Perfume The art and craft of fragrance 1782490442, 9781782490449

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3

of fragrance

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erfume

Karen Gilbert

CiICO BOOKS LONDON

NEW YORK

Published in 2013 by CICO Books an imprint of Ryland Peters & Small 519 Broadway, 5th Floor,

New York NY 10012 20-21 Jockey’s Fields, London WC1R 4BW www.cicobooks.com

10987654321

Text copyright © Karen Gilbert 2013 Design and photography copyright © CICO Books 2013

The author’ moral rights have been asserted. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical,

photocopying, or otherwise, without the prior permission of the publisher. A CIP catalog record for this book is available from the Library of Congress and the British Library. ISBN: 978 1 78249 044 9 Printed in China

Project editor: Gillian Haslam Copy editor: Caroline West Design: Alison Fenton Special photography: Jo Henderson (see page 144 for additional photography credits) Step photography: Stuart West Stylist: Sania Pell

Illustrator: Aaron Blecha (additional illustrations: Louise Turpin)

ie us Introduction

6

Chapter 1

Chapter 5

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Creative Ferfurner Techniques

Chapter 2

Chapter 6

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Creatin

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Chapter 3

Chapter 7

Fragrance Classification

Creating Bath and

36

Body Produces 12

Chapter 4

WVatural and. Sunthehi

Chapter 8

Fragrance (Materials

Creating tia Fragrances

Resources

140

Index 141

Acknowledgments

144

1

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nt roduceton Some people love paintings, some adore music, while others would describe themselves as foodies, but it’s always been fragrance that

has moved me more than any other form of sensory expression. Although I wouldn’t describe myself as a perfumista, or even a perfume fanatic, I am utterly fascinated by our sense of smell and

how mixing a few fragrant materials together can have such a

profound effect on the psyche. I “fell down” the perfumed rabbit-hole by accident, as most people do, and then discovered that I was reluctant to escape! Many fragrance enthusiasts can pinpoint exactly when and where

their love affair with perfume began: perhaps it was a waft of their grandmother’ Youth Dew or their mother’s Miss Dior as she kissed them goodnight. For me, it was a bit more mundane. Of course,

I have perfumed memories of childhood—mainly the scent of Yves Saint Laurent’s Opium, which my mother wore—but it wasn’t until

I took a work placement at IFF (International Flavors and Fragrances)

during my studies at the London College of Fashion that I found there was far more power in perfumery than I had realized.

ot ae

Wee

in both these realms. The fascination for me is spiritual as well as analytical: getting to grips with the very fundamentals of an object or idea, and exploring how a few molecules have the power to change the way we feel. The perfumery industry has always been shrouded in mystery, a closed world open only

to those who were either raised in a family of perfumers or who—like me—accidentally

Cu 8

introduction

d across it while working for one of —

the world’s major fragrance manufacturers. Now,

for enthusiastic novices (see page 140). So, please

with the advent of the Intemet and an explosion

do get in touch if you would like to learn more.

of freely available information, the world of perfume has become easily available for many more people.

My perfumery career has been hugely varied

Although, within this book, I touch on some

of the aromachemicals commonly used in

commercial perfumes, I have largely focused on natural ingredients in the practical recipes, as

and it has given me a wonderful opportunity to

they should be the springboard for your study

teach others about fragrance, which is one of the

and are more widely available for the home

aspects I have enjoyed the most. | am a lifelong

perfumer to purchase. A word of caution,

learner and constantly soak up new information

though: please note that, as with most cosmetic

like a sponge. However, there is no point in

products, safety regulations governing perfume

leaving this knowledge, like water, to stagnate.

vary widely from country to country, and all

I have no interest in keeping it all to myself!

formulae given here are for educational purposes

Therefore, my aim in this book is to make what

only. They should always be patch-tested before

I have learned over the years as accessible as

using on the skin and are not intended to be sold

possible. So, whether you simply wish to learn a

as finished products.

little more about perfume or want to start making

As you read through the book, you'll hopefully

your own fragrances, there will be something for

gain a better understanding of the perfumery

you within these pages.

world and its history. You will have an excellent

The book is aimed at both the beginner and

starting-point for learning to train your nose and

the more experienced enthusiast. However,

blend your own simple fragrances using natural

perfumery is a vast—and often technical—

materials. There is also a selection of enticing but

subject, which can take many years of study to master. So, please bear in mind that the information given here is really just the very tip

simple recipes for you to try at home. I truly hope you enjoy reading this book, and using the practical exercises, and I would like to

of the fragrance iceberg. Should you wish to go

wish you well on your fragrant adventure—I’m

further and are searching for more in-depth study,

sure you'll find that this is only the beginning of

then I run both live classes and an online course

a very rewarding jourmey. introduction

9

———

peees

Chapter 1 ee

The (suche on ofCane Our sense of smell plays an extremely important role in our levels of happiness and our feelings of well-being, and yet it is a sense that many of us don’t fully appreciate. Certain smells have the power to affect our moods, buying habits, and mental alertness. For this reason, they are used extensively by the fragrance industry, even if we aren't aware of them in our environment.

Smell everything with intent as you go about your day and make a note of anything that strikes you or stands out in your

surroundings. It could be someone cutting a lawn or that fleeting scent in the air as spring turns into summer. Various smells can also

trigger specific memories, and we can all find ourselves remembering certain moments or people at the slightest hint of a particular aroma.

