Frequent Questions: How to Date Guerlain Parure Bottles

Among the Guerlain fragrances, one of relatively not very old crop (1975) is seriously missed by connoisseurs: Parure, with its golden plummy reprise of what made Mitsouko the monument of beauty that it is. Simply put, Parure is a more wearable, more festive Mitsouko, a fruity chypre in the best possible sense "a wildly original blend of lilac and amber, cyprus and plum blossoms" (as quoted in a 1977 advertisement) and one of the last throes of a lineage which includes such beauties as Rochas Femme and Dior's Diorama. Parure is discontinued due to not conforming with recent standards of alleged allergens in the industry self-regulating body IFRA, according to an interview which the artistic director of maison Guerlain, Sylvaine Delacourte granted to Perfume Shrine in summer 2009. Very much a pity, shooting vintage juice on sale to stratospheric heights and justifiably so: Because Parure not only is lovely to smell, but it also came in some of the most beautiful, unique bottles and packaging in Guerlain history! In the interests of chronologising your bottles (or potential purchases, if you are so lucky as to find any), here is a small guide to Guerlain Parure perfume bottles.



The original edition in extrait de parfum is among the most beautiful specimens of crystal making: a rounded body topped with a crystal cap which reprises the movement of a wave, the whole mounted on a small pedestral in black bakelite engraved Guerlain and housed in a celadon-hued box. Six moulds were made by Pochet et du Courval from March 1975 till September 1981 in the following sizes:
2.3ml mini,
7.5ml/0.25oz,
15ml/0.5oz (with a footing in crystal instead of the black pedestral)
30ml/1oz, 60ml/2oz,
120cc (that's 120ml aprox.; it has no "foot" in crystal and bears 1974 copyright on the box, while it was stopped in October 1980) and a staggering mould for a 1290ml factice.
Saint-Gobin Desjonquères issued a 15ml/0.5oz mould in June 1979, which bears on the bottom in relief "Guerlain Paris Bottle made in France SGD" and the number of the lot.

A contemporary more standard amphora bottle of the extrait de parfum (like the one depicted here) was also in circulation as well as the "umbrella flacon" (see this article), probably aimed at different markets as is usual with a house with so rich a history as Guerlain.

From October 1981, the production of the magnificent Parure extrait "wave" bottle stopped altogether (making the crystal extrait version extremely sought after as a rare collectable). The fragrance was offered instead in standard quadrilobe bottles (which also houses many of the house's extraits to this day, such as Jicky, Nahema, Vol de Nuit etc) in sizes 7.5ml and 15ml. You can see a big picture of it on this article, reviewing a rarer scent in the Guerlain stable, Pour Troubler.
All extrait de parfum (pure parfum) producion in Parure stopped at the end of 1989 and the fragrance circulated in Eau de Toilette concentration (and Eau de Parfum from the 1980s onwards, but NOT Parfum de Toilette) thereafter.

Another very rare specimen and sought-after collectable is this design on the right, le flacon strié, as it's called. The rarity is due to it being a limited edition, issued for the Eau de Toilette of only Parure and Chant d'Arômes. This version by Saint-Gobin Desjonquères circulated from March 1994 until August 1995 in only 750.000 bottles for both scents. The box and round sticker label on the bottle are in geometrical patterns of red-orange-terracotta tones for Parure and in pink-yellow-pistachio hues for Chant d'Arômes.

Habit de Fete bottle for Eau de Toilette, far left and far right.

Flacon goutte for 500ml eau de toilette

The more standard bottle for the length of the late 1980s and 1990s in Parure Eau de Toilette and Eau de Parfum was the long refill bottle in the Habit de Fete gold canister with the cut-outs (left and right of the top photo): 50ml for Eau de Parfum and 93ml for Eau de Toilette.
Before that there was the flacon goutte (shaped like a large tear, hence teardrop bottle) with a mushroom-like cap for the Eau de Toilette in the 500ml size for dedicated wearers, depicted directly above. The label is oval with a black background and gold lettering, as you can see.



