraper) c1948-1960 Created by Pochet et du Courval to hold extraits of Atuana and Fleur de Feu. Also made by Baccarat. This flacon was also known as Fleur de Feu, named after its perfume. The name comes from the idea of flowers rising from the flames – like a phoenix; Guerlain’s first perfume after the Second World War. 20cc/20ml/0.676 oz - 11.5cm/4.53" octagonal foot (May 1949) 28cc/28ml/0.947 oz - 12.8cm/5.08", octagonal foot (December 1948) (limited edition 1999 30ml/1 oz - 12cm)  40cc/40ml/1.35 oz - 13.8cm/5.43",octagonal foot (June 1949) 80cc/80ml/2.7 oz - 18.2cm/7.17" square foot (February 1948) 125cc/125ml/4.2 oz - 20.6cm/8.11" square foot (July 1949) 250cc/250ml/8.4 oz - 25.1cm/9.88" square foot (July 1949) Flacon Guerlilas c1927-1939 Bottle created by Baccarat to hold extraits of Guerlilas and Guerlarose. Also produced by Pochet et du Courval. Baccarat: 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: 80cc/80ml/2.7 oz - 7.4cm/2.91" Flacon Guerlinade c1998 Bottle created by Pochet et du Courval to hold extrait of Guerlinade, a reissued limited edition perfume for the 170th anniversary of Guerlain. 50ml/1.7 oz - 11cm/4.33" Flacon Lalique c1925-1963 Bottle created by Lalique to hold extraits of Bouquet de Faunes and Jasmin. The maiden’s face on the front of the bottle was taken from the entrance to the Guerlain boutique at 68 Avenue Champs-Elysées, Paris, France. 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)  1925-1940: 1st version with waves just below neck  1940-1963: 2nd flat version without waves, marked "Made in France" on the foot Flacon Lanterne (Lantern) c1935-1943 Flacon created by Pochet et du Courval to hold extraits of Jicky, Rue de la Paix, Cuir de Russie, Jasmine, Sous le Vent, and others. The bottle was reissued in 1999 to hold a limited edition extrait of Guet Apens. 10cc/10ml/0.338 oz - 5.4cm/2.13" (size reserved for export)  30cc/30ml/1 oz - 7.3cm/2.87" (size reserved for export)  80cc/80ml/2.7 oz - 9.7cm/3.82" (1935-1943)  125cc/125ml/4.2 oz - 11.5cm/4.53" (reissued in 1999 125ml/4.2 oz - 12cm/4.72" for Guet Apens)  250cc/250ml/8.4 oz - 14cm/5.51" (1935-1943) Flacon Louis XVI c1902-2002 Flacon created by Pochet et du Courval to hold extraits of Apres L'Ondee, Muguet, Mouchoir de Monsieur, Violette a deux Sous, Aux Bon Vieux Temps, Sillage, Avril en Fleurs, Ai Loe and others. Flacon has also been used for special limited editions such as Chamade. The original box is white, cylindrically shaped and has Guerlain Paris in gold leaf. 30cc/30ml/1 oz - 9cm/3.54" (1924) amended 30ml/1 oz (1983-2002) 40cc/40ml/1.35 oz - 9cm/3.54" (1950-1959) 75cc/75ml/2.5 oz - 11.3cm/4.45" (1971) 80cc/80ml/2.7 oz - 11.3cm/4.45" (1902-1962) 125cc/125ml/4.2 oz - 12.8cm/5.04" (1903-1965) 250cc/250ml/8.4 oz - 16.4cm/6.46" (1904-1959) 500cc/500ml/16.9 oz - 21.5cm/8.46" (1907-1959) 1 liter/1000ml- 25.5cm/10.04" (1920-1959) Flacon L'Urne Antique c1830 1830 Guerlain perfume bottle and stopper, used for various scents, clear glass, molded address label. Bottle stands 4" tall. Flacon Lyre c1921-1959 Flacon created by Baccarat to house Candide Effluve, A Travers Champs and Guerlinade. Also produced by Pochet et du Courval in a very small quantity for export to the USA. Baccarat flacon #475. Baccarat: 80cc/80ml/2.7 oz - 12.9cm/5.08" (1921-1959)  125cc/125ml/4.2 oz - 14.7cm/5.79" (1921-1959)  250cc/250ml/8.4 oz - 18.7cm/7.36" (1921-1959)  500cc/500ml/16.9 oz - 23.5cm/9.25" (1921-1952)  1 liter/1000ml - 29cm/11.42" (1921-1952)  Pochet & the Courval: 30cc/30ml/1 oz (1924) produced very limited quantities to the USA Flacon Mauresque (Moorish) c1910 - ? Bottle created by Pochet et du Courval for various perfumes. Beautifully enameled decoration. Based on a 17th century Persian or Moorish perfume flacon in the Guerlain family collection. This flacon was also used for other Guerlain perfumes. Specifically tailored for custom perfume. Guests can choose perfume bottle shape, stopper shape, decoration and color of flowers. 250cc/250ml/8.4 oz - 22.5cm/8.86" Flacon Montre (Watch) c1936 - 1999 Flacon created by Pochet et du Courval to hold eaux de cologne, first used with Cachet Jaune in 1936, also held various other scents such as Shalimar, Mitsouko, Jicky, Fol Arome, Chamade, Chant D'Aromes, Liu, L'Heure Bleue, Vol de Nuit, Sous Le Vent, Chypre 53, Parure and more. A 1950 article reads "Guerlain recommends spraying a room with their famous Shalimar eau de cologne. This is a lighter form of their famous perfume. Because it is lighter, it is less expensive and can be used more lavishly." 50cc/50ml/1.7 oz - 11cm/4.33" (1936-1950)  64cc/64ml/2.16 oz - 12.5cm/4.92" (1972-1979) changed 60ml  100cc/100ml/3.4 oz - 14.6cm/5.75" (1936-1999)  125cc/125ml/4.2 oz - 16cm/6.3" (1960-1972)  200cc/200ml/6.7 oz - 18.5cm/7.28" (1936-1999)  400cc/400ml/13.5 oz -9.5" (1936-1972)  500cc/500ml/16.9 oz - 24.3cm/9.57" (1936)  1 liter/1000ml - 30cm/11.81" (1936)  2 liter/2000ml - 37.5cm/14.75" (1970)  3 liter/3000ml - 42cm/16.54" (1979)  Stoppers: 1936-1972: ground glass stopper  1972-1979: gold screw-cap stopper  1979-1999: plastic stopper  Since it was used for all of Guerlain's standard colognes, only the central disk of color varied with the names of perfume. Red for Shalimar  Yellow for Cachet Jaune  Sky Blue for L'Heure Bleue  Purple for Ode  Pink for Fleur de Feu  Navy Blue Vol de Nuit  Orange for Chant D'Aromes  Emerald Green for Mitsouko  Burgundy for Jicky  Light Aqua for Chamade  Turquoise for Parure  Sage Green for Chypre 53  Black for Liu  Between 1972-1979 Shalimar, when in a Montre with a gold cap, had a Navy Blue center. Flacon Nahema c1980-1992 Bottle created by Pochet et du Courval to hold Nahema.. 