:

be Nee our Sense of sacl worleS Our sense of smell is probably the least used of all our senses and is certainly the most taken for granted. Although smell and taste are inextricably linked, most people don’t notice the importance of their sense of smell until it is severely impaired, perhaps when they have a cold. At a very primitive level, we use our olfactory

Most people regard their nose as the key to

sense to detect smells that will alert us to dangers

their powers of olfaction but it is actually the

such as fire, gas, and foodstuffs like sour milk

brain. The nose acts as a pathway that directs

or rotten meat that are unsafe to eat. Indeed,

odor molecules to the smell receptors attached

a major problem for anosmia sufferers is food

to the olfactory bulb, which is located in the

poisoning because they aren’t able to detect if the

brain in the area between our eyebrows. An

food they’re about to eat is off (see page 15).

alternative route for odor molecules is through

While most of our senses send nerve impulses

the mouth—in fact, most of what we taste when

to the region of the brain known as the thalamus,

we eat or drink is due to our powers of olfaction

to be processed as physical sensations, odor

rather than taste via the tongue. As smell relies on

molecules flow to the limbic system and the

volatile molecules entering the nasal cavity and

hypothalamus. The brain’s limbic system is where

reaching the olfactory receptors, not everything

our feelings, moods, emotions, sexual behavior,

has a perceptible smell. It also illustrates why

and memories are processed. It also connects

materials made of larger, heavier molecules have

behavior in a current situation with past situations

a lower odor perception than others.

based on previous emotional experiences. The

other receptor area for olfactory information,

Shape versus vibration theory

the hypothalamus, is responsible for the

The shape theory for how we smell states that

restoration of physical equilibrium in the body

the odor of a molecule is due to its shape and

and also regulates blood glucose and hormone

how it fits into the receptors in our nasal

levels as well as body temperature.

epithelium—rather like a key fits into a lock.

12

the psychology of smell

The theory was first proposed in 1949 in an

then picked up by the biophysicist Luca Turin

icle by RW. Moncrieff in The American

in his book The Secret of Scent. This theory is

ine. Further weight was added to hard Axel and Linda Buck in1991 that later

somewhat controversial and proposes that a

molecule’s odor is determined by its vibrational frequency rather than its shape. Fragrance expert

Prizein Physiology or — Chandler Burr’s book The Emperor of Scent edicine. However, an earlier theory of smell was: follows the progress of Luca Turin in his quest to

roposed byMalcolm Dyson im 1937 Itwas

have his theory published and recognized by the

xpanded upon in 1954 by Robert H. Wright and scientific community.

be fragrance abfecds MADLY ava. pecoeleny Although there is controversy over how our sense of smell really works, we do know - : for sure that how we perceive and react to different aromas is determined by past

experiences and cultural identity, as well as by various biological functions.

Research shows that our sense of smell is fully

and, although very tasty, the smell resembles a

developed after just three months in the womb.

combination of civet and sewage. In Singapore,

Once we are bom, it gradually develops as we

you can be fined up to $5,000 for carrying it

discover new smells and link them to our

on the subway, so reviled is its smell! If you

experiences. For example, babies and small

had eaten durian as a small child and linked the

children have to learn what is a pleasant or

smell to its sweetly pleasant taste, then chances

unpleasant smell—it’s not something we

are that you’d find the smell pleasant rather than

automatically know and it can vary greatly from

revolting unless told otherwise.

person to person. As we “learn” most smells

Our sense of smell is connected to our

while growing up, our childhood memories are

primitive brain, which links smells with past

very likely to influence the smells we like and

experiences. It is more closely associated with

dislike. Once deeply rooted like this, it’s difficult

our feelings, emotions, and behavior than any

to reprogram the associations we have with a

of the other senses. Strong mental associations

familiar smell.

between smell and a situation of intense

Since we are exposed to many different

pleasure, sadness, or another emotion can be

smells as we grow up, and attach meanings to

buried in the unconscious memory for years

them, so the location of our childhood ultimately

until they are suddenly brought to the surface by

affects our preferences and what we consider

an encounter with an identical or a similar smell.

to be good and bad aromas. For example, in

This can trigger the same thoughts and feelings

Thailand, the durian fruit is hugely popular

that were felt originally.

14

the psychology of smell

An interesting exercise...

often from a blow to the nose. Those with

Find something fragrant that you love the smell

anosmia can also suffer from depression and

of; it could be an incense stick, an essential oil,

a lack of enjoyment in life. They often become

a perfume, or even a favorite bubble bath. It can

paranoid about personal hygiene and overly

be natural or synthetic—it doesn’t matter for the

meticulous. Many find that their libido suffers

purpose of this exercise.

and food no longer holds any interest.

