Flacon Coloquint (1947)

The Flacon Coloquint was an elegant and practical bottle design used by Lancôme for their Eaux des Senteurs. Crafted from frosted glass, the form resembled a double gourd—a smaller rounded section perched atop a larger bulbous base—creating a graceful, organic silhouette. The frosted surface gave the glass a soft, velvety appearance, diffusing light and imparting a cool, tactile quality that enhanced its visual appeal. The gentle curves of the double gourd shape not only echoed natural forms but also conveyed a sense of balance and proportion, making it both decorative and functional.

The bottle was fitted with a Pollopas (urea formaldehyde) plastic screw cap, a modern material choice for the time. Pollopas, a lightweight and durable early plastic, allowed for a secure closure that resisted breakage and provided a practical alternative to more fragile glass or heavier metal fittings. This combination of frosted glass and advanced closure technology reflected the mid-20th century’s blending of traditional artistry with contemporary manufacturing innovations, making the Flacon Coloquint both a beautiful and forward-looking presentation for Lancôme’s Eaux des Senteurs.

Dumb Bell Bottles:

Lancôme’s Eaux de Senteur were also offered in a distinctive clear glass bottle whose form was reminiscent of a dumbbell. The design consisted of a smaller sphere stacked atop three narrow rings, which in turn rested upon a larger sphere, creating a harmonious yet modern silhouette. This new presentation was a contemporary reinterpretation of the earlier Flacon Coloquint—a double-gourd–shaped frosted glass bottle fitted with a Pollopas plastic screw cap. The Flacon Coloquint had served as the original container for the Eaux de Senteur, embodying a softer, more traditional elegance.

The updated form may have been devised with practicality in mind, its tiered, ringed structure potentially offering a more secure grip during use. Several factors could have influenced the decision to replace the earlier model: the cost of producing the frosted double-gourd design may have been prohibitively high, the form itself could have proven fragile or unreliable in handling, or the specific manufacturing techniques required for its production may no longer have been available. Whatever the reason, the new bottle retained a sculptural quality while reflecting a streamlined, modern sensibility, aligning with evolving tastes and functional considerations of the time.

Presentation a Tirage Limite - Faune Flacon (1942)

Lancôme’s Présentation à Tirage Limité, designed by Georges Delhomme in 1942, is a rare and exquisite perfume ensemble crafted for fragrances such as Peut-Être, Bocages, and Flèches. The flacon, often referred to as the "Faune Flacon," features a distinctive square, cushion-like body with softly rounded edges and a beautifully faceted form reminiscent of a cocoon. It is embellished with a gold-toned paper label, elegantly titled, and sealed with a unique two-pronged pressed glass stopper with a frosted collar—its shape evocative of gazelle horns or other animal antlers, inspiring the name Faune. This luxurious bottle is presented in its original limited-edition Japonaise box, covered in polychrome paper that imitates Japanese cloisonné and adorned with vivid images of wild ducks in flight against a cloudy blue sky. The interior is lined with sumptuous gold and yellow silk satin, enhancing the presentation’s elegance. This ensemble perfectly exemplifies Delhomme’s masterful fusion of artistry and refinement, transforming the perfume bottle into a collectible work of art that celebrates both nature and timeless sophistication

 

Flacon Volutes (1942)

The Lancôme Édition Grand-Luxe from 1942 is an exquisite example of mid-20th-century French perfumery design, showcasing both elegance and artistry. The bottle itself is crafted from pressed, frosted colorless glass, molded into a sleek rectangular section with a distinctly cubic silhouette. Its body is adorned on two opposing faces with an intricate relief decoration of four graceful spirals or volutes, which add a dynamic yet refined ornamental touch. This spiral motif is echoed in the bottle’s stopper, a flat disc that carries the same swirling design, creating a harmonious and cohesive visual theme.

Designed by Jean Sala, the flacon reflects a balance of modern geometric form with delicate decorative flourishes, typical of Lancôme’s luxurious presentation standards of the era. The bottle comes complete with its original label—an elegant gold pampille—that hangs delicately, underscoring its prestige. The entire ensemble is housed in a beautifully crafted presentation box designed by Hadrien Leduc. The box is covered in polychrome paper featuring vibrant illustrations of tropical flowers and hummingbirds, set upon a base made of ivory-colored galalith or Pollopas plastic, lending an added layer of sophistication and artistry.