7.5ml/0.25 oz - 8cm (1981-1992)  15ml /0.5 oz- 10.4 cm (1980-1991)  30ml/1 oz - 13.4 cm (1979-1988)  60ml/2 oz - 16.2 cm (1979-1985)  120ml/4.06 oz - 20.2 cm (1979-1984) Flacon Noeud Papillon (Butterfly Knot) c1937-1956 Baccarat created this bottle to contain the extraits of Dawamesk, Kriss, Champs Elysees and Coque d'Or. The bottle was available in cobalt blue glass, and cobalt with a gilded overlay. Bottles were also made by Pochet et du Courval. the stoppers were originally smooth but were later altered to facilitate opening. Baccarat flacon #770. Baccarat (smooth or faceted stoppers): 40cc/40ml/1.35 oz - 5.5cm/2.17"  80cc/80ml/2.7 oz - 6.5cm/2.56  125cc/125ml/4.2 oz - 7.5cm/2.95"  250cc/250ml/8.4 oz - 8.5cm/3.35"  500cc/500ml/16.9 oz - 10.5cm/4.13"  Pochet et du Courval (smooth cap only): 40cc/40ml/1.35 oz - 5.5cm.2.17"  82cc/82ml/2.77 oz - 6.6cm/2.6" Flacon Opaline c1951 - ? Created by the Cristal et Bronze company and designed by R. Noirot, this flacon is decorated with enameled butterflies, it is meant to resemble the mid 19th century French opaline cologne bottles so popular in the Victorian era. The bottle held various standard Guerlain perfumes such as L'Heure Bleue, Mitsouko, Jicky, Shalimar and it was also seen without any specific perfume name in the cartouche on the front of the bottle. 11.5cm/4.53"  15.5cm/6.1"  18.5cm/7.28" Flacon de Sac (Purse Bottle) /Parapluie Flacon (Umbrella Bottle) c1952-1978 A purse vial made by various glass manufacturers: Pochet et du Courval, Brosse and Saint Gobains Desjonqueres, (1952-1978). The first presentations were encased in boxes which coordinated with the perfume's name and style. Later presentations omit the box and the flacon is housed inside of a leather case. Bottle held extraits of Shalimar, Ode, L'Heure Bleue, Mitsouko, Jasmin, Vega, Jicky, Sous le Vent, Chant D'Aromes, Chamade, Vol de Nuit, Liu and possibly more: 7cc/7ml/0.237 oz - 7.8cm/3.07" Flacon Parure c1975-1987 Bottle created by various glasshouses to hold the feminine fragrance Parure. 7.5ml/0.25 oz - 9cm/3.54" (1975-1981)  15ml/0.5 oz - 11.5cm/4.53" (1975-1981)  15ml/0.5 oz - 11.5cm/4.53" with all-glass foot(1979)  30ml/1 oz - 14.3cm/5.63" (1975-1987)  60ml/2 oz - 17cm/6.69" (1975-1985)  120cc/120ml/4.06 oz - 20.7cm/8.15" (1975-1980) Flacon Persane (Persian) c1900 Extremely rare and exceptional bottle, flask used for toilet water. Persane flacon, created by Pochet et du Courval in 1910. Based on a 17th century Persian perfume flacon in the Guerlain family collection. This flacon was also used for other Guerlain perfumes.Rumen cutting, long ringed neck. Flat cut stopper. On one side signed "HP" on the other side "Depose" and under the base "Guerlain Paris." Mold No. 12088. H: 21 cm Period 1900 Rue de Rivoli and Rue de la Paix. Flacon Petit Beurre (Little Butter Pat) c1916 - ? Limited edition flacon created by Baccarat and Pochet et du Courval. Housed various Guerlain fragrances such as L'Heure Bleue, Mitsouko, Rue de la Paix, Candide Effluve, A Travers Champs, Fol Arome, Quand Vient L'Ete , Kadine, Guerlinade, Une Rose, Pour Troubler, Vague Souvenir and Champs Elysees. Baccarat: 40cc/40ml/1.35 oz - 7.7cm/3.03" (limited edition of only 500 in 1916) 80cc/80ml/2.7 oz - (limited edition of only 500 in 1916) Pochet et du Courval: 20ml/0.676 oz - 5.5cm/2.17" (1929) Flacon Plat (Flat) c1890 Created by Pochet et du Courval. Housed various Guerlain fragrances such as Tsao Ko, Belle France, Dix Petales de Roses, Cyprisine, Le Jardin de Mon Cure, Gavotte, Paris Nouveau, Violette a Deux Sous, Bouquet Mademoiselle, Grande Marechale, Young Princess, and Rodomel. Flacon (Djedi) c1926-1959 Flacon created by Baccarat to house the extrait of Djedi only. Baccarat flacon #598. Created by George Chevalier, a development of the ‘Petit Beurre’ presentation. 60ml/2 oz - 8.5cm/3.35" (limited reissue in 1996)  125ml/4.2 oz - 9.5cm/3.74" Flacon Rayonnant (Radiance) c1933-1983 Baccarat created this flacon to hold Vol de Nuit, it was also used for Sous le Vent. Other bottles were made by Pochet et du Courval. The bottles range from a smoky green to clear. The bottles were often made in limited editions over the years. Stylized to look like the movement of an airplane propeller, a nod to the novelist/aviator Antoine de Saint- Exupery and his book Night Flight (Vol de Nuit) Baccarat: 80cc/80ml/2.7 oz - (limited edition of only 8000 single copies)  Pochet et du Courval: 10cc/10ml/0.388 oz - 5.3cm/2.09 (1954) changed to 7.5ml/0.25 oz (1962-1981)  20cc/20ml/0.676 oz - 6.6cm/2.6" (1955) changed to 15ml/0.5 oz (1962-1980)  30cc/30ml/1 oz - 7.2cm/2.83" (1934)  40cc/40ml/1.35 oz (1937-1950)  60cc/60ml/2 oz- 8.6cm/3.39" (thickness 2.7cm/1.06", width 6.7cm/2.64") (1962) changed to 55ml/1.86 oz - 8.5cm/3.35" (1977-1983)  82cc/82ml/2.77 oz - 8.5cm/3.35" (thickness 3.1cm/1.22", width 6.9cm/2.72") (1932-1963)  125cc/125ml/4.2 oz - 9.5cm/3.74" (1933) changed to 125ml/125ml/4.2 oz - 9.8/3.86"cm (1979-1984)  250cc/250ml/8.4 oz - 11.8cm/4.65" (1933) Flacon Republique Etui Carre (Bottle for the Square Box) c1840 - ? Bottle made by Pochet et du Courval. The bottle held various colognes, eaux de toilette and distilled waters, such as Eau de Verveine, Eau de Cologne Hegemonienne, Eau de Rose Distillee, Eau de Cologne Imperiale, Eau de Cologne Russe, Neva, Bouquet Imperial, Do Brazil, Bouquet de l'Imperatrice Eugenie and Parfum Imperial and others. 61cc/61ml/2 oz - 9cm/3.54" (vers 1870)  122cc/122ml/4 oz - 11.5cm/4.53" (1840)  183cc/183ml/6 oz - 13.5cm/5.31" (1840 changed to 166cc/166ml/5.61 oz - 15.5cm/6.1")  244cc/244ml/8 oz - 17.5cm/6.89" (1840 changed to 332cc/332ml/11.23 oz - 19.5cm/7.68")  250cc/250ml/8.4 oz - 17.5cm/6.89" Flacon Tabatiere (Snuff) c1927-1972 Bottle created by Baccarat to hold extraits of Liu. The bottle was molded after a Chinese snuff bottle and was made only in black crystal. Bottle also made by Pochet et du Courval over the years. Baccarat: 80cc/80ml/2.7 oz - 7.8cm/3.08" - (limited edition of only 6000 single copies, often unsigned)  Pochet et du Courval: 30cc/30ml/1 oz - 5.9cm/2.32" (1934, export version)  40cc/40ml/1.35 oz - 6.4cm/2.52" (1937)  80cc/80ml/2.7 oz - 7.8cm/3.07" - changed to 75ml/2.5 oz limited edition of 3000 copies (1994)* 125cc/125ml/4.2 oz - 9cm/3.54"  250cc/250ml/8.4 oz - 11cm/4.33" *Please note that in 1994, a limited edition of Liu was released in this bottle, this size was changed from 80ml/2.7 oz to 75ml/2.5 oz, only 3000 copies were made. Flacon Tonnelet (Keg) c1934-1950 