Now find a quiet space where you will not be disturbed and, holding your item, close your

I had a very interesting conversation with a woman who lost her sense of smell during

eyes: the idea is to minimize distractions from

childhood due to a blow to the head. One of

your other senses so that you learn to use your

her main sources of potential embarrassment

sense of smell properly. As you breathe in the

and inconvenience is that she doesn’t notice

aroma, focus on any images, thoughts, or feelings

when her baby’s diaper needs to be changed;

that you experience. What do you see when you

however, on the plus side, she doesn’t notice her

smell it? What do you feel? Does it conjure up

husband’s smelly socks either! Regarding taste,

any memories or events or people? Continue for

she enjoys food but her palate is fairly basic.

as long as you feel is necessary and write down

She can taste a difference if, for example, herbs

anything that comes to mind. As an interesting

and spices are used in a meal, but she cannot

comparison, you could also do this exercise with

distinguish between them. For example, cilantro

an item that you don’t like the smell of and note

and parsley both taste the same.

the difference in your results.

There is another less serious form of anosmia that is selective and relates to certain odor

Anosmia

molecules, which, due to their size, may be too

Anosmia—or the lack of a sense of smell—is a

large to be perceived by some individuals—this

problem for a few people, and studies have been

is particularly true of synthetic musks.

carried out to help sufferers lead a normal, happy

life. Some people are born with a condition in which their olfactory bulb is undeveloped, while others lose their sense of smell through injury— the psychology of smell

15

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“the influent of Fragrance oh buying babids | While we may be aware of different scents in the products we buy and also inthe air around us, we're often unaware of how and why they’re used. We may not even

:

be conscious of the subtle aroma of a boutique or hotel foyer but just whether we

feel comfortable there and if it meets with our expectations.

_

:

It is well known that the aroma of fresh coffee can help create a welcoming atmosphere when you're selling a house, while freshly baked bread is used in

supermarkets to give an impression of wholesome food. Some fragrance branding is very subtle and some less so.

;

A couple of years ago, I took a trip to Las Vegas for the first time ever and, as expected, everything was larger than life, including the fragrance branding! I stayed at a hotel called “The Tropicana” and, as | got out of the air-conditioned airport taxi, the first thing that hit me, along with the dry, desert heat, was an overpowering smell of coconuts. On closer inspection, I noticed that it wasn’t just coconut but

also mango and pineapple in all their sweet, sticky, and synthetic glory—in fact, it smelled like a pifia colada. The fragrance was being pumped into the air outside so that the first impression every guest would have on arrival was in keeping with the name of thé hotel. Every day on returning to the room after breakfast, I noticed that housekeeping had sprayed the same scent in the air and left coconut-scented

soap and shampoo in the bathroom. Now, whee I smell that type of fragrance, I always think of Vegas!

16

the psychology of smell

—

:

Aromatherapy versus Aroma-Chology® The concept of aromatherapy, which is well known nowadays, is the use of natural aromatic materials to enhance health and well-being. Aromatherapy focuses on the physical and

psychological effects of essential oils by means of both topical application through massage and by olfaction. Aroma-Chology®, on the other hand, deals only with the psychological effects of fragrance on the brain and how it affects moods and emotions. Both natural and synthetic materials are used for this purpose. The commercial fragrance market tends to work

on aspects of Aroma-Chology®, and companies conduct extensive in-house research to establish particular claims for fragrances.

Chapter 2

ee Bertrte ee

al History of Ley wee

vind Frasrance Lows So much has been written on the history of perfume that it would take a whole book to do justice to the topic. If you search through ancient texts, you'll discover a common thread—the use of aromatic

substances or primitive forms of perfume as both a religious and healing tool. Religion was hugely important to ancient civilizations

and both the burning of aromatic materials in the form of incense and anointing the body with perfumed oils was thought to please the gods and bring the bearer in closer communion with them.

Before the development of distillation, aromatics were burned on fires and macerated in animal fats to create scented oils and unguents. There are many depictions of this in the hieroglyphs of the ancient Egyptian tombs. Aromatic materials, such as frankincense and myrrh, were traded via the Incense Route that linked the towns of Haluza, Mamshit, Avdat, and Shivta in the Negev Desert to the Mediterranean.

The trade in spices from the Mediterranean also flourished along this route from the 3rd century BC until the Roman Empire began to use faster sea routes to transport pepper, nutmeg, cinnamon, and cloves. ee

:

Where if ull bead: Subiguity sud Alchenay Much of the process of obtaining the materials we use in perfumery today can be traced back to the

work of the ancient alchemists. Through their quest to turn base metal into gold, they discovered the process of distillation and became the first real chemists. The concepts of alchemy and perfumery are

aromatics, making the process much more

inextricably linked. As well as the physical

efficient. The process was later applied to alcohol

process of “capturing” the essence of a plant

by the Arabs and created a path for the future

and transforming it into a composition that

perfume industry as we know it today.

is more than the sum of its parts, the idea of

personal transformation through fragrance is

The perfumeries of Grasse and the beginnings

something that resonates with me strongly:

of the industry

perfume, whichever way you look at it, has

Perfume grew in popularity throughout Europe

the ability to transform a thought or a feeling

and the practice of perfumery spread from Italy to

in an instant.