The final design for Parure comes in the standard "bee bottle" introduced for the rest of the Eau de Toilette range (including Après L'Ondée, Chant d'Aromes, Mouchoir de Monsieur, the Eaux de Cologne such as Impériale, Du Coq and Fleurs de Cedrat) in the early late 1990s. Two versions circulate in this size and style: one reformulated to meet latest requirements till 2009, the other with a shorter ingredients list slightly older. The packaging is otherwise identical.

Guerlain Parure is just one of the vintage scents where knowing the packaging history greatly adds to the better understanding of both scent and the collection value of any bottle.

top pic & goute pic thanks to les-parfums

Perfume Choices of the Famous: Liv Tyler

According to reportage, the stunning actress - for some years now an ambassadress for Givenchy and the face of the new fragrance Very Irresistible L'Intense - says "she doesn't like to change her fragrance as she wants people to recognise her smell but hates it when the scent is too much".

She's quoted as saying: "I like having one perfume that I wear all the time, so it becomes part of you. When someone remembers your scent, it's incredible. I don't like it when you first spray on a fragrance. It's nice when you've put it on in the morning, then in the evening, you can subtly smell it." [source]
Of course she's quick to point out that the newest Givenchy is her favourite. As if she wouldn't. Doesn't really matter: Liv is lovely whatever she wears.

Cacharel Anais Anais: fragrance review & history

Who could imagine a block-buster perfume today being promoted through porcelain-skined beauties in soft focus showing no inch of skin beyond their necks set to pre-classical music? And yet Anais Anais, the first perfume by Cacharel (1978), was advertised exactly like that and became THE reference scent for the early 1980s for droves of young women who still reminiscence fondly of it 30 years later. It's also one of the most influential perfumes in history, at least on what concerns marketing success ~a triumph of Annette Louit~ and top-to-bottom design, if not complexity, quality materials or classicism of composition. It didn't possess any of the latter.

Yet it's still featured on the Cacharel website prominently and is up front on perfume counters. For many,
Anais Anais by Cacharel was the first fragrance they got as a gift; or even better the first they cashed out their pocket money for: Its image was youthful from the start. No doubt the deceptively innocent scent, coupled with the dreamy advertisements accounted for that, as did the opaline packaging with the pastel flowers on it and the slightly suggestive name. It was the debate of many, to this day: Was Anais Anais a reference to writer Anais Nin and her ~"forbidden" to the young~ erotic literature, such as Delta of Venus? Or was it a nod to the ancient Persian goddess Anaitis, goddess of fertility? And which was more provocative?

Cacharel was specializing in retro knits at the time and both references for the name were valid enough, although the company always officially went with the latter. The goddess was testament to a peculiar cultural phenomenon on what concerned the position of woman in the zeitgeist: On the one hand Anais Anais with its imagery disrupted the context of feminism in perfume; the complete antithesis of Charlie by Revlon (1973), if you will, where Shelley Hack was dressed in pants skipping off to work or grabbing the bum of a cute guy in the street as an outward manifestation of her desire to be divested of her traditional passive role. These were both youthful fragrances advertised to the young. So what had intervened in those 5 years elapsing to account for such a change? Nothing much. (If you exclude the rush of spicy orientals in the market in the wake of Opium's success). The French aesthetic was always more traditionally feminine than the American one, going for Venus over Diana, and the marketeers soon realized that the beauty industry can't disregard the changes of times, but deep down, it will always depend on the passivity of the consumer into buying "hope in a jar". Perfume is perhaps the most mysterious of all beauty products, ladden with hundreds associations and legion aspirations. It was deemed best to start bouncing the ball back right away... Plus the youth market hadn't been exploited sufficiently (this was back in the 1970s remember) and someone had perceived that the young regarded standard perfume imagery as bourgeois and old-fashioned: they needed their own. Cacharel was extra attentive to grow the market; they put basins in department stores where they encouraged young women to plunge their hands in basins of water, dry them, apply scented cream on them and then finishing off with a spritz of Anais Anais, extoling the virtues of "layering" for a lasting effect. A youth phenomenon was at work.