Bottle created by Baccarat to hold extraits of Sous le Vent, bottles were also made by Pochet et du Courval over the years. Baccarat 80cc/80ml/2.7 oz - 8.6cm/3.39" (limited edition of only 5000 in 1937)  128cc/128ml/4.33 oz - 12.5cm/4.92" (limited edition of only 3000 copies in 1937)  250cc /250ml/8.4 oz- (limited edition of only 3000 copies in 1937)  Pochet et du Courval: 30cc/30ml/1 oz - 6.8cm/2.68"  80cc/80ml/2.7 oz- 8.6cm/3.39"  128cc/128ml/4.33 oz - 12.5cm/4.92"  250cc/250ml/8.4 oz Flacon Tortue (Turtle) c1914-1959, c1995 Bottle created by Baccarat to hold extraits of Le Parfum des Champs Elysees, other bottles made by Pochet et du Courval. Created to celebrate the opening of the Guerlain boutique at 68, Avenue des Champs-Élysées, Paris, France Baccarat: 80cc/80ml/2.7 oz - 11cm/4.33" (changed to 60ml - 10.2cm/4.02" in 1995 as a limited edition)  125cc/125ml/4.2 oz - 12.5cm/4.92"  250cc/250ml/8.4 oz - 15.5cm/6.1"  500cc/500ml/16.9 oz - 19.5cm/7.68"  1 liter/1000ml - 24.5cm/9.65"  Originally, the legs were frosted glass  Pochet et du Courval: 30cc/30ml/1 oz - 8.5cm/3.35" Travel Flacon c1955-1980 A simple splash bottle made in 1955 for Ode Eau de Cologne, subsequently containing all Eau de Colognes. The bottle was made to fit into a train case, hence its name. It was used for Vetiver in 1959 (at that time, the Vetiver label was red), and later for Habit Rouge and Mouchoir de Monsieur as well, with a black rim around the lid instead of the original feminine white one. Unknown designer. Vaporisateur Pour la Coiffeuse (Spray for the Hairdresser) c1937 - 1965 Round, squat shaped bottle originally used for demonstration to be used by a hairdresser or beauty advisor, it was created to hold perfumes, brilliantine or stilboide fluid to spray onto the hair. Small size - 4.8cm/1.89"  Large size - 6.5cm/2.56"     Vaporisateur de Voyage (Travel Spray) c1930 - ? Cylindrical shaped crystal travel spray bottle to hold various perfumes, used during travel, manufactured by Baccarat.Bottle was housed in small leather case offered in four different colors: black, red, green and blue. 125cc /125ml/4.2 oz- 8.9cm/3.5" (without bulb) Natural Spray Colognes c1964-1977 These bottles were meant to hold eau de colognes of Guerlain's standard perfumes: Shalimar, L'Heure Bleue, Mitsouko, Vol de Nuit, Chamade, Liu and Chant D'Aromes. The bottles were probably made by either SGD or Pochet et du Courval. They are ribbed and look a little like the parapluie bottles, but have a black spray mechanism at the top, the name of the perfume is usually written in gold on a black band just below the cap, there is also a label on the base of the bottle. The bottle has a gold tone cap over the spray nozzle, it had a black plastic disk imprinted with a G for Guerlain on the top, this bottle was packaged in the same black and white boxes as the disk bottles. Talcum "Lyre" Poudreur Flacons c1947-1980s Beautiful frosted glass talcum powder bottles were in the shape of a lyre or guitar. they held six scents: Shalimar, Mitsouko, Vol de Nuit, Liu, Fleur de Feu and L'Heure Bleue. Talcum powder in the frosted bottle was introduced in 1947, it was being put up in a white plastic canister in the late 1960s, then it was sold in a turquoise canister in the 1980s. Lyre Bath Oil Flacons c1952 - ? Bath oils were introduced in 1952. These lyre shaped glass flacons held six scents: Shalimar, Mitsouko, Liu, Fleur de Feu, L'Heure Bleue and Vol de Nuit. Film Spray c1966 - 1975 Film Spray was a pink, light moisturizing body lotion in spray form perfumed in five standard Guerlain scents: Shalimar, L'Heure Bleue, Fleur de Feu, Mitsouko and Chant D'Aromes. Capillaque Hair Spray c1961 - 1971 Capillaque was the name of scented hair sprays/brilliantine sprays that matched the various standard Guerlain perfumes: Shalimar, Vol de Nuit, Mitsouko, L'Heure Bleue, Chant D'Aromes and Habit Rouge. A trademark was filed in 1961 for the hair spray and the trademark expired in 1988, but I am pretty sure this was discontinued by around 1971. Parfum de Toilettes c1987 - 1990 The Parfum de Toilette range was created around 1986 or 1987, and included Jicky, Liu, L'heure Bleue, Mitsouko, Nahema, Chamade, and Shalimar. According to Guerlain, Parfum de Toilette is their version of an Eau de Parfum - it's stronger than an eau de toilette and weaker than parfum extrait. Parfum de Toilette is no longer made - it has been replaced by Eau de Parfum, so whatever you find is vintage and definitely worth a sniff! Eau de Parfum c1990 - Present Guerlain added its first Eau de Parfum in 1990 with Samsara and the men's fragrance Heritage. The Eau de Parfums replaced the Parfum de Toilettes for nearly all of Guerlain's scents for men and women. Eau de Parfum Spray 3.4fl oz  Eau de Parfum Spray 2.5fl oz  Eau de Parfum Spray 1.7fl oz  Eau de Parfum Spray 1fl oz  Eau de Parfum mini Parfum/Extrait 0.25fl oz Le Sucrier de Madame c1980 - 2008? Le Sucrier de Madame (Madam's Sugar Shaker/Muffineer) was made for express usage in the Guerlain boutiques to demonstrate the eau de toilettes. Sometimes they were often given as "rewards" to those who spent an exorbitant amount of money in the French boutiques. The cases are of gilded brass and the domed tops are intricately pierced in a filigree pattern featuring the Guerlain G, hearkening back to the ornate muffineers of the 19th century. The bottle was designed by jeweler Robert Gossen. Each bottle holds 200ml/6.7 oz of eau de toilette. I have seen these marked Chamade, Shalimar, Parure, Nahema, Chant D'Aromes, Chamade, Apres l'Ondee, Mitsouko, L'Heure Bleue, Vol de Nuit, Samsara and Jicky. Others are not marked with a name. Each case held a bottle that when emptied, a new refill could be recharged into the case. In 2008, a Guerlain SA told a member of beaute-test.com that the manufacturer of the Sucrier flacons had just passed away and the flacons would be discontinued as he was the sole manufacturer. Whether not this is true, please let me know. Habit de Fete c1965 - Present Guerlain released the Habit de Fete flacon cases in several