Spain and France. Due to its climate, the town of

The distillation process, although often

Grasse in France became a center of high-quality,

mistakenly attributed to the Arab physician Ibn

natural materials. Although many of the old

Sina” (known in the West as Avicenna) in around

perfumeries are long gone, the region still

1000 AD, has been traced back to Pakistan in

produces many of the finest perfume ingredients

about 3000 BC, so it’s more ancient than was

such as rose, violet, and jasmine. It’s worth a visit

initially thought. Avicenna was, however, the first

for its fantastic museum of perfumery, Musées

person to successfully distill the essence of the

de Grasse, which is the largest of its kind in

rose by using steam, thus creating rosewater,

the world. The old perfumeries of Fragonard,

which is still used today. In around 1150 AD, the

Molinard, and Galimard are still flourishing, and

water-cooled condenser was discovered, which

tourists flock to try their hand at making perfume

led to a huge breakthrough in the production of

in taster classes.

a history of perfumery and fragrance icons

21

The profession of perfumer has always been

We can only imagine what the environmental

regarded as elitist. Perfumers first received official

and bodily odors were like if civet was seen as

recognition in the 12th century, but it wasn’t

a preferable alternative.

until the Perfumer’s Charter was reinstated by

The 17th century onward saw the perfumery

Louis XIV of France in 1643 that the rules were

industry take on its own identity, with perfume

set out. Only after a four-year apprenticeship

houses, which are still known today, being

and another three years as a journeyman was a

founded in the late 18th century and through the

perfumer allowed to join the prestigious Guild

19th century. Houbigant, Lubin, Guerlain, and

of French Master Perfumers and ply his trade.

Worth were the first, with Caron, Corday, Coty,

The original Grasse perfumeries were tanneries

and Lancéme following on. Today, both Guerlain

where leather hides were impregnated with

and Lancome are household names, while Coty

aromatic materials to mask the odor of the hides

owns a huge chunk of the market and most of

themselves and of the substances used to soften

the celebrity fragrance launches. The perfumes

the leather. During the Renaissance, Grasse

of the other smaller houses are still available from

perfumer Galimard made a pair of scented leather

niche and prestige stores worldwide.

gloves for Catherine de Medici, which launched a

fashion and would contribute years later to the

The birth of modern perfumery

recognition by the French Court in 1614 of the

Advances in organic chemistry at the beginning of

new guild of “glover-perfumers.” Catherine de

the 19th century paved the way for the plethora

Medici’s personal perfumer René le Florentin also

of materials we have available for use in perfumes

moonlighted as a poisoner, allegedly scenting the

today. It was a commonly held belief up until this

gloves that poisoned Jeanne d’Albret, the mother

time that carbon-based substances made in the

of Henry IV.

cells of living things could not be prepared from

In 1630, Charles | imposed an excise duty on

materials that didn’t have a “life force.” In 1845,

soap, which led to a drop in personal hygiene

Hermann Kolbe synthesized acetic acid from

and an increase in the use of perfume. Raw civet

carbon, hydrogen, and oxygen, thus proving that

was a popular fragrance, with fashionable people

the same forces could be present in a test tube as

of the day applying it as a mark of their status.

in a living organism.

22

ahistory of perfumery and fragrance icons

However, as perfumery materials were

Francois Pascale Guerlain. In 1853, he earned

traditionally limited to those with a natural origin,

the prestigious title of “Perfumer to Her

perfumers of the time were not inclined to use

Majesty The Empress Eugénie” for his fragrance

materials like coumarin and vanillin that had

LEau Impériale. By 1900, the company had

been isolated from their natural sources. The

produced hundreds of fragrances and was

turning point came in 1882 when Paul Parquet,

now being run by the founder’s sons, Aimé

part-owner of Houbigant, used synthetic

and Gabriel.

coumarin in the now legendary fragrance Fougére

Jicky, a fragrance created in 1889 by Aimé

Royale. This was the first time that a successful

Guerlain and said to be named after his favorite

fragrance had a synthetic material as a major part

nephew, was like no other at the time. Instead

of its composition. Houbigant went on to create

of using the recognizable floral notes worn in

Le Parfum Idéal for the 1900 World Fair and

polite society of the day, it combined a fresh

Quelques Fleurs in 1912, which was the first

eau de cologne top note with lavender and

floral bouquet perfume and created by Parquet’s

vanillin, which developed into an animalic base

protégé Robert Bieniame.

that used an outrageous amount of civet. It

Over the coming years, materials such as

was the first perfume that didn’t set out to

Phenethyl alcohol, ionones, Isoamyl salicylate,

replicate the scent of a flower but instead created

linalool, Methyl anthranilate, and nitro musks

a sexy, modern, and slightly risqué fragrance.

were all successfully synthesized. A variety of

Jicky was ahead of its time, as women of the era

chernicals were also isolated from essential oils.

were still considered to be shy, fragile creatures.

This heralded a point of no return for perfumery,

However, that was all about to change as the

with synthetics being used increasingly alongside

Suffragette Movement took hold in the late 19th

naturals to create original and previously

and early 20th centuries and women gradually

impossible fragrances.

gained voting rights. Couturier Paul Poiret freed women from their restrictive corsets and was the first fashion designer to create a range of

The House of Guerlain The House of Guerlain opened in 1828 on the

fragrances, including Parfums de Rosine, which

Rue de Rivoli, in Paris, and was founded by Pierre

was named after his daughter. a history of perfumery and fragrance icons

23

The () 205 and Coto ean It’s impossible nowadays to imagine the great change that took place in society

during the 1920s. Less than two decades earlier, women were trussed up in corsets and heavy gowns, but now the “bright young things” with their “gargonne” look were smoking, drinking, and running wild with rising hemlines and bobbed hair.