And Sarah Moon was called for the Anais Anais advertisements: To take shots of women as pale-limped and virginaly innocent as paintings, lily-like, exactly like the opaline bottle and the main core of the fragrance which was built on lilies of the fields. The long limps gained an almost Piero Della Francesca sanctity, the doe-eyed gazes were soft and narcotized, almost. Were they beckoning unto the males watching, inviting by their easy-to -prey-on-passivity and odalisque-style harem numbers? Or were they nuzzling on each other evoking lesbian fantasies? Perhaps the most provocative thing is that the ladies in question all appeared so very.. young; almost under-age! Whatever the intention, the imagery is still memorable: It marks a mental no-mands-land between the advent of feminism in advertising and the regression to conservative values of the 1990s, peppered with some of the issues that still concern those of us who immerse themselves in beauty advertising with a critical eye.

Four perfumers were credited with the creation of Anais Anais jus: Paul Leger, Raymond Chaillan, Roger Pellegrino and Robert Gonnon, working at Firmenich. A surprising fact as the formula isn't complicated or challenging really. The opening is fresh and a little "screechy", a touch
of green galbanum resin felt all the way through the base (galbanum is in fact a base note but it's felt at the top), giving a herbaceous overture that segues into the main attraction: lily of the valley forms the core coupled with another "clean" note, that of orange blossom, sanctified through the wonders of analytical chemistry. White lilies melt as if gaining human form, tender, devoid of their customary spiciness and given a touch of woody dryness. There is a supporting accord of honeysuckle, jasmine and rose, played sourdine; it's not especially felt. The permeating cleanness continues for long before a hint of playful soft leather in the base surfaces alongside indeterminate, powdered woods to give an intriguing twist to the plot: is this an autumnal scent for more mature women, I wonder?
Although I seem to recall the scent of Anais Anais as a little bit more "substantial" in all its softness, there is no major change in its formula last I compared batches, probably because there is not much of allergens-suspect ingredients necessitating restrictions and because hydrocitronellal (lotv note) has been successfuly substituted anyway. It's a pity the parfum concentration has been extinct for some years now, as it played up the autumnal basenotes beautifully.

Notes for Cacharel Anais Anais
Top: Bergamot, galbanum, hyacinth, honeysuckle, orange blossom
Middle: Lily, lily of the valley, rose, ylang-ylang, tuberose, carnation
Base: Cedarwood, sandalwood, amber, oakmoss, incense, vetiver




Sarah Moon photography via weheartit.com and thefashionspot.com

The winner of the draw...

...for the Conaffetto sample is *Jen. Congrats and please email me with your particulars using the email contact on Profile or About page, so I can get this out to you soon.

Thanks to everyone for the participation and till the next one!

Sunny Fragrances to Beat the Winter Blues

There are some occasions in the lagging days of winter, eternally stuck someplace between middle & end of February, when the snow keeps piling up at the front windows and the birds fly down-spin over the yard, which can exasperate even the bravest of brave souls. Although my own native winters are mild & sunny, with only the occasional snowfall, white flakes not sturdy enough to pile up and withstand the coming out of the sun the next day, every time I have been away from home into a northern European country or in the windy winters of Down Under beside the lapping of the cold ocean, I got a taste for what it must feel like to always be cold, always rubbing one's nose when outside to stop it from getting numb.

The scented world around seems sleeping, with the indoor smells gaining momentum, but perfume can provide an intentional, on demand change of one's landscape: How exquisite a pearly aldehydic floral seems on an ice-cold day and how bright & dreamy does a floriental, full of the sunny rays that warmed the petals of its tropical flowers...