different styles. The first style was introduced in 1965, known as the Delft atomizer, it was for various standard Guerlain eau de colognes and the thin metal cases were decorated with different enameled motifs, these bottles held 96ml. The next style replaced the Delft atomizers and was rectangular, goldtone and had a pierced basketweave or lattice design, it was introduced in 1982 and used up until 1989, these thin metal cases held refills for eau de toilettes and in 1987, the parfum de toilettes. Although there are several styles of these refillable containers, they all fit the same size and shape of refills: 50ml/1.7 oz Eau de Parfum  93ml/3.14 oz Eau de toilette  8ml/0.25 oz parfum extrait  As the millenium approached, Guerlain wanted an updated flacon for their refills, the case is goldtone and studded with silvertone and coppertone bubbles. The eau de parfum bottle is shorter, wider and flatter, while the eau de toilette is taller, thinner and round. Habit De Fete Eau de Parfum Spray Refill 1.69fl oz  Habit De Fete Eau de Toilette Spray Refill 3.1fl oz  Habit De Fete Perfume Spray Refill 0.27fl oz Les Meteorites  In the mid 1980s, Guerlain had the idea to create the Les Meteorites Collection.The collection was made up of gilded metal and colorful cloisonne enameled containers that could be refilled. "The Meteorites stand for GUERLAIN's exclusive style".  Les Meteorites refillable natural spray limited edition from Guerlain Paris-15 ml Parfum de Toilette . The shape of the vaporizer is reminiscent of the forebearer's fob watch. Both sides are covered with the intricate, multi colored, rosette-shaped "cloisonne" enamel. The Les Meteorites Collection included small round 15ml purse spray flacons which could be recharged by inserting a new inner flacon of perfume. The scents available at the time were Shalimar, L'Heure Bleue, Mitsouko, Jicky, Chamade and Chant D'Aromes. The products in the METEORITES line have established a prestigious reputation thanks to their unique design linking tradition and innovation.Ten lipsticks, a compact mirror and three face powder shades helped to round out the collection. In 2000, Guerlain released Les Meteorites, a powdery violet and iris based perfume. Dusting Powder 1955-Present Guerlain's Dusting Powder was introduced around 1955 housed in a faux tortoiseshell plastic powder box, then inside of a white plastic powder box in the 1960s and 1970s, then in a turquoise plastic powder box in the 1983, then a plastic powder box in a coordinating color of the fragrance it contained, starting in the late 1990s, and is still being sold today. Creme Hydratante c1959-1967? Guerlain's Creme Hydratante introduced in 1959, a lanolin based moisturizer, lightly scented and meant to be lavished all over the body, particularly on arms and legs. Still sold around 1967. Body Shampoo c1976- Present Guerlain's Body Shampoo was released in 1976, it came in three scents at that time, starting with Shalimar. Les Voluptes du Bain c1983- 1999 Guerlain released their fragrances ancillary products in turquoise plastic packaging starting in 1983, this line was known as Les Voluptes du Bain de Guerlain and sold til 1999, when the products were given a makeover with a more sensual shape. Three new products were offered, Perfumed Bath Salts, Sensual Milky Veil, and Voluptuous Foaming Bath. Various Ancillary Products c1999-Present These products were made with Guerlain's most popular fragrances, including Shalimar, Mitsouko, Samsara, Jicky, L'Instant, Champs-Elysee, Insolence, My Insolence, Idylle, Guerlain Homme, Coriolan, Vetiver, Habit Rouge, Jardins de Bagatelle, Le Petite Robe Noir, Shalimar Parfum Initial, Aqua Allegoria etc: Sensual Milky Veil (Body Lotion) 6.8fl oz  Moisturising Body Lotion Bottle 6.8fl oz  Silky Moisturising Body Mist Spray 3.4fl oz  Body Cream 7fl oz  Sensual Body Oil 3.3fl oz  Perfumed Dusting Powder 4.4oz  Bath Salts 17.6oz  Ritual Bath Gel 6.8fl oz  Shower Gel Bottle 6.8fl oz  Voluptuous Foaming Bath Bottle 6.8fl oz  Deodorant Spray 3.4fl oz  Hair Gel 0.25fl oz  Vitality Sparkling Shower 6.8 fl oz  Bain Satin 6.7 fl oz  Velvet Body Milk 6.7 fl oz  Delicate Body Lotion 6.7 fl oz  Shimmering Body Lotion 6.8 fl oz  Hair & Body Wash 5 fl oz  Hydra-Sensual Milky Oil 190 ml  Sparkling Shower Gel 6.8 fl oz  Perfumed Body Oil 3.4 fl oz  Pearly Body Lotion 3.4 fl oz  Moisturizing Fresh Veil (Body Lotion) 6.8 fl oz  Satin Shower Delight 6.8 fl oz  Perfumed Shimmer Powder  Sensational Body Lotion 200ml  Softening Body Exfoliator 200ml

Shalimar, one of the most iconic fragrances ever created, holds a name steeped in romance and history. Originally crafted by Jacques Guerlain in 1921, the perfume was re-released during the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, a world stage that celebrated the glamour and innovation of the Art Deco era. The name "Shalimar" (pronounced SHA-lee-mar) is derived from a Persian and Urdu word meaning "abode of love" or "temple of love." This evocative name pays homage to the famed Shalimar Gardens in Srinagar, Kashmir, built in the 17th century by Mughal Emperor Shah Jahan for his beloved wife, Mumtaz Mahal, the same muse who inspired the Taj Mahal. The word "Shalimar" conjures visions of opulent Mughal gardens: fountains bubbling with crystalline water, pathways lined with fragrant blooms, and moonlit nights infused with mystery and romance. It evokes a timeless love story, passion, and exoticism—a sense of stepping into an enchanted world far removed from the mundane. The perfume's name and inspiration suggest luxury and intimacy, transporting the wearer to a sensual paradise. When Shalimar launched in the 1920s, the world was recovering from the devastation of World War I and stepping into the Jazz Age—a period defined by liberation, optimism, and indulgence. Known as the Roaring Twenties, this era saw women embracing newfound freedoms, from shorter hemlines and bobbed haircuts to jazz clubs and cigarettes. The Art Deco movement influenced everything from architecture to fashion, emphasizing bold geometric designs, rich