It is only fitting that Chanel No. 5, launched by Gabrielle “Coco” Chanel in 1921, should be the archetypal fragrance of the decade, with its modern overdose of aldehydes giving way to

heady rose and jasmine on a sensual musk and vanilla base. On first sniff, the aldehydic freshness sums up the minimalist aesthetic of Chanel’s designs, with their clean lines and simple

monochrome coloring. However, Chanel always believed that

good design started with luxury and this is reflected in the quality of rose and jasmine absolutes used in the fragrance. There

is much controversy surrounding both Chanel herself and the origins of the fragrance (which was created by perfumer Ernest

Beaux) because she was a master of marketing spin. The book The Secret of Chanel No. 5 by TilarJ.Mazzeo gives a great insight

into the history of both Coco Chanel herself and the fragrance. One thing we do know for sure is that, due to Chanel’s

influence, fragrance and fashion became irrevocably intertwined from this point on, with other fashion designers following suit and launching fragrances to reflect current trends.

|

VS ge ee Another fragrance by Ernest Beaux for Chanel, Cuir de Russie (1924),

was said to have been inspired by Coco Chanel’s affair with Grand Duke Dmitri Pavlovich of Russia. With notes of birch tar and tobacco,

the fragrance was heavily influenced by the 1919 Caron fragrance _

Tabac Blond, which was also representative of the era. Tabac Blond was a

fragrance for the androgynous women of the 1920s who smoked in public and wore pants (trousers) —it was not a perfume for the traditional, shy,

and retiring but for the modern young woman who wanted to shock. Another iconic fragrance of the era was Shalimar (1925) by Guerlain, a glorious oriental said to have been created by Jacques Guerlain tipping Ethyl vanillin into Jicky to see what would happen. Were it not for Shalimar, we would not have the likes of Calvin Klein’s Obsession or

Musc Ravaguer by Editions de Parfums Frédéric Malle. These perfumes are both descended from its root, which

_

combines a fresh citrus top note with a

vanillic/animalic base. In 1929, the excesses of the 1920s came to a dramatic halt, with the Wall Street Crash

cattsing many wealthy people to become

almost penniless overnight. It also marked the start of the Great Depression, which was to last

N°S

for the next ten years. In light of the economic

CHANEL

situation, it does make you wonder what was

PARIS

going through the mind of Jean Patou when he decided to go ahead with the launch of Joy in the same year, since this was described as “the costliest perfume in the world.”

PARFUM

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7

general, due to the Great Depression and the restrictions of the Second World War. Fashions became more feminine again, with designers such as Patou, Worth, and Lanvin continuing in popularity and influence, along with Chanel.

; ]

The 1930s and 1940s were a difficult time for perfumery and luxury goods in

While the general population suffered a great deal of poverty throughout the 1930s, the movies were a popular and escapist pastime, and both the fashions and the fragrances of the day reflected the glamour of Hollywood movie stars. Waistlines went back up to their natural position, hemlines dropped again, and the style became softer and more womanly.

In 1931, perfumer Jean Carles created the richly sensual oriental Tabu for Dana, which, according to legend, was

supposed to smell like something a prostitute would wear.

The vintage version of the fragrance is far removed from the drugstore version available today, and I was lucky enough to find a sample of the original online. It is a rich, heady brew based on an overdose of patchouli with sweet floral and powdery amber notes with a distinctly animalic

drydown (see page 62). Other fragrances of the 1930s were Je Reviens (Worth, 1932), Vol de Nuit (Guerlain, 1933), and Shocking (Schiaparelli, 1935).

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The Second World War put a halt to fragrance launches, as materials were difficult to obtain and the rations system meant that perfume was largely unavailable. However, perfumers do what they must and Edmond Roudnitska,

one of the most respected fragrance artists of the last century, didn’t let a few bombs put him off vhis stride. His fruity, peachy, plummy chypre Femme was

created for Rochas and encased in a curvaceous bottle with lace-clad packaging, which was said to be inspired by the voluptuous figure of Mae West whom Marcel Rochas had dressed. He said in a 1995 interview for National Geographic magazine: “Let me tell you, I created Femme in 1943 in Paris during the worst

days of the war in a building that had a rubbish dump on one side and a paint factory on the other.” The end of the war saw a growth in the chemical industry and, while luxuries were still in short supply, there was a strong desire to embrace the new. In 1947, Christian Dior launched his “New Look,” which featured lowered

hemlines, nipped-in waists, and lots more fabric in the skirts than women were used to, owing to wartime shortages. In the same year, his fragrance Miss Dior

by Paul Vacher was launched in a specially designed Baccarat-crystal bottle. In 1948, Nina Ricci launched one of the most historically important perfumes, LAir du Temps, which was created by master perfumer Francis Fabron. This fragrance is important, as it is dependent on a structure of well-composed top, middle, and base notes with the heart of the fragrance

being based on a combination of Benzyl salicylate and Eugenol with ylang

ylang and Isoeugenol, giving the impression of a carnation accord that remains present throughout the life of the fragrance. Fragrances such as Fidji (1966) and Anais Anais (1979) are inspired by this structure, and it is also a starting-

point for the oriental “mellis” accord (see page +7) used in fragrances such

as Opium (1977).

