I only have information on one....Guet-Apens and here it is.....
Attrape-Coeurs a.k.a. Guet-Apens (Guerlain)
When the history of Guerlain post-sale-of-the-family-silver is written, the departure of Mathilde Laurent for Cartier after a brief tenure as heir apparent to Jean-Paul Guerlain will, I believe, be seen as a turning point. Consider this: she composed the three best fragrances since the comically dire Champs-Elysées: Pamplelune, Shalimar Lite and Guet-Apens. Every one of these is stylistically as it should be, steeped in the Guerlain spirit without being backward-looking. Guet-Apens (ambush), originally a short-lived (éphémère) made for Christmas 1999, is now part of Guerlain's “undeletes” line, with low-sales things like the great Derby (now with a weird citrus note on top) and Après L'Ondée (EdT, magical as always). She left early this year. When the 68 opened in June, Guet-Apens was used as the signature fragrance for the party. By this time it had changed name to Attrape-Coeurs (heart-catcher). The name change was apparently accompanied by a change of authorship (not for the first time) to Jean-Paul Guerlain: her name does not appear in the latest listing of fragrances.
What is it like ? Hugely, hypnotically snug. It has the mulled-wine effect of Chanel's Bois des Iles, but in the Guerlain manner, i.e. based around an amber accord (De Laire's classic Ambre 83 base). Do not get the impression that this is a high-calorie perfume, though. Almost everything around and above the amber base is dry, restrained, and of heavenly quality: iris and rose notes, woods, vanilla tincture, all the things that only a Guerlain perfumer can specify and the others merely dream of. Bear in mind that this was composed before L'Instant. It simply beggars belief that Maurice Roucel's skilful but uninspiring composition was chosen over this to represent the Guerlain spirit in every shop worldwide, for Guet-Apens would have been a runaway success. The only explanation I can come up with is that the coinage in perfumery has been so far debased that, regardless of structure and composition, quality itself has come to feel passé. That, friends, is what they call decadence.