colors, and luxurious materials. For women of this time, a perfume named "Shalimar" would have embodied the allure of the exotic and the daring sophistication they aspired to. In 1925, Shalimar stood apart as a daring innovation in perfumery. It is classified as an oriental fragrance, a category that was still relatively novel at the time. Oriental perfumes are characterized by their use of warm, sensual notes like vanilla, amber, and resins, combined with opulent spices and florals. While earlier fragrances often leaned toward lighter florals or powdery concoctions, Shalimar introduced a heady, indulgent richness that captivated the senses. Its combination of bergamot, opulent florals, and a creamy, sensual base of vanilla and tonka bean was both groundbreaking and unforgettable. Although Guerlain received an award for Shalimar at the 1925 Paris Exposition, it didn’t immediately capture widespread attention. The fragrance's true breakout moment came in the United States, where it had already stirred curiosity and desire even before Jacques Guerlain and his wife stepped off their ship in New York. By the mid-20th century, Shalimar had cemented itself as a timeless classic, beloved for its ability to evoke mystery, passion, and sophistication. Guerlain officially trademarked the name "Shalimar" on August 24, 1926, and noted its first recorded use in commerce on April 3, 1926. Over the decades, the trademark expanded to include a range of complementary products such as colognes, lotions, and bath oils, underscoring the fragrance’s enduring popularity. Its frequent renewals in 1966, 2006, and 2009 reflect its continued relevance and resonance across generations. In the context of the 1920s, Shalimar was revolutionary—more daring and exotic than many fragrances on the market. Its oriental character, inspired by a love story and infused with romanticism, struck a chord with women seeking to express their individuality and embrace the freedom of the Jazz Age. Today, it remains a symbol of timeless elegance and a testament to the artistry of Jacques Guerlain, a fragrance that continues to transport wearers to the enchanting gardens of Shalimar. In a 1931 advertisement, the allure of Guerlain's creations is described in poetic terms, elevating their perfumes to a near-mystical status. "And if she seeks perfume," the ad proclaims, "then will she find in the enchanting, the miraculous creations of Guerlain the end of her quest." Among these masterpieces, Shalimar stands as an unforgettable marvel, evoking "the muted voice of velvet," a phrase that captures its sensual and luxurious essence. This ad underscores Shalimar's emotional impact, a fragrance so captivating that its fame has spread across the globe, solidifying its place in the hearts of women everywhere. By 1932, Guerlain's message became even more emphatic, positioning Shalimar as the ultimate symbol of elegance and refinement. "A perfume by Guerlain is the epitome of elegance," the ad states, presenting it as the "consummate gift among luxuries." Shalimar is celebrated as "the reigning perfume of the world," its power and beauty acknowledged by sophisticated women in the grandest capitals. This description reinforces its universal appeal, portraying Shalimar as a fragrance that transcends borders, enhancing the grace and sophistication of women who embrace its timeless charm. These ads not only highlight Shalimar's unmatched prestige but also its ability to evoke emotion, allure, and elegance. History of Shalimar Perfume:  Shalimar, a fragrance of timeless allure, draws its name and inspiration from the Shalimar Gardens in Srinagar, Kashmir, a place imbued with history, romance, and enduring love. These gardens were built by the Mughal Emperor Shah Jahan in honor of his beloved wife, Mumtaz Mahal. Before ascending the throne, Shah Jahan was known as Prince Khurram, and his love story with Mumtaz Mahal began long before he became emperor. According to legend, a young Prince Khurram first encountered Arjumand Banu, a girl of extraordinary beauty, at a bustling bazaar where her family worked. Captivated by her elegance and charm, the prince was determined to make her his bride. After he became emperor, he fulfilled his promise, bestowing upon her the name Mumtaz Mahal, meaning "Jewel of the Palace." Their marriage was a true partnership; the two were inseparable in times of both war and peace. Mumtaz Mahal bore Shah Jahan 13 children, but tragically, she passed away at the age of 39 during the birth of their 14th child. Her death left the emperor grief-stricken, and in her memory, he commissioned the Taj Mahal, a symbol of their undying love and devotion. The Shalimar Gardens held a special place in Mumtaz Mahal’s heart. As one of her favorite retreats, the gardens were a haven of tranquility and beauty, designed with flowing fountains, lush greenery, and fragrant blossoms. Their name, Shalimar, translates to "abode of love" or "home of joy," perfectly reflecting the deep affection Shah Jahan had for his wife and the serenity they found in the gardens together. It is fitting, then, that Guerlain chose this name for a fragrance that embodies romance, passion, and the timeless elegance of a love story that transcends centuries. Shalimar, the perfume, captures the essence of this legendary romance through its rich, sensual composition. Like the gardens themselves, it is a masterpiece of beauty and artistry, evoking a sense of lush opulence and eternal love. By naming their creation after the Shalimar Gardens, Guerlain paid homage not only to the grandeur of Mughal history but also to the universal and enduring power of love. Controversy Shalimar’s immense success in the 1920s brought not only global acclaim but also legal challenges. In 1927, a dispute arose when DuBarry Perfumery Co., an English company already using the name "Shalimar" for a line of toiletry products in the United Kingdom, filed opposition against Guerlain’s trademark claim. This legal battle disrupted Guerlain’s ability to market Shalimar under its iconic name in the