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establishins y Aoi The 1950s saw the invention of the teenager and the growth of youth culture, with Elvis Presley leading the way. The glamour of Hollywood was still in full force, with icons such as Marilyn Monroe and Doris Day as very opposite role models. On the one hand, you have the sexy siren, and on the other, the wholesome 1950s housewife in

a gingham apron, whom | imagine to have spritzed on some lily-of-the-valley in the form of Diorissimo (1956) before her husband returned home from work!

The fifties In 1953, Estée Lauder, who began in business by selling skincare preparations,

launched her first scent, which was to revolutionize the way women bought perfume. Perfume had always been considered a luxury that was saved for special occasions, which is a far cry from

today’s view. In an interview with renowned beauty journalistJo Fairley, Estée said: “I decided that I

wouldn't call it perffume—I would call it Youth Dew. A bath oil that doubled as a skin perfume would be acceptable to buy, because it was feminine—allAmerican, very girl-next-door—to take baths. So

a woman could buy herself bath oil without feeling guilty, without waiting for her wedding anniversary,

or giving hints to her husband.”

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Youth Dew is not a scent I’ve ever really worn but I have a very strong memory

of it from my days working in the lab at IFF (International Flavors and Fragrances).

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One of my jobs when 1 first started was to make up fine fragrance samples as give-aways for clients in plain % fl oz (15ml) bottles. We were sent the fragrance concentrates in aluminum canisters and I had to dilute them down in alcohol in liter

batches and leave them to sit in amber Winchester bottles before decanting into the give-away bottles. Youth Dew was one of those fragrances that got better with age

and infused the storage cupboard with its rich, spicy, amber scent, which, for me,

always has a slight Coca-Cola note.

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ek The sixties The swinging sixties saw lots of ultra-modern, space-age fashions and perfume te ye:

packaging. But, again, the fragrances in the bottles didn’t seem to capture the vibrancy and youth of the fashions of the time. The masculine fragrance market began to grow during this period, with more men starting to take an interest in personal grooming, and 1964 saw the launch of Brut by Fabergé—the iconic and much-maligned, mass-market fragrance for men. In 1966, Dior launched Eau

Sauvage, a fragrance for men that was the first to use the material Hedione to extend a traditional citrus cologne accord. It has influenced many modern perfumes and started the trend for fresher fragrances for both men and women. Toward the end of the decade, the hippie movement rejected materialistic values and shunned high-end fashion and fragrance. Eastern practices such as meditation became popular and, as a reaction against

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traditional values, young people wore simple perfume oils such as musk and patchouli. There was a trend toward more natural fragrances, which often bore no real

Mrase > resemblance to their imagined origin.

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The (9805 to (9905: bis bold. icoms I'm sure many of you will remember the fragrances of the 1980s in all their big, brash, glitzy glory. The 1980s were my teenage home and | feel that no matter how much you research an era, if you were not actually there, you’re really just relying on other people’s opinions, which can be unreliable! The eighties

Most of our links with fragrance are developed in our early years and connected to the experiences that we have growing up (see page 14). If you’re a younger reader, then

perhaps the fragrances of the 1990s may resonate more with you and sweep you back to a particular school friend, relative, or event. During the 1980s, as in any decade,

fragrance and fashion were a reflection of what was going on in the world. The 1980s saw big hair, big shoulders, and big spenders. Movies and TV shows revealed our obsession with power and money, with women being equally tough and ruthless in both boardrooms and relationships. Dallas and Dynasty have a lot to answer for! Women wanted to be taken seriously and so the fragrances they wore had to

compete with everyone around them for attention. While I was too young for the boardroom, | embraced the stilettos and huge shoulder pads, but found I couldn’t

get too close to the oversized perfumes of the era. My mum wore Opium and Coco by Chanel as her regular fragrances, which I loved, but then someone bought her a bottle of Giorgio by Giorgio Beverly Hills — (1981)—disaster! I can’t speak for its current incarnation,

but I found the original a loud, brash, fruity white floral. The yellow-and-white striped packaging fitted the fragrance perfectly and, along with the fragrance, gave the impression of a demanding but impeccably groomed Rodeo Drive woman

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trampling over the doorman as she flounced out with her expensive purchases. I found the whole package unappealing and definitely not aspirational! Everyone else must have had a different idea, though, as it was everywhere and rather sums

up the early 1980s for me. Of course, the ’80s were also the time of Body Shop if you were a teenager

growing up in the United Kindgom and, while all my friends wore White Musk (1981), I couldn’t understand what all the fuss was about. It wasn’t until I started to work in the fragrance industry that I understood why I didn’t “get” White Musk. IFF makes a synthetic musk called Galaxolide—it is the major component in the Body Shop fragrance-—and, as the molecule is quite large, many people (including some perfumers) who are anosmic can’t smell it. |am one of those people; in fact, there are quite a few musks that I cannot smell on their own, only within a fragrance

composition. | find it hugely frustrating and it has become a sort of obsession to grill my students in describing the different musks so that I have some points of reference. Interestingly, many people describe the same musk very differently, so I think a lot of it is down to perception. I have always been attracted to quite subversive, non-mainstream fragrances and when I first saw an advertisement for Poison in a glossy magazine, I couldn’t wait to

smell it. I can still remember the exact moment | did: it is burned on my olfactory memory. I was 15 and walking through a perfumery department when a sales girl leaped forward to spray some on my wrist. I was wearing a leather jacket and

some of the fragrance landed on the sleeve. The fragrance never left. The sweet sickly smell of overripe fruit mixed with the cloying, white floral tuberose buried itself deep into the leather and stalked me for the rest

of the week until I had to get rid of the jacket for fear of recurring migraines. This sounds a little dramatic perhaps, and it’s no wonder

that Poison has been toned down and tamed in the reformulation. No matter how much I avoid the fragrance, it is an icon, and icons should

not be tampered with!

