The term "Bleu de Chine" refers to a traditional blue glaze used on Chinese porcelain, highly prized in Europe since the 18th century. It suggests mystery, elegance, and an appreciation for artistry—qualities that Marc de la Morandière no doubt wished to capture in this fragrance. The choice of name evokes a kind of cultural fantasy: serene pagodas, indigo silks, moonlit gardens scented with tuberose and rose. There is a softness to the imagery, but also depth—an undercurrent of confidence and control, echoed in the tenacity of the perfume itself.
By 1987, the global fragrance landscape was in flux. The excesses of the early 1980s—with their shoulder pads, power perfumes, and big florals—were beginning to yield to more sensual, mysterious compositions. The influence of orientals and spicy chypres was still strong, but new floral chypres, like Bleu de Chine, carved out their own space. It was a time of transition, where perfumery walked a line between the grand and the personal, the classic and the innovative.
Created by perfumer Pierre Bourdon at Fragrances Resources, Bleu de Chine is classified as a floral chypre. Bourdon, known for his refined touch and emotionally resonant compositions, wove tuberose, rose, and coriander into the heart of the fragrance—notes that feel both intimate and expansive. The overall effect is both delicate and assertive, much like the type of woman the brand aimed to reach: gentle, humorous, yet determined. The "woman-woman," as the marketing described her, was not a fragile figure but one in full command of her femininity, sensuality, and personal style.
For women in 1987, Bleu de Chine may have represented something nostalgic yet modern—a bridge between the dreamy exoticism of past decades and the assertive sophistication of the late twentieth century. It stood apart from more commercial blockbuster fragrances of the time, offering an elegant alternative to the louder, brasher perfumes on the market. It didn’t necessarily seek to follow the trends; rather, it invited the wearer to explore something quieter, more introspective, and perhaps more refined.
As for Marc de la Morandière himself, he was not primarily known as a perfumer but rather as a designer and aesthete with a flair for culture and luxury. His foray into perfume was a natural extension of his refined tastes. By commissioning a master like Pierre Bourdon and choosing a poetic, image-rich name like Bleu de Chine, he created a fragrance that reflected his vision: artistic, cultivated, and enduringly elegant.
Fragrance Composition:
So what does it smell like? Bleu de Chine by Marc de la Morandiere is classified as a floral chypre fragrance for women.
- Top notes: Calabrian bergamot, Russian coriander, lily-of-the-valley
- Middle notes: oriental rose, Egyptian jasmine, Manila ylang ylang, Portuguese tuberose
- Base notes: Yugoslavian oakmoss, Mysore sandalwood, Haitian vetiver, balsam, resins, Madagascar vanilla, Venezuelan tonka bean, coumarin, Tonkin musk
Scent Profile:
When first encountering Bleu de Chine by Marc de la Morandière, the initial impression is one of sheer clarity, touched with an unexpected spice. A bright rush of Calabrian bergamot opens the composition, offering a zesty, slightly bitter citrus note that feels both luminous and refined. Bergamot from Calabria, in southern Italy, is prized as the finest in the world—its fruit yields an essential oil more nuanced and floral than other varieties, with hints of green tea and neroli. This refined sparkle immediately sets the tone for a fragrance that is elegant, mysterious, and quietly self-assured.
The bergamot's light dances with the crisp, green brightness of lily-of-the-valley, a dewy, springlike note that lifts the opening with its silvery freshness. While this note is typically recreated through synthetic means due to the flower’s low yield, modern aroma molecules (like hydroxycitronellal or Lilial, back when it was still widely used) lend this floralcy its ethereal sheen. These synthetics don’t attempt to overpower—they give clarity and lasting lift to an otherwise fleeting natural impression. Threaded through this delicate bouquet is the earthy spice of Russian coriander, which feels drier and slightly woodier than coriander from other regions. It lends a faint herbal crunch—cracked pepper and crushed citrus leaf—adding structure to the effervescence of the top.
As the perfume evolves, the heart unfolds in sultry, narcotic waves. The oriental rose used here is plush and velvety—likely a blend of natural oil and synthetic rose molecules such as Phenyl Ethyl Alcohol or Rose Oxide. These synthetic elements don’t dilute the experience but rather draw out the rose's green, spicy facets, giving it a modern luminosity. The Egyptian jasmine follows, warm and animalic, adding a languid depth with its sweet, fruity, almost leathery intensity. Egyptian jasmine is especially prized for this rich, indolic nuance—more sultry and musky than its Indian counterpart.
Then comes the waxy, tropical richness of Manila ylang ylang, sourced from the Philippines. This variety is particularly full-bodied, with creamy, banana-like tones and a slightly balsamic sweetness that melts seamlessly into the rose and jasmine. Supporting this is a heady thread of Portuguese tuberose, a flower renowned for its narcotic scent. The Portuguese-grown variety is notably green and camphoraceous in its opening, but here it quickly warms into a buttery, almost suede-like floralcy, enhancing the sensual heart of the composition. Together, these florals bloom not with innocent prettiness, but with a grown-up, velvet-petaled intensity that feels at once romantic and self-possessed.
The base is where Bleu de Chine truly settles into its chypre identity—dark, mossy, and enveloping. The Yugoslavian oakmoss is dry, earthy, and tinged with an almost forest-floor bitterness that lends gravitas and complexity. Oakmoss from this region is particularly robust and slightly smoky, anchoring the airy florals above with a mossy embrace. Mysore sandalwood, now rare and highly sought after, adds a creamy, resinous warmth. Its character is drier and spicier than the smoother Australian sandalwood, giving the base a sacred, meditative quality.