British market for a significant period. To navigate this obstacle, Guerlain adopted a practical solution. Rather than discontinuing sales in the United Kingdom, they labeled bottles destined for export with their stock catalog numbers—“No. 90,” “No. 91,” and “No. 92”—instead of the Shalimar name. These designations allowed the fragrance to continue reaching British customers without infringing upon the contested trademark. This workaround persisted throughout the late 1920s and into the early 1930s, reflecting Guerlain’s determination to preserve Shalimar’s presence in the competitive global market, even under challenging circumstances. Despite these hurdles, Shalimar's reputation remained untarnished, with its popularity continuing to soar. This legal conflict highlights the fragrance’s enormous impact, as rival companies recognized its success and sought to protect their own interests against Guerlain's expanding influence. The story of Shalimar during this period serves as a testament to its enduring allure and Guerlain’s strategic adaptability in safeguarding the legacy of one of the most celebrated perfumes in history. The legacy of Shalimar by Guerlain was not without its share of challenges, as its overwhelming success inspired both imitators and legal battles. One such case involved DuBarry Perfumery Co., also known as Goldstone Laboratories in Hove, England. By 1916, DuBarry was already marketing a line of toiletries under the name "Shalimar," which included manicure products and creams. This predates Guerlain's official launch of the Shalimar perfume in 1925. The DuBarry Shalimar line expanded steadily, and advertisements continued to appear well into the 1970s, showcasing products like Crème Shalimar. This long-standing use of the name "Shalimar" became a significant point of contention, ultimately leading to Guerlain’s legal troubles over trademark rights in the United Kingdom. The coexistence of these brands reveals how the name "Shalimar" had already resonated in the beauty industry, albeit in very different contexts. Another significant challenge emerged in 1931 when Villon Perfumer, led by Samuel A. Klein, sought to capitalize on Shalimar’s reputation. Klein took small amounts of Guerlain’s Shalimar and blended them with his own inexpensive perfume mixture, then rebottled the result into smaller vials. These were marketed under misleading names such as “Guerlain’s Shalimar et Villon Blend” and “Genuine Extracts of Shalimar with Villon Blender,” with the claim of being “wholly independent of Guerlain.” This brazen attempt to profit from Shalimar’s prestige attracted swift legal action from Guerlain, which filed a lawsuit to protect the integrity of its trademarks for both Shalimar and Mitsouko. In court, scientific and practical tests provided uncontroverted evidence that the contents of Villon’s vials were significantly different from Guerlain’s Shalimar. The legal proceedings highlighted the lengths to which imitators would go to exploit Shalimar’s allure, as well as Guerlain’s rigorous commitment to safeguarding the quality and exclusivity of its products. These incidents not only underscore the immense popularity of Shalimar but also illustrate how its success became a double-edged sword, necessitating constant vigilance to protect its legacy. Despite such challenges, Shalimar’s name and reputation remained untarnished, continuing to dominate the fragrance world with its undeniable sophistication and mystique. Original Fragrance Composition So what does it smell like? It is classified as an oriental fragrance for women.  Top notes: Madagascar vanilla, leather, Calabrian bergamot, Sicilian lemon Middle notes: Grasse jasmine absolute, Grasse rose absolute, Madagascar vanilla, Florentine orris, Indonesian patchouli, Java vetiver, Omani frankincense, Ethiopian civet Base notes: Madagascar vanilla, Venezuelan tonka bean and Tonkin musk In the beginning of the 20th century, perfumers traditionally used a combination of fresh natural materials such as bergamot and lemon, supplemented with animal and balsamic fixatives. These were then accented with newly discovered synthetic and derived materials such as vanillin, coumarin, vetiveryl acetate and hydroxycitronellelol. These were added to the newly developed floral absolutes which ended up inspiring a generation of new perfumes.   The structure of Shalimar really does not differ from other perfumes of the late 19th and early 20th century. These fragrances generally employed opulent florals like rose, heliotrope and jasmine, resins, woods, pungent animalics, earthy notes of vetiver and patchouli and bright citrus notes such as bergamot. What sets Shalimar apart from the others was the extreme overdoses of bergamot and vanilla. Shalimar made use of the ambreine accord, which is formed between bergamot (30%), vanillin (or ethyl vanillin, 3%), coumarin (9%) and civet, with woody (vetiver, patchouli 4% and sandalwood) and rose notes (Calkin and Jellinek 1994). This was also used in the following oriental ambery fragrances: L'Origan by Coty, Must de Cartier and Obsession by Calvin Klein. Shalimar was based on a large proportion of expressed and distilled essential oils to which animalic and balsamic materials were added as fixatives. At the time Shalimar was made, it was the custom to use a high proportion of alcoholic tinctures made from natural products rather than use concentrated absolutes and resins.  The natural tinctures used in Shalimar were vanilla, benzoin and tonka bean that adds a naturalness to the ethyl vanillin and coumarin. This classical structure was heralded by the addition of 3% of vanillin and 9% coumarin. Ethyl vanillin, which does not occur in nature, is usually regarded as being approximately four times as strong as vanillin. Vanillin adds richness and sweetness to floral/woody and oriental scents.   