Standing 12.5 cm tall, this flacon was used for various Lancôme perfumes during the early 1940s and stands as a testament to the brand’s dedication to pairing exquisite fragrance compositions with equally refined packaging. The bottle was used for various lancome perfumes: Bocages, Fleches, Cuir, Tropiques, Conquete, Tendres Nuits, Peut-Etre, Kypre and Marrakech.

Gardenia (1937)

When Armand Petitjean introduced Gardenia in 1937, the name was a deliberate choice. The word gardenia derives from the Latinized name of Dr. Alexander Garden, an 18th-century Scottish botanist, though the flower itself is native to subtropical regions of Africa and Asia. Pronounced gar-DEE-nee-ah, the very sound carries a refined softness, conjuring images of creamy white petals, moonlit gardens, and the languid elegance of summer evenings. The association is steeped in luxury, femininity, and a cinematic kind of romance—sentiments reinforced by the flower’s long-standing role as a corsage and bridal bouquet staple.

The perfume’s debut came in the waning years before the Second World War, at a time when France was still outwardly vibrant but increasingly shadowed by political unrest. Within just a few years, the country would enter the Occupied Years, when scarcity, rationing, and quiet resilience shaped daily life. Even under such constraints, French fashion and perfumery clung to ideals of beauty and craftsmanship. Couture houses produced elegantly tailored suits with nipped-in waists and longer hemlines, and perfumes—often aldehydic florals—remained a cherished morale-boosting ritual.

Petitjean lamented what he saw as the fading popularity of fragrances clairs—“clear fragrances” focused on the pure essence of a single bloom, such as lily of the valley, rose, carnation, violet, and, of course, gardenia. The rising dominance of couture-influenced perfumes, with their intricate, sometimes heavy blends, had, in his view, led women away from the grace and restraint that once defined French perfumery. With Gardenia, he aimed to restore this elegance of simplicity, while refining it for the modern woman of the late 1930s.

Serie "Sport" Presentation (1945)

The Sport Series, introduced in the 1945 Lancôme catalog, was conceived as a practical yet refined presentation for the house’s Eau de Cologne and Lavender Waters. These were scents associated with refreshment and simplicity, and the Sport Series aimed to offer them in a format well-suited to active lifestyles, travel, or casual daily use—without sacrificing the brand’s high aesthetic standards.

The bottle design was both utilitarian and elegant. Created by Lancôme, the flacon featured a flat profile and was topped with a secure cap, making it easy to pack or slip into a bag. Its defining feature was a series of horizontal molded ridges, which added not only visual interest but also a tactile grip—ideal for handling during travel or after physical activity. The caps were made of Pollopas, a high-quality plastic of the time, each one stamped with the Lancôme seal, ensuring brand identity and a sense of luxury even in a sporty format.

Color Coded:

Each fragrance in the series was distinguished by its own unique pairing of cap and label design, creating an instantly recognizable appearance for each scent.

• Ref. 80, Cachet Bleu featured a blue cap with a white-on-blue label, projecting a cool, fresh tone.

• Ref. 81, Étiquette Noire was marked by an ivory cap and a sophisticated black label trimmed in gold, with red lettering—a bold and elegant contrast.

• Ref. 82, Fêtes de Paris had a lacquer-red cap paired with a gold-bordered label displaying red and blue text on a white background, suggesting festivity and flair.

• Ref. 83, Lavandes was topped with a Venetian green cap and a soft, harmonious label in white, mauve, and gold, evoking the calming nature of lavender.

The bottles came housed in protective cases, each decorated with the Lancôme Parfums mark. This packaging served both a practical and visual function, reinforcing the brand’s commitment to elegance even in its more casual offerings.

Ultimately, the Sport Series exemplified Lancôme’s ability to merge convenience with beauty. With carefully chosen materials, distinctive design elements, and thoughtful color schemes, these bottles stood out as much for their usability as for their stylish presence—a refined solution for perfume on the go.

Why Pollopas?

Lancôme’s decision to use Pollopas for the caps of its Sport Series flacons in the 1945 catalog was a strategic blend of function, aesthetics, and innovation. This line was specifically created for travel and active lifestyles, and the material properties of Pollopas aligned perfectly with those goals.

Pollopas was a lightweight plastic, with a specific gravity of only 1.44—about half the weight of glass—making it ideal for portable products. For a collection designed with sport and travel in mind, the reduced weight was a practical advantage. Additionally, the material was durable enough to withstand frequent handling without cracking or warping, contributing to the series’ functional appeal.

