Graces du Printemps (1952)

Grâces du Printemps by Lancôme was launched in 1952 as part of the house’s Eaux des Senteurs line, a collection created by Armand Petitjean to offer elegant, lighter fragrances that could be worn generously. The name, Grâces du Printemps, is French and translates to “Graces of Spring.” It is pronounced “Grahss dew Pran-tahn”, with a soft, fluid cadence that itself feels graceful. The phrase calls to mind the classical “Three Graces” of mythology—symbols of beauty, charm, and joy—merged with the renewal and blossoming of spring. Together, the words evoke an image of young greenery glistening with morning dew, petals unfurling under gentle sunlight, and the lighthearted elegance of a new season.

The early 1950s marked a period of recovery and optimism following the austerity of the Second World War. This was the dawn of what would be called the postwar boom, a time when prosperity, modernity, and beauty were embraced with renewed vigor. In fashion, Christian Dior’s “New Look” had redefined femininity with cinched waists, full skirts, and a polished glamour that celebrated a return to luxury. Trends in perfumery mirrored this shift—there was a movement toward fragrances that felt sophisticated yet fresh, capturing the optimism of a world moving forward. For women of the time, a perfume called Grâces du Printemps would have embodied elegance, refinement, and a subtle sensuality, while also expressing an optimistic freshness in step with the season it celebrated.

As a fragrance, Grâces du Printemps was classified as a chypre for women, described as both “cool and brisk” and “leafy and mossy.” Its structure placed luminous citrus and the spicy lift of carnation over a bed of mosses and herbs, creating a crisp green freshness balanced by the earthy elegance of the chypre accord. This interpretation of “spring graces” translated the visual poetry of the name into scent—bright and airy yet anchored in sophistication, much like the season’s first blooms emerging from rich, damp earth.

In the context of the market in 1952, Grâces du Printemps was very much in conversation with trends rather than against them. The postwar years saw an interest in chypres and green florals—fragrances that conveyed poise and refinement without the heavy opulence of the 1930s and 1940s. While not radically avant-garde, its distinctive combination of mossy coolness and sparkling spice allowed it to stand out as a refined and charming interpretation of seasonal freshness. It offered women a way to wear spring itself—elegant, confident, and full of promise.

Fragrance Composition:

So what does it smell like? Graces du Printemps by Lancome is classified as a floral chypre fragrance for women. It was described as "cool and brisk" as well as "leafy and mossy." Graces au Printemps is fresh and charming like spring itself. On a bed of cool green notes of mosses and herbs, the spice of carnation and the sparkle of citrus shine through.

• Top notes: aldehydes, Calabrian bergamot, Italian neroli, Sicilian petitgrain bigarade, citral, terpineol, anisic aldehyde, phenylacetaldehyde, orange blossom absolute, Dutch daffodil, Swiss lilac, Persian galbanum, English mint, Chinese camphor, Provencal herbs, lavandin, linalool
• Middle notes: Zanzibar carnation, Jamaican clove, isoeugenol, Bulgarian rose otto, rhodinol, Portuguese tuberose absolute, Egyptian jasmine absolute, benzyl acetate, Jordanian bitter almond, heliotropin, lily of the valley, hydroxycitronellal, Tuscan violet, ionone, cinnamic alcohol, methyl anthranilate,Manila ylang ylang oil,
• Base notes: Venezuelan tonka bean, coumarin, ambergris, Tonkin musk, musk ketones, Indian musk ambrette, Abyssinian civet, Maltese labdanum, Mexican vanilla, vanillin, Tyrolean oakmoss, Levantine storax, Malaysian patchouli, Java vetiver, vetiveryl acetate, Mysore sandalwood, Atlas cedar

  

Scent Profile:

Grâces du Printemps by Lancôme is an exquisite floral chypre that captures the very essence of spring in every facet. Upon the first encounter, the top notes sparkle with a luminous freshness. Aldehydes lend an effervescent, airy brilliance that lifts the opening, amplifying the natural citrus and floral components. Calabrian bergamot imparts a bright, slightly bitter zest unique to the southern Italian region, distinguished by its aromatic richness and lingering sweetness. 