Shalimar was one of the first scents to incorporate the synthetic vanilla compound, vanillin (Methoxy-3-Hydroxybenzaldehyde). Jacques Guerlain believed that the scent of vanilla was an aphrodisiac, so while examining a sample of vanillin, suddenly poured the entire contents into a nearby bottle of Jicky,," just to see what would happen." The resulting concoction was to be named Shalimar. Perfume Shrine has noted that "Vanillin was first isolated as a relatively pure substance in 1858 by Nicolas-Theodore Gobley, by evaporating a vanilla extract to dryness and recrystallizing the resulting solids. In 1874, German scientists Ferdinand Tiemann and Wilhelm Haarmann found a way to synthesize vanillin from coniferin, a glycoside of isoeugenol found in pine bark (they went on to found a company which now belongs to Symrise and produce it industrially). In 1876, Karl Reimer synthesized vanillin from another source: guaiacol. The laboratories De Laire bought the patent for vanillin and sold the product to Guerlain for their perfumery, first used in Jicky. But, Jicky already contained vanillin along with natural vanilla extract, as well as coumarin and linalool. The secret to the medicinal, smoky yellow vanillin of Jicky, reprised in Shalimar, was the remnants of guaiacol and phenols, lending an autumnal darkness to what would otherwise be a confectionary sweet cream. This is the reason that Guerlain insisted on ordering the impure grade of vanillin even when the chemical process was improved." The early versions of synthetic vanillin were sweeter and creamier than natural vanilla. Famous perfumer Ernest Beaux, realized that Shalimar was a great perfume and thus complained: "When I do vanilla I get crème anglaise, when Guerlain does it he gets Shalimar!" Jean-Paul Guerlain has said, “Vanilla is famous as an aphrodisiac and I think that this is true. My grandfather, Jacques Guerlain, taught me how to love vanilla as it adds something wonderfully erotic to a perfume. It turned Shalimar into an evening gown with an outrageously plunging neckline.” Coumarin occurs naturally in tonka bean and melilot (Melilotus officinalis or sweet clover) and in smaller amounts in lavender and narcissus. Tonka bean tinctures have a rich, sweet, warm and vanilla-like nuances and is used as a fixative.  The top note is dominated by 30% of bergamot oil, as well as other essential citrus oils, neroli and rosewood. If you notice, Shalimar is not a flower heavy fragrance. Its use of florals is muted by the main notes of spices, woods and resins. In Shalimar we see a very small amount of natural rose oil and absolute.  Making up the rest of the ambreine accord is 4% patchouli, sandalwood, civet and vetiver. The spicy aspect is attained by the use of cinnamon bark oil. Opoponax is used as a fixative and to impart a smooth, slightly floral, balsamic character to the oriental base notes found in Shalimar.  Other tinctures were the animalics of civet, castoreum, ambergris and musk. Castoreum was very important to the development of Shalimar and forms the leathery aspect of the perfume's foundation.  Marie-Claire, 1937: "Shalimar by Guerlain: For brunettes of the exotic type." L'Amour de l'art, 1950: "Shalimar by Guerlain: Subtle scent tinged with amber, you are like a strange flower that takes root in the body to better stretch the flesh!" Reformulated Fragrance Composition So what does it smell like? It is classified as an oriental fragrance for women. Top notes: Sicilian lemon, Calabrian bergamot, Sicilian mandarin Middle notes: Grasse jasmine absolute, may rose absolute, heliotrope, opoponax, Singapore patchouli, Florentine iris Base notes: orris root, Mysore sandalwood, Java vetiver, Tonkin musk, incense, Venezuelan tonka bean, Madagascar vanilla, Ethiopian civet, balsam of Peru, Siamese benzoin, leather, ambergris To me, the scent of Shalimar is deep and velvety with the scent of lemon custard spiked with medicinal vanilla. Exotic night-blooming flowers, precious incense and woods blend exquisitely with the animalic notes of natural ambergris, leather, Tonkin musk and Ethiopian civet to create a heady aphrodisiac. Shalimar is one of the best selling perfumes for almost 90 years and it's magic is undeniable. Personally I find that vintage Shalimar perfumes smell the best, as their perfume oils were more concentrated and natural and didn't have the synthetic chemical smell that today's reformulated versions have. The vintage perfumes have a delightful musky, smoky, velvety and well rounded accord that are not comparable in the Shalimar of today due to IFRA restrictions and the fact that the perfumers at Guerlain may not have access to exclusive perfume bases once used in the composition. If you wish to obtain the earlier versions, I suggest the Shalimar of the 1920s up until the 1990s. They have aged beautifully, like a fine wine. Ebay always has some really good examples, and they are usually at bargain prices. I suggest getting the perfumes that look dark, syrupy and thick as the alcohol and water have evaporated, leaving behind a highly concentrated essence. I find that these last a very long time when applied to the skin and the vanilla warms up nicely. Please remember that the older Shalimar is, the darker it will be in the bottle. If it is light colored, it is probably newer. If you can find it, a vintage bottle of Scherk's Intermezzo perfume smells similar to Shalimar, but it is a tad weaker and lighter in character, a good substitute if you find Shalimar a little too strong. Easier to find, as well as cheaper, but no less luxurious, is Coty's Emeraude perfume, try to find early examples and not the newer formulations. Ancillary Products Shalimar was so popular that Guerlain came out with ancillary products that showcased its unique scent. The first of these was the Shalimar Face Powder. A 1931 ad reads: " So why do you not hasten to try Guerlain's new achievement, Shalimar Powder? It is scented with the famous Shalimar. ... Guerlain meant this Shalimar Powder to give the skin an effect of surreal loveliness. And his patrons say that it does." In 1930, Shalimar face powder was then packed in a sealed container which had a “window” of transparent tissue, so that the purchaser could see the actual color. Then came the