Visually, Pollopas offered a brilliant finish. It could be polished to a high gloss and dyed in vibrant colors, which made it an ideal choice for perfume caps that needed to reflect the elegance of the Lancôme brand. In the Sport Series, each fragrance was identified by a distinctively colored cap—blue, ivory, lacquer red, or Venetian green—paired with a coordinating label. The high polish of Pollopas helped these colors appear rich and refined, almost jewel-like, enhancing the overall luxury presentation despite the utilitarian aim of the line.

Another important factor was the material’s moldability. Pollopas could be easily shaped and stamped, allowing Lancôme to emboss each cap with its seal. This ensured a strong brand presence on even the smallest part of the packaging. The smooth surface also allowed for engraving or the scratching-in of designs, offering flexibility in decoration and allowing the label and cap to be closely coordinated in both color and design.

Pollopas also offered excellent resistance to water, alcohol, and solvents—qualities essential for a cap that would regularly come into contact with Eau de Cologne or lavender water. Unlike some early plastics that would soften or degrade with exposure, Pollopas retained its integrity, ensuring that the bottles remained functional as well as attractive over time.

Finally, using Pollopas projected an image of modernity and innovation. Introduced in the 1930s, Pollopas was a relatively new material that symbolized technological progress. For Lancôme, a house known for its luxury and sophistication, incorporating such a modern substance into their packaging allowed them to appear both forward-thinking and practical. During the post-war period, when materials like glass and metal were still costly or scarce, Pollopas also offered an economically sensible alternative that didn’t compromise on quality or beauty.

In sum, Pollopas provided the ideal solution for Lancôme’s Sport Series: it was lightweight, elegant, durable, and modern—qualities that supported the brand’s aesthetic while meeting the practical needs of its customers.

Serie des Emblèmes Presentation (1945)

The Série des Emblèmes from Lancôme, as described in the 1945 catalog, was a strikingly luxurious presentation line dedicated to the larger formats of their perfumes. These were not just oversized bottles; they were conceived as objets d’art—each one a bold visual statement, crafted to emphasize the opulence and individuality of each fragrance.

The bottle itself was a bespoke Lancôme creation, made of cut and polished glass in an elegant rectangular form, this is known as the "Borne Carrée" (square terminal) stoppered bottle, colloquially known as the "jasmine" stoppered bottle. The flanks of the bottle were gently curved, softening the geometric shape and adding a subtle sense of movement. The stopper echoed the bottle’s refinement: it was also cut glass, engraved with delicate jasmine flowers, and edged in an “éclaté” or burst-cut pattern that added an ornamental, crystalline brilliance. Around the neck was a fine gold braid—referred to as a "col caravaté"—which enhanced the sense of ceremonial beauty. A small engraved label, gilded in gold, discreetly identified the perfume.

Each fragrance in the series was housed in a special case designed with as much attention as the bottle itself. The box was long and rectangular, wrapped in a white morocco-style paper (resembling fine leather), and decorated with gold-tooled embossed detailing. At the heart of each case was a repoussé and gilded emblem—an embossed, gilded design that served as a symbolic representation of the perfume it contained. These emblems were not interchangeable; each one was created specifically to visually embody the essence and inspiration behind its corresponding scent.

Here are the emblems assigned to each perfume:

• Ref. 50 – Conquête: Symbolized by a rose, evoking romance and triumph.
• Ref. 51 – Kypre: A siren on the waves, referencing mythical allure and the classic chypre accord.
• Ref. 52 – Tropiques: Illustrated by the “pearl necklace” of Rio, capturing the exoticism and vibrancy of tropical locales.
• Ref. 53 – Tendres Nuits: Marked by stars and a cloud, suggesting softness, dreams, and nocturnal tenderness.
• Ref. 54 – Bocages: A fluttering bird, symbolizing pastoral beauty and lightness.
• Ref. 55 – Marrakech: A woman at a moucharaby (a traditional Middle Eastern lattice window), evoking mystery, veiled beauty, and the Orient.
• Ref. 56 – Gardénia: The Cape jasmine flower, representing creamy, sultry florals.
• Ref. 57 – Peut-être: Two interlocking hearts, symbolizing love and possibility.
• Ref. 58 – Flèches: Two crossed arrows, a timeless emblem of Cupid and attraction.
• Ref. 59 – Chèvrefeuille: A stylized honeysuckle flower, sweet and airy.
• Ref. 60 – Cuir: Gazelles and carnations, evoking elegance, animalic warmth, and floral spiciness.
• Ref. 61 – Magie: The mythical winged horse Pegasus, a symbol of magic, fantasy, and poetic inspiration.
• Ref. 62 – Trésor: Jewels, reflecting opulence and preciousness.
• Ref. 63 – La Vallée Bleue: A cascading waterfall nestled in a valley, representing freshness and serenity.
• Ref. 64 – Plaisir: A whimsical harlequin and a feather, suggesting joy, flirtation, and theatricality.