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The nineties

My views on 1990s fragrances are skewed in a slightly different way from those of the

1980s, as it was the decade I started working in the fragrance industry, and fragrance marketing trends were a key part of my job. At the start of the ’90s, | worked in retail

on skincare and fragrance launches in stores such as London’s Harrods and Harvey Nichols where everything was still a bit big and brash. However, there was a

softening in fashion and a growing interest in spirituality, with designers such as Rifat Ozbek in 1990 sending models down the runway dressed in minimalist white with crystal pendants. There were two prevailing trends that stand out for me during that time, one of which was the minimalist, Zen-like, transparent, ozonic fragrances that gave an impression of water, air, and space. Fragrances such as Escape by Calvin Klein

(1991) and LEau d’Issey by Issey Miyake (1992) summed up this idea perfectly. They were the antithesis of excess with their simple minimalist packaging and scent of water-drenched fruits and flowers. Calone was a key

material used to give this ozonic but fruity watermelon accord. The second prevailing trend was the gourmand, with polarizing fragrances such as Angel (1992) by Thierry Mugler bringing memories of childhood, with chocolate, cotton candy (candyfloss), and fairground rides,

into fragrance. Mass-market fragrances were extremely popular, with Lynx for men and Impulse body sprays being the major way for teenagers to buy

into fragrance trends. It was, I guess, the start of disposable fragrance, where each year a new variant would be launched with a fragrance heavily influenced by a designer brand at a fraction of the price. CK One by Calvin Klein in 1994 capitalized on the grunge fashion trend with a fragrance influenced by Bylgari’s Eau Parfumée au Thé Vert but packaged in a unisex, flask-like bottle aimed at super-cool,

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celebrity SLend} versus avtigan aud wiche If fashion is a reflection of what people are feeling and seeing, then fragrance is no different. At the dawn of 2000 we were all thinking about the millennium, what it had in store for us, and how different it was going to be from the decades that had gone

before. Technology was, and still is, moving so fast, faster than we can imagine—and time seems to be speeding up with it.

This feeling is also reflected in the fragrance industry, with smaller companies being consumed by huge multinationals and fragrances being churned out in homogeneous units. Fragrance consultant Michael Edwards recorded 1,200 new launches globally

in 2011, compared with 372 in 2001 and just 76 in 1991. For me, this encapsulates the “quantity versus quality” situation that many fragrance houses now find themselves in.

Perfume houses have become more prolific and fragrance has turned into a consumer product for the masses, rather than a luxury for the few. The

concept of creating fragrance on this scale has meant a huge change. Fragrance is now sold in airports, where we have minutes to make our

choice while waiting for a flight, or from self service counters in department stores. In past

decades, fragrance was purchased from dedicated

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perfumeries and counters with knowledgeable staff—now a perfume has to sell itself in an instant. For this reason, the image and the

concept have become the most important aspect of a new fragrance launch, which, {or most mainstream

brands, is a high-risk exercise, as sales volume needs to be in the millions of units in order to make a profit. Companies cannot risk a flop, so the fragrance is tested extensively through focus groups, resulting in an inoffensive and generic product.

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In today’s celebrity-obsessed society, the fragrance brands use pop stars, actors, and reality-TV personalities, who are famous just for being famous, to ensure the success of a fragrance. For example, Justin Bieber, Brimey Spears, Kim Kardashian, and David Beckham all have successful fragrance lines. Lady Gaga’s

2012 fragrance Fame reportedly sold six million bottles during the first week of its launch. The fragrance campaign had her creativity stamped all over it but, in my opinion,

this black juice, which was marketed at her young followers, smells to me like a Body Shop shower gel that has leaked into a bag of sticky candy—this just goes to prove how personal the choice of fragrance is. Of course, there will always be a more discerning fragrance customer who is looking for something new and different, and who finds the “celebuscents”

unappealing. This plethora of generic fruity floral perfumes aimed at teens has created a growing interest in niche and indie fragrances, often created

in smaller quantities with a lower distribution level. They have a higher price point

and often contain better-quality and more expensive materials, and higher portions of naturals. Companies such as Editions de Parfum Frédéric Malle have gone as far as putting the perfumer’s name on the bottle and allowing the artist to become the celebrity

attached to the fragrance. With a higher budget and a niche audience, Malle gives the perfumer full creativity, acknowledging that not everyone will like every fragrance in the line. That is the point—they are unique and not necessarily commercial.

Niche fragrance has become the new luxury, over designer brands, and this means that many so-called niche lines have sprung up—but be discerning, as a high price and limited distribution don’t always guarantee a good fragrance. The other growing trend is really super-niche, small artisan brands that often focus on natural ingredients and purely organic fragrances, but there are some that also use synthetics and traditional perfumery methods. At present this is more prevalent in the United States, but it’s a trend that is also growing in Europe. Many

self-taught perfumers, driven by a customer who is not able to find what they want on the market, have sprung up, taking perfume out of the realms of a consumer

_ product and back into something that is more of an expression of themselves, their ideas, and their inspiration—creating fragrances that are artistic rather than generic.