Shalimar scented Lotion Vegetale, meant to perfume the hair before or after shampooing, combed through the hair to make it soft and smooth, although men also used it as an aftershave lotion or beard scent too. The 8 oz capsule bottles were sold from 1953 until 1971, earlier bottles were tall and rectangular with a glass ball stopper.. Another hair groom was Stilboide Fluide. Shalimar Eau de Cologne, released in 1936, in USA in 1937, it came in four sizes initially. “Toilet water in an oval bottle with atomizer top is new, $5.” ( 1939) “Guerlain now has a $5 size of toilet water in all the popular fragrances such as Shalimar, L’Heure Bleue, Vol de Nuit, Coque D’Or, Liu, Mitsouko, Sous Le vent and Jicky.” (1940, Drug and Cosmetic Industry, Volume 46) Later the Cologne Spray was launched. A 1950 article reads "Guerlain recommends spraying a room with their famous Shalimar eau de cologne. This is a lighter form of their famous Shalimar. Because it is lighter, it is less expensive and can be used more lavishly." Shalimar Talcum powder in the frosted bottle was introduced in 1950, it was being put up in a white plastic canister in the late 1960s, then it was sold in a turquoise canister in the 1980s. Shalimar Dusting Powder was introduced around 1955 housed in a faux tortoiseshell plastic powder box, then inside of a white plastic powder box in the 1960s and 1970s, then in a turquoise plastic powder box in the 1983, then a navy blue and white plastic powder box starting in the late 1990s, and is still being sold today. Guerlain's Creme Hydratante introduced in 1959, a lanolin based moisturizer, lightly scented and meant to be lavished all over the body, particularly on arms and legs. Still sold around 1967. Shalimar Toilet Water debuted in 1925 in a splash bottle, succeeded by the Toilet Water Spray (Eau de Toilette around 1959) . Shalimar Film Spray Body Lotion was a scented, pink, light moisturizing body lotion in spray form created in 1966 and sold until 1975. Shalimar Capillaque hair spray,  Capillaque was the name of scented hair sprays/brilliantine sprays . A trademark was filed in 1961 for the hair spray and the trademark expired in 1988, but I am pretty sure this was discontinued by around 1971. Shalimar Body Shampoo, a shower and body wash, was released in 1976. Guerlain released Shalimar's ancillary products in this turquoise packaging starting in 1983, this line was known as Les Voluptes du Bain de Guerlain and sold until 1999, when the products were given a makeover with a shape hearkening back to the original Shalimar flacon and accented with dark blue plastic and gold trim. Three new products were offered, Perfumed Bath Salts, Sensual Milky Veil. Bottles: Shalimar Chauve Souris Flacons: http://guerlainperfumes.blogspot.com/2013/07/shalimar-chauve-souris-flacons.html Shalimar Flacon Goutte: http://guerlainperfumes.blogspot.com/2015/10/shalimar-flacon-goutte.html Shalimar Montre Flacons: http://guerlainperfumes.blogspot.com/2013/07/shalimar-montre-flacon.html Shalimar Quadrilobe Flacons: http://guerlainperfumes.blogspot.com/2013/07/shalimar-quadrilobe-flacon.html Shalimar Eau de Toilettes: http://guerlainperfumes.blogspot.com/2013/09/shalimar-eau-de-toilettes.html Shalimar Wartime Flacons: http://guerlainperfumes.blogspot.com/2013/07/shalimar-flacon-de-guerre-and-flacon.html Shalimar Limited Edition Bottles: Shalimar 60th Anniversary Flacon c1986: http://guerlainperfumes.blogspot.com/2013/07/shalimar-60th-anniversary-flacon-c1986.html http://guerlainperfumes.blogspot.com/2013/07/shalimar-eau-de-parfum-c1999-limited.html Shalimar 50 ounce Parfum in Chauve Souris flacon from 2001, limited to 40 examples worldwide. This same size was also used for the factices. Shalimar 80th Anniversary Années Folles Limited Edition Bottle c2005: http://guerlainperfumes.blogspot.com/2013/07/shalimar-c2005-80th-anniversary-limited.html Shalimar Oiseau de Paradis c2009 - http://guerlainperfumes.blogspot.com/2014/08/shalimar-oiseau-de-paradis-c2009.html Fleurs de Shalimar - Collector Flacons c2009: http://guerlainperfumes.blogspot.com/2015/01/fleurs-de-shalimar-collector-flacons.html Shalimar - Edition Charms c2010: http://guerlainperfumes.blogspot.com/2015/01/shalimar-edition-charms-c2010.html These Shalimar products may still be found:: Eau de Cologne 2.5 oz Eau de Toilette Spray 2.5 oz Eau de Toilette Spray 1.7 oz Eau de Toilette Gold Bee Bottle 16.9 oz Eau de Toilette Gold Bee Bottle 33.8oz Eau de Toilette White Bee Bottle 16.9 oz Habit de Fete 3.1 oz Eau de Toilette Refillable Spray   Habit de Fete 3.1 oz Eau de Toilette Refill Spray   Habit De Fete Eau de Parfum Spray Refill 1.69 oz Habit De Fete Perfume Spray Refill 0.27 oz Shalimar 3 oz Eau de Parfum   Eau de Parfum Spray 2.5 oz  Shalimar 1.7 oz Eau de Parfum  Eau de Parfum Spray 1 oz Shalimar 0.25 oz Extrait/Parfum   Shalimar 0.50 oz Extrait/Parfum  Shalimar 1 oz Extrait/Parfum   Sensual Milky Veil (Body Lotion) 6.8 oz Shalimar Body Lotion   Silky Moisturising Body Mist Spray 3.4 oz Shalimar Body Cream   Sensual Body Oil 3.3 oz Perfumed Dusting Powder  Bath Salts 17.6 oz Ritual Bath Gel 6.8 oz Shalimar Shower Gel   Voluptuous Foaming Bath Bottle 6.8 oz Deodorant Spray 3.4 oz Hair Gel 0.25 oz Shalimar Light Eau de Toilette Spray 2.5 oz Shalimar Beautifying Hair Gel Soothing Bath Oil Beads Bath Essence Body Shampoo Shalimar Perfumed Soap  The line consisted of the following products in the late 1960s-1970s: Parfum Parfum Spray Eau de Toilette Eau de Cologne Spray Cologne Film Spray Parfumé Capillaque Bath Oil Déodorant Talc  Crème Hydratante Flanelle pour le linge 1980s-1990s Ancillary Products: Current Bottles & Ancillary Products: Today you can purchase Shalimar in various forms: 0.25 oz Parfum (Extrait) 0.50 oz Parfum (Extrait) 1.00 oz Parfum (Extrait) 3 oz Eau de Parfum Spray 1.7 oz Eau de Toilette Spray 3.4 oz Eau de Toilette Spray 3 oz Eau de Toilette Refillable Spray 3 oz Eau de Toilette Spray Refill 6.8 oz Body Lotion 7 oz Body Crème 4.4 oz Perfumed Dusting Powder I have separate blog posts on Shalimar bottles and its flanker scents.