Complementing this are Italian neroli and Sicilian petitgrain bigarade, both derived from the bitter orange tree; neroli adds a delicate, floral freshness from the blossoms, while petitgrain brings a green, leafy crispness from the leaves and twigs. Citral and terpineol, synthetic yet harmonious with nature, intensify the citrus brightness, while anisic aldehyde provides a soft, sweet, licorice-like nuance, and phenylacetaldehyde contributes a honeyed, rosy facet that enhances the floral bouquet. 

The addition of orange blossom absolute reinforces the sunny citrus floral character, blending seamlessly with Dutch daffodil and Swiss lilac, whose delicate, watery-green floral tones evoke springtime gardens. Persian galbanum adds a resinous, sharply green depth, English mint lends a cool, crisp edge, and Chinese camphor introduces a subtle cooling effect. Provencal herbs and lavandin, with their aromatic herbal warmth, complete the top notes, anchored by linalool, a versatile floral-alcohol aroma chemical that smooths transitions between notes.

As the perfume unfolds, the heart emerges as a lush, soft, and floral tapestry. Zanzibar carnation and Jamaican clove, complemented by isoeugenol, form a gentle spicy core, harmonizing warmth with the fresh florals. Bulgarian rose otto offers the deep, luxurious scent of roses from a region known for its unparalleled quality, while rhodinol enhances the rose’s softness and clarity. Portuguese tuberose absolute brings a creamy, radiant floral note, paired with Egyptian jasmine absolute, whose rich, opulent aroma is prized for its intensity and sensuality. 

Benzyl acetate adds a honeyed sweetness, and Jordanian bitter almond provides a subtle nutty nuance that deepens the floral complexity. Heliotropin (piperonal) lends a soft vanilla-like warmth, while lily of the valley injects delicate, dewy freshness. Hydroxycitronellal contributes a clean, luminous floral facet, Tuscan violet adds powdery green notes, and ionone delivers a soft, woody floral nuance reminiscent of violets. Cinnamic alcohol and methyl anthranilate introduce gentle balsamic and fruity accents, while Manila ylang ylang oil adds a tropical floral sweetness that heightens the heart’s sensuality.

The base notes ground the composition in a warm, mossy, and subtly sweet foundation. Venezuelan tonka bean and coumarin evoke a hay-like warmth, harmonizing with the animalic depth of Tonkin musk, Indian musk ambrette, and Abyssinian civet, balanced by musk ketones which provide a clean, lingering softness. Rich resins such as Maltese labdanum and Levantine storax contribute a balsamic, ambered warmth, while ambergris adds marine-like complexity and longevity. Mexican vanilla and vanillin offer creamy sweetness that complements the earthy, forest-like base. 

Tyrolean oakmoss gives the classic chypre green-woody foundation, further enriched by Malaysian patchouli, Java vetiver, and vetiveryl acetate, which provide earthy, woody, and slightly smoky nuances. Mysore sandalwood imparts a soft, smooth, almost velvety warmth, while Atlas cedar rounds the composition with dry, aromatic woodiness. Together, these ingredients form a masterful balance of airy brightness, floral richness, and earthy, mossy depth—truly encapsulating the cool, brisk, and leafy charm of early spring in a single, elegant fragrance.

The American Perfumer and Essential Oil Review, 1953: 

"LANCOME is introducing a new fragrance line, Graces du Printemps, EAU DE SENTEURS. Lancome's double Graces au Printemps, Joyeux Ete, and Bel Automne. It is described as "perfume-divided or toilet water-multiplied." 

The New Yorker - Volume 29, 1953:

"Lancome has cooked up three more colognes. Graces du Printemps is cool and brisk; Joyeux Ete is light and dry; Bel Automne is musky and warm. Four- and eight- ounce flacons are, respectively, $4.20 and $7.20 at Saks."

Harper's Bazaar - Volume 87, 1953:

 "A green breeze, Lancome's new toilet water. "Graces du Printemps," full of spring winds, leafy and mossy."

