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~by guest writer AlbertCAN
Sometimes only more is more. The French Rococo period, for one, and so was the 80s. It is hardly surprising then that Jardins de Bagatelle, Guerlain’s tribute to the grand frivolity of a French imperial pursuit, was introduced in 1983.
Nearly thirty years later I have seldom heard the tale told in its entirety. Perhaps because of the typical Guerlain complexity in its inspiration? Or perhaps its somewhat awkward placement within the Guerlain archive, tucked between the fabled Chamade (1969), Parure (1975), Nahéma (1979) and Samsara (1989)? Either case the story is far too fascinating to be left ignored.
Bagatelle: A Brief Trifle History
Nearly thirty years later I have seldom heard the tale told in its entirety. Perhaps because of the typical Guerlain complexity in its inspiration? Or perhaps its somewhat awkward placement within the Guerlain archive, tucked between the fabled Chamade (1969), Parure (1975), Nahéma (1979) and Samsara (1989)? Either case the story is far too fascinating to be left ignored.
Bagatelle: A Brief Trifle History
Jean-Paul Guerlain’s inspiration came from the garden found within the Château de Bagatelle, an eighteenth-century gem tucked within the Bois de Boulogne, in the XVIe arrondissement of Paris . Don’t be fooled by the name Bagatelle: this estate is not name after an illustrious personality; quite the opposite. In fact, it is a term most frivolous in nature, from the Italian bagattella and reserved to describe a thing of little importance, a mere trifle!
Everything started with a bet: In 1775 the the Comte d'Artois purchased the property with the intention of an overhaul; his sister-in-law, Marie Antoinette, perhaps out of sheer boredom, wagered that the new château could not possibly be completed within one hundred days. She was proven wrong: the Comte engaged the neoclassical architect François-Joseph Bélanger to design and had the whole thing all to himself in mere sixty-three days. That’s not to say that the architect skimped on luxury in order to hasten the completion—in true Rococo fashion the garden immediately surrounding the Château de Bagatelle is famously redolent of heady florals, as attested by the rambling roses blooming in profusion within the opening photo. And that’s a mere corner of the château.
But there’s more: according to MONSIEURGUERLAIN the blog, the venerable house further revealed that the rhythm of the fragrance was inspired by Goyescas, written by Spanish composer Enrique Granados. Now without knowing which of the six Guerlain was referring to I shall persent my personal favorite, and the most famous of them all, is “Quejas, o la maja y el ruiseñor” (The Maiden and the Nightingale), played here by Jorge Luis Prats.
Now in this context the second usage of the word ‘bagatelle’ is also utilized, describing here a short piece of music, typically for the piano, and usually of a light, mellow character. The name here serves as a reference to the innocent character of the piece (not necessarily, of course, the lack of technical and artistic demands of the music, as many piano students fall out one way for another upon learning the music).
Jardins de Bagatelle: The Guerlain Twist
Given its heady égeries one shouldn’t expect less from Jardins de Bagatelle, referred by some as the scent of the whole garden bottled! In fact it is precisely this fact that yours truly prefers the eau de toilette incarnation, and then only in light application!
Given its heady égeries one shouldn’t expect less from Jardins de Bagatelle, referred by some as the scent of the whole garden bottled! In fact it is precisely this fact that yours truly prefers the eau de toilette incarnation, and then only in light application!
The exercise in diffusion starts with violet and classic aldehydes, finessed by citruses such as lemon and bergamot. Then lo and behold, true to the Goyescas style, a barrage of white florals flies across: gardenia, rose, orange blossom, tuberose, magnolia, ylang ylang, orchid, lily-of-the-valley, narcissus, not to mention tuberose, the queen of narcotic floral (and one of Marie Antoinette’s favourites). At the hands of a perfumer with less calibre all this would surely spell disaster, yet the suppleness of the Guerlinade accord really pulls through and keeps the whole flock flying in formation, especially with the help of base notes consisting of cedarwood, musk, patchouli, tonka bean and vetiver. Translation: never meant for the faint hearted. Now some valued Guerlain clients are not used to such blunt development, though overall I’m not too troubled by it once dialing down the overall volume; some might turn blue with a bombastic woodsy-floral from the 80s, but personally the sillage is, in my humble opinion, enjoyable at an extremely deft hand. Testament to its prowess I have never seen a parfum edition for Jardins de Bagatelle; the eau de parfum was always meant to be the most concentrated version of this pillar.
Note: Personally I never had any problem with the quality of this eau de toilette, and I’ve read favourable review even after the supposed reformulation. Then again if you have recent encounters please do chime in!
Note: Personally I never had any problem with the quality of this eau de toilette, and I’ve read favourable review even after the supposed reformulation. Then again if you have recent encounters please do chime in!
As for the bottle designer Robert Granai interpreted the shoulder emphasis of the 80s with savoir-faire by folding the motif into classic Guerlain bottle aesthetics. Honestly it’s one of my favourite bottles from Guerlain: clean, to the point, but essentially romantic at heart.
Photos, from top: Jardins de Bagatelle rose trellis from Paris the blog; Château de Bagatelle from Wiki; portrait of Comte d'Artois from Wiki; portrait of Marie Antoinette from Wiki; Guerlain Jardins de Bagatelle advertisement from the 80s, via CouleurParfum.