To match the grandeur of these designs, Lancôme offered the Série des Emblèmes in four generous sizes:

• 100 grams (3.5 oz) – Ref. 0014
• 250 grams (8 oz) – Ref. 0015
• 500 grams (16 oz) – Ref. 0016
• 1,000 grams (32 oz) – Ref. 0017

This collection represents one of the most distinctive and imaginative packaging series in Lancôme’s history, highlighting their post-war embrace of artisanal craftsmanship, symbolic design, and the theatrical possibilities of perfume presentation. Each perfume became not just a scent, but a story, expressed visually and materially through emblem, bottle, and box.

 

Carquois Presentation (1955)

The Lancôme Carquois perfume presentation, created by Georges Delhomme in 1955, is among the most imaginative and rarest perfume coffrets ever produced by the house. Designed as a one-of-a-kind tribute for a prestigious charity gala, this striking presentation brought together theatrical design, mythological symbolism, and high-society glamour.

The Carquois (French for “quiver”) was unveiled on the evening of August 28, 1955, during the Bal des Petits Lits Blancs, a grand charitable ball held at the Casino de Deauville, a seaside resort and gambling complex located in Deauville, Normandy, France. The event, whose name translates to "Ball of the Little White Beds," was a glamorous annual fundraiser that benefited children's hospitals in France. The white beds referenced in the name symbolized the small hospital beds used by young patients. Sponsored by socialites and celebrities, the event was known for its elegance, couture, and charitable spirit.

For this occasion, Delhomme designed a unique cardboard presentation box covered in a specially printed paper bearing a repeating motif of the words Magie, Trésor, and Lancôme—each name evoking magic, treasure, and the luxurious world of French perfumery. The box was shaped and styled to resemble a quiver, the traditional container used to carry arrows, and was finished with an attached ribbon to complete the fantasy. The design wasn't arbitrary—rather, it played with the metaphor of fragrance as a “piercing” and unforgettable experience, like Cupid’s arrows aimed at the senses.

Inside this whimsical packaging were two elongated perfume bottles, each crafted from pressed, frosted satin glass to resemble stylized arrows. Their elongated forms, with gently tapering points and ridged feather-like ends, embodied both elegance and imagination. These “arrow” flacons bore gilded paper labels marked with the respective names of Magie and Trésor, two of Lancôme’s most iconic fragrances. Each bottle stood 19.5 cm tall, which is approximately 7.7 inches, making them long and slender—true to the design theme.

This presentation was not part of Lancôme's commercial line, but rather a rare collector’s piece associated with a singular, high-profile event. Its creation aligned with Armand Petitjean’s vision for Lancôme as a house where fragrance, art, and culture intersected. Few examples of this Carquois set are known to survive today, and those that do are coveted by collectors for their storytelling, their exquisite design, and their connection to a moment of French social history.

Amphore Flacon (1958)

In 1958, Lancôme released a limited edition purse flacon for its fragrance Envol, a design that fused classical inspiration with modern elegance. Known as the "Amphore," this miniature perfume bottle was intended not just as a vessel for perfume, but as a wearable jewel—a refined accessory that reflected the glamour of the late 1950s.

The frosted glass bottle features a softly elongated oval silhouette, tapering gracefully into a long, pointed end reminiscent of ancient amphorae used to store precious oils or wines. Its sculptural shape, though minimal, is striking and tactile—meant to be held, admired, and appreciated as a decorative object in its own right.

The flacon is topped with a gilded brass cap engraved with the words "Envol de Lancôme." Attached to the cap is a brass loop, allowing the bottle to be suspended from a cord or chain and worn as a pendant—making it ideal for on-the-go application while still offering a sense of refinement and luxury. The entire piece measures approximately 4.25 inches in length, from the top of the ring to the pointed end of the bottle.