A fine line of Haitian vetiver runs through the moss, with its smoky, grassy roots adding a touch of dryness and restraint. Haitian vetiver is especially refined, less sharp than vetiver from Java, with a sweeter, more tobacco-like character. Woven through this is a syrupy murmur of balsams and resins, likely including elements like tolu or benzoin, which imbue the base with a sense of antique polish and ambered glow.
Then comes the gourmand whisper: Madagascar vanilla, rich and boozy, pairs with Venezuelan tonka bean, whose creamy-almond warmth is enhanced by coumarin, the aromatic chemical responsible for its soft haylike character. This trio provides a plush, velvety sweetness, never cloying but deeply comforting. Finally, a touch of Tonkin musk—likely recreated synthetically, given its animalic origin—adds an erotic softness. If natural, it would offer an earthy, almost skin-like warmth that lingers like the echo of touch. In synthetic form, musk molecules such as muscone or galaxolide offer similar velvety roundness, ensuring the composition finishes on a skin-melding, intimate note.
Altogether, Bleu de Chine smells like a memory both lived and imagined: it is refined without restraint, romantic without naïveté, and sensuous without vulgarity. Its floral heart pulses with old-world richness, but the base is grounded in deep, mossy sophistication. A blue dream of porcelain, silk, and skin.
Femme, 1987:
"It was in China that Marc de la Morandière found the fragrance of his first perfume, this floral note where tuberose, rose and coriander mingle. . The deep blue of the bottle and the tenacity of the delicately insinuated scents form a perfect harmony to seduce the gentle, funny and determined woman-woman."
Bottle:
The bottle for Bleu de Chine perfume is a striking homage to the storied ceramic artistry of the Ming Dynasty, particularly the famed blue and white porcelain wares that symbolized elegance, refinement, and imperial luxury. Its form and color palette are deliberately evocative of Chinese faience—deep cobalt blue against a luminous white background—translating the rich visual tradition of 15th- and 16th-century Chinese ceramics into a sculptural modern flacon. The sleek silhouette carries subtle references to the graceful curves of traditional Chinese vessels, yet is distinctly contemporary in its lines.
Designed in 1987 by the renowned sculptor Serge Mansau, the bottle reflects his signature approach of blending sculpture with functional design. The result is a form that feels both timeless and tactile, meant not only to be seen but also handled and appreciated as an object of beauty. Each bottle features hand-applied blue and white lacquer, adding artisanal depth and subtle variation to every piece—no two are exactly alike. This meticulous decorative technique lends the bottle a painterly quality, reminiscent of brushwork on porcelain, further connecting it to its Ming-era inspiration.
Production of the bottle took place in France, entrusted to two of the most respected glassmakers in the perfume industry: Pochet et du Courval, long associated with luxury fragrance houses, and Verreries de la Bresle, located in the Bresle Valley, a region known for its centuries-old glassmaking tradition. Their combined craftsmanship ensures that the bottle is not only visually refined but also impeccably made.
A rarer version of the Bleu de Chine bottle exists—a small, frosted blue glass miniature, transparent rather than lacquered, with a simple black screw cap. This edition appears to be produced exclusively in a 0.17 oz Eau de Toilette size and is notably harder to find. While more modest in scale and presentation, it retains a quiet elegance, with its cool frosted surface and delicate blue hue suggesting a misty Chinese landscape or the shimmer of porcelain under moonlight. Though likely intended as a travel or promotional item, it has become a collectible in its own right, prized for its subtle charm and rarity
The original, vintage formula was available in the following:
- 1 oz Parfum
- 0.17 oz Eau de Toilette miniature bottle stands 1.5" tall.
- 1 oz Eau de Toilette Splash
- 1.7 oz Eau de Toilette Splash
- 1 oz Eau de Toilette Spray
- 1.7 oz Eau de Toilette Spray
- 3.4 oz Eau de Toilette Spray
- Factice (dummy) glass bottle stands 9" tall.
Fate of the Fragrance:
The fragrance is reputed to have been reformulated in 1994. The earlier bottles were distributed by Alfin Fragrances, Inc. at least until 1999, by 2001, the brand was owned by Adrien Arpel, Inc.
The original, vintage versions have been discontinued, date unknown. You can still purchase old stock from the Marc de la Morandiere website. These limited edition bottles are the same as those from 1987.
A new version in a completely different bottle has been released in 2014 as part of La Collection. The notes are said to be the same as the original, but I do not know how they stack up to one another when testing side by side, I need some samples. It is available in the following on the Marc de la Morandiere website:
- 1 oz Eau de Parfum
- 3.3 oz Eau de Parfum
"The enchantment of an intense fragrance, which transports you to a voluptuous sensory world. The finesse and sensuality of a bottle in deep cobalt blue, precious like porcelain of the Ming Dynasty. A prestigious perfume exhilarating the senses. A lacquered finish for this majestic bottle, sublimating the essence. A contrast in sensations where the zesty citrus lightens up the warmth of the vanilla and of the tonka beans. The mystifying tuberose unites with the exotic touch of the ylang ylang. This unique and captivating scent will transport you to the depths of the Extreme Orient, never ending source of inspiration for this mysterious fragrance created with the talented Pierre Bourdon."
- 0.17 oz Eau de Toilette miniature
- 1.7 oz Eau de Toilette Spray