My picks for instilling a sunny disposition and banish those winter blahs comprise a list of perfumes which are noted for their optimism, sheer joie de vivre, indulgent nature and easy wearing; in two words, uncomplicated happiness! Fragrances to remind you of the coming of spring and to put a spring in your (still mutton-wearing) step! After all, in Turkish tradition the end of February marks the end of winter's cemre: Cemre are 3 fireballs coming from heavens to warm the earth for the coming of spring; the first appears on February 19-20, the second between February 26-27 and the third falls to ground on 5-6 March...Spring is just round the corner!
And if you're gifting someone to cheer them up, consider a bouquet of chocolate hearts for a perfect gift hamper accompanied with an elegant floral perfume for a striking impression.

10 Fragrances to Beat the Winter Blues for Men/Women:

Patricia de Nicolai Le Temps d'une Fête
The perfect hyacinth-ladden green floral to evoke spring, full of crushed leaves & grass; a fragrance so beautiful and cheerful that it will make you spin around and around humming Mendelssohn's Spring Song even when getting down the Christmas decorations.

Ayala Moriel Les Nuages de Joie Jaune
Described as "drifting in yellow clouds of happiness", this is an all-natural soliflore fragrance built on the yellow pom-poms of mimosa and the honeyed goodness of cassie. As light as air and as joyful as the first bright, sunny day in late February. [availability]

Annick Goutal Songes
Someplace in the tropics, languorous women with Gaugin-esque physiques pick up cananga odorata (ylang ylang blossoms) to render their sunny essence which finds its way inside this summery potion of liquid sunshine. A floriental full of the suntan and solar notes of salicylates, fanned on a vanillic and woody base.

Guerlain Aqua Allegoria Mandarine Basilic
These succulent Mediterranean flavours, combining almost as in a fruit salad, benefit from the spicy zing of the basil note. An easy, piquant scent which lifts the mood anytime.

Profumum Victrix
The Latin sounding name hides a masculine cologne of earth and wind, where the laurel, the greens and the coriander conspire to give notions of open, endless prairies under a dog-toothed sun.

Molinard de Molinard
Fruity floral in the best possible sense. If you like Amazone and just didn't know where to look to to find a similar fragrance, look no further. This is has the happy ambience of a warm summer evening spent at an outdoors cinema in Sicily or a Greek island, all paved with gravel, with thick jasmine & honeysuckle vines climbing its walls, watching Cinema Paradiso.


Hermès Concentrée d'Orange Verte
This lime-laced cologne is simply the best masculine/unisex cologne to lift a lagging mood or a weary spirit. The hesperidic touch is enough to get you out of bed as sure as a good Robusta.

Patou Câline
The greenly fresh aldehydic sophistication and malleable primness of Patou’s Câline remind me of Audrey Hepburn in Sabrina, after her European trip in which she becomes a proper “lady”, almost unrecognizable to those who knew her as merely the chauffer’s daughter to the rich family. [Full review here.]

Lancôme Miracle So Magic
A surprising entry in the Miracle flankers stable, this is composed by Annick Menardo and although it diverts from her smoky, dark path, it bears a remarkable affability without insipidness: the green sweet smell of clover fields opens up on an endless vista in front of you as wild-flowers zoom into focus. Just lovely!

Hermès Iris Ukiyoé
Its detractors call it "Yuck! Away!" but don't let this parody on the Japanese-alluding name deter you. Notes of an aqueous hydrangea and a lightly spicy grape-like accent bring forth the fantasy of the iris flower, instead of the familiar rooty-violety root. Spring-like! [Full review here.]

And of course anticipating some of the upcoming fragrances for spring makes one dream a little bit and withstand the last throes of cold better. Catch them up here!

And you? What are your favourite fragrances to come out of hibernation? Tell me in the comments.



Spring Song by Felix Mendelssohn from "Lieder Ohne Worte".
Painting "The Promise of Spring" by Lawrence Alma-Tadema.
Molinard pic via Perfumes.bighouse.blogspot.com. Goutal bottle via thefragrantelf.livejournal.com