La Fuite des Heures by Balenciaga was launched in 1947, a year of great renewal and reinvention following the devastation of World War II. Its name, La Fuite des Heures, translates from French to "The Flight of the Hours" — pronounced roughly as "la fweet dez urr". The phrase evokes the poetic sensation of time slipping away, especially in moments of love or passion. Balenciaga himself noted that he chose the name because he imagined "when you're in love, the hours fly by" — a romantic concept rendered even more poignant in a postwar world where time, beauty, and love had taken on new significance.
The perfume’s title alone conjures an air of wistful elegance — an afternoon sun streaming through gauzy curtains, the clock forgotten in the company of a lover, or the dreamy trance of walking through a garden lost in thought. It suggests fleeting beauty, the ephemeral nature of emotion, and the almost surreal way that time bends in moments of joy or desire. In scent, La Fuite des Heures becomes a translation of that sensation — a fragrance meant to capture time’s evanescence, framed in delicate florals and mysterious woods.
Launched in the same year as Dior’s revolutionary New Look, 1947 marked the beginning of a postwar fashion renaissance. Designers returned to sumptuous fabrics, longer hemlines, and sculptural silhouettes that emphasized femininity. Balenciaga, already renowned for his refined aesthetic, aligned his perfume offering with the same ethos. La Fuite des Heures fit beautifully into this new mood — elegant yet gentle, worldly but subtle. Women of the era, emerging from years of rationing and restraint, would have seen this perfume as a symbol of romance, self-indulgence, and quiet sophistication.
Created by the visionary Germaine Cellier — one of the most daring perfumers of the 20th century — La Fuite des Heures was a floral chypre with delicate but distinctive touches. Jasmine and rose dominated the floral heart, softened by thyme and subtle spices, all resting on a woody oriental base. The result was a fragrance that was light and sweet, yet imbued with complexity. Critics of the time and retrospectives alike describe it as “elfin” and “odd,” suggesting a whimsical, almost otherworldly character, rare in the more straightforward florals of the day.