While this special edition was exclusively used for Envol parfum, it was not just a one-time release. The Amphore bottle proved popular enough that it was reissued each Christmas season through 1962, aligning it with the tradition of gifting fine fragrances during the holidays. Today, surviving examples of the Envol Amphore flacon are coveted by collectors for both their rarity and the elegance of their design, which so beautifully captures Lancôme’s golden era of artistic perfume presentation.

La Goutte d'Eau (1952)

In 1952, Lancôme unveiled an exquisite miniature perfume presentation known as La Goutte d’Eau—French for “the teardrop.” Designed by Georges Delhomme, who served as Lancôme’s artistic director and frequently collaborated with master glassmakers, this elegant flacon was most likely produced by Verreries de Bresle, the renowned glassworks responsible for the majority of Lancôme’s bottle production during the mid-20th century.

The Goutte d’Eau flacon was conceived to hold extrait de parfum—the most concentrated form of fragrance—specifically for Lancôme’s celebrated perfumes: Magie, Peut-Être, and Trésor. Each bottle contained 1/5 fluid ounce (just over 0.25 oz) of perfume. The shape was inspired by antique Venetian glass jewelry, which often featured softly rounded, fluid silhouettes and exquisite craftsmanship. The result was a refined, teardrop-shaped crystal flacon, its clear surface carefully polished to a glossy brilliance.

The bottle itself is a study in minimalist luxury. Measuring approximately 3 3/4 inches in length and 1 5/8 inches wide, the form is both elegant and ergonomic—perfectly sized to rest in the palm of one’s hand. It is crowned with a gilded brass screw cap, finely engraved with Lancôme and the name of the specific perfume it contained. The cap is fitted with a small loop through which a silk ribbon is threaded. This clever detail allowed the bottle to be worn as a pendant on a necklace, clipped to a brooch or chatelaine, or—per Lancôme’s own advertising—tucked discreetly into a handbag for refined, portable luxury.

The American Perfumer and Essential Oil Review, 1953:

"LANCOME's latest fragrance entry is Tresor, in a teardrop purse flacon, which may be worn pinned to a lapel or suspended from a belt like a chatelaine , and in a diamond- faceted de luxe flacon in amaranth satin-covered box."

Marketed as both an object of beauty and practicality, the Goutte d’Eau was priced at $9 in 1953, the equivalent of roughly $108.73 in 2025 when adjusted for inflation. It was positioned as a thoughtful gift or indulgence, reflecting a time when perfume was cherished as both sensory pleasure and decorative art. Today, these bottles are highly sought after by collectors not only for their rarity but for their embodiment of 1950s elegance, French craftsmanship, and Lancôme’s enduring dedication to marrying perfume with artistry.

Philippine Danseurs Presentation (1953)

In 1953, Lancôme introduced a charming and whimsical limited edition presentation known as “Philippine,” also known as "Les Danseurs," created to showcase two of its celebrated perfumes: Magie and Trésor. This rare collectible was designed by Georges Delhomme, the house’s longtime artistic director, and exemplifies his talent for combining sculptural elegance with storytelling through form.

The “Philippine” presentation features two colorless frosted glass flacons, each one individually molded to resemble a stylized, draped dancer in motion. When joined together, the bottles appear to be caught mid-performance—two fluid silhouettes frozen in a graceful pose. Their gently pleated forms mimic flowing garments, giving the piece a sense of rhythm and lightness. Despite being made of pressed glass, the surface treatment softens the visual weight, creating a cloud-like effect reminiscent of chiffon or organza.

Each bottle is topped with a gilded brass cap, understated in form yet rich in finish, adding a subtle touch of luxury. Around their necks are tied silken ribbons—one in bright yellow, the other in soft violet—which not only distinguish the two perfumes but also contribute a festive, feminine flourish. The bottles are further embellished with gold metallic labels bearing the perfume names, completing the presentation with a classic Lancôme signature.

The two flacons are permanently affixed to each other, making the composition a single sculptural object. Measuring approximately 11.5 centimeters tall (about 4.5 inches), the piece is compact, yet strikingly expressive—a perfume presentation that doubles as decorative art.

The “Philippine” edition is notable not only for its craftsmanship and visual poetry but also for its rarity. It reflects the postwar emphasis on artistry in perfume presentation, when fragrance houses sought to enchant consumers not just with scent, but with visually arresting objects that spoke to fantasy, grace, and femininity. Today, this duet of dancers remains a prized treasure among collectors of vintage perfume bottles.