Mademoiselle, 1953:

"For a new season, a new fragrance - Lancôme's cool, clear Grâces du Printemps (Graces of Spring). In a particularly concentrated and lasting toilet water, four ounces, $3.50."

Combat, 1954:

"Eau de senteur Graces du Printemps: It is here the lilac that dominates - the exquisite lilac of the suburbs of Francis Carco: 'I give you this flowery corner, these light trees, this mist, and Paris in the distance which lights up, under these white and gray clouds.' But the lily of the valley and the daffodil add their spring touches, fresh like an imaginary breeze, when the atmosphere is thick like the solar humming of the bees around the hives."

Bottles:

Lancôme’s Eaux de Senteur presentation was an exquisite blend of artistry and craftsmanship. The packaging showcased a large polychrome label featuring hand-painted motifs by Georges Delhomme, a distinguished artist and longtime collaborator with the house. Each label portrayed a graceful female figure symbolizing her season, surrounded by vibrant colors and evocative scenes that perfectly captured the essence and atmosphere of spring, summer, autumn, or winter.

The frosted glass flask-shaped bottle, crafted by the renowned Verrières de la Bresle, was equally captivating. Its arched shoulders were adorned with a delicate lattice pattern that played beautifully with light and shadow, enhancing its visual depth. The frosted stopper rose elegantly from an oval carnette base, reminiscent of a fountain’s jet arching gently back into its basin—an image of natural fluidity and grace. This was complemented by subtle decorative curves inspired by garden arches and the inviting shelter of a pergola, lending the bottle a tranquil architectural sophistication. Anchoring the design at the base, a wide gilded metallic label served as a stately pedestal, adding an aura of luxury and refinement. Each bottle came nestled in a protective case embossed with Lancôme’s iconic rose emblem, and the fragrances were offered in a variety of sizes, ranging from 4 to 32 ounces, to meet a wide range of preferences and uses.

Flacon Coloquint:

The Flacon Coloquint, introduced by Lancôme around 1947 for their Eaux des Senteurs, featured a graceful double-gourd shape in frosted glass, with a smaller rounded top section above a larger bulbous base. Its softly diffused surface lent a velvety texture and a cool, elegant appearance, while the organic curves conveyed balance and refinement. The bottle was topped with a Pollopas (urea-formaldehyde) plastic screw cap—lightweight, durable, and modern for the era—offering a secure, practical closure that contrasted yet harmonized with the bottle’s sculptural form. Together, the frosted glass and innovative closure reflected the postwar period’s blend of artistry and technological progress.

Dumbbell Bottle:

Lancôme’s Eaux de Senteur were later presented in a distinctive clear glass “dumbbell” bottle, composed of a smaller sphere atop three narrow horizontal rings, which rested on a larger sphere. Available in 4 and 8 ounce clear glass bottles with gilded paper labels and either a green, pink, purple or blue plastic screwcap. This modern, tiered silhouette was a streamlined reinterpretation of the earlier Flacon Coloquint—a frosted double-gourd bottle with a Pollopas plastic screw cap—shifting from soft, traditional elegance to a more contemporary, sculptural form. The ringed midsection may have been intended to improve grip, while practical factors such as reduced production costs, increased durability, or changing manufacturing capabilities likely drove the design change. The result was a bottle that balanced functionality with modern visual appeal.

Fate of the Fragrance:

Grâces du Printemps by Lancôme, despite its popularity, was eventually discontinued, though the exact date of its withdrawal from regular production remains unknown. The fragrance, celebrated for its crisp, leafy chypre character and its evocative evocation of early spring, continued to be available on the market well into the mid-1960s.

By 1965, Grâces du Printemps could still be found for purchase, indicating that although it may have ceased active production, existing stock and secondary distribution kept the scent accessible to consumers. Its enduring presence speaks to the lasting appeal of its fresh, cool top notes, lush floral heart, and mossy, warm base—qualities that had made it a signature part of Lancôme’s Eaux de Senteur line. Collectors and enthusiasts during this period would have appreciated the fragrance as a refined, classic expression of springtime elegance, even as newer fragrances and modern trends began to emerge.