From the point-of-view of creativity, the outlook for mainstream fragrance may seem gloomy, but I really feel that there is a

change in the air and today is a very exciting time for perfumery.

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Chapter 3

Fragrance Classification Classifying fragrances into families makes it easier to understand their composition and also helps the fragrance buyer work out

what they prefer. It is quite likely that if you are fond of a particular fragrance, then you will also like others in the same category.

Fragrances fit within particular families due to their unique combinations of ingredients. It may be fairly straightforward to work

out if a fragrance is a citrus or a single floral note, but some are a little more tricky without some technical knowledge. Whether you

are creating your own fragrances or just learning more about them to enrich your buying experience, it is worth smelling some of the

perfumes mentioned, as well as reading about them. You'll find that this deepens your understanding and will help you to recognize different scents more easily. By the end of this chapter on classifying fragrance, you should be able to distinguish your fruity florals from your orientals and your fougéres from your chypres!

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What awe Fragrance fanailies Many methods of fragrance classification have been used over the years, which are outlined on the following pages. As you

Start researching fragrance families, you'll notice that no one

organization uses exactly the same system and usually adapts to suit their own fragrance range. This can make the world of perfumery confusing for the beginner. 7

In addition, classic fragrances that have been reformulated may stray into a slightly different

oe “rRacRaNceCLASSIFICATION SYSTEMS oo

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sub-category from the original, so don’t take the

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classifications as current gospel. My overall

classification systems thates : .

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preference is for the Haarmann & Reimer chart,

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but feel free to create yout own interpretations by sampling the fragrances to decide if, in fact, they

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do fit into the suggested categories and why.

following will proveinformative:

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__ The genealogy chart published by iG the East. They can be ambery with notes of labdanum and vanilla; edible with notes of chocolate and foodie accords; or exotic and spicy with floral notes. Rich and sensual,

they’re often regarded as evening or winter fragrances. Oriental notes in perfumery include:

Vanilla Benzoin Labdanum Coumarin Civet

Tolu balsam Oakmoss Musks Spices

Woods

46

fragrance classification

There are two distinct types of classical

Gourmand oriental

oriental fragrance from which most modern

In the 1990s, perfume companies started

interpretations stem. The first is based on the

extending the vanilla in oriental fragrances

relationship between bergamot, vanillin (or

into the foodie territory by adding dessert-like

the much more potent Ethyl vanillin), coumarin,

confectionery notes, so creating the “gourmand”

and civet. Known as the “ambreine” accord,

sub-category. Notes of chocolate, caramel, and

you'll find a great example in the 1925 fragrance

cotton candy (candyfloss) in Thierry Mugler’s

Shalimar by Guerlain. Although based around

Angel, for example, conjured up images of

a small amount of rose at their heart, orientals

childhood innocence and paved the way for a

of this type are the least floral of any fragrance.

generation of toothachingly sweet fragrances.

Modern fragrances that owe more than a passing nod to Shalimar include Obsession by Calvin

Woody oriental

Klein and, more recently, Musc Ravageur by

Warm, opulent notes such as amber and

Editions de Parfums Frédéric Malle.

sandalwood or dry notes like cedar are added

The second starting-point for a fragrance with an oriental lineage is the “mellis” accord,

to accentuate the oriental accord, as is the case

with Féminité du Bois by Serge Lutens.

two notable examples of which are Opium by YSL and Youth Dew by Estée Lauder. The mellis

Floral oriental

accord is based on the relationship between

Floral notes are often added to a traditional

Benzyl salicylate and Eugenol, which gives the

oriental base composed of sweet powdery

impression of cloves or carnations (as seen

accords to create a hybrid known as floral

in the floral LAir du Temps), along with patchouli,

oriental or floriental. A good example of a

lily-of the-valley (in the form of Hydroxycitronellal),

classic floral oriental is LHeure Bleu by Guerlain.

and coumarin. Ambery and balsamic notes are

Florientals can be spicy, as in Oscar de la Renta;

included, too, along with some woods and

woody, as in Trésor by Lancéme; or fruity, as in

spices. This type of fragrance is usually classified

Poison by Christian Dior, with its rich, heady

as spicy oriental.

heliotrope note.

fragrance classification

47

“he chur fragrance fravily The chypre family is derived from materials traditionally found on the island of Cyprus (Chypre, in French), which was a hub of the aromatics trade for many centuries. In 1917, Francois Coty, who was originally from Corsica, created a fragrance called Le Chypre

based on bergamot, oakmoss, labdanum, jasmine, and animalic musks. Although no longer produced today, there are echoes of Le Chypre in all fragrances in this category. Chypre fragrances are based on a specific group of materials—namely oakmoss,

labdanum, patchouli, and bergamot; fruity or floral notes are also often added. Although regarded as sophisticated, this category can be difficult to wear and is a classic fragrance family rather than a fashionable one. Unfortunately, increasing restrictions on perfume materials have meant that oakmoss (a major component in fragrances of this type) has been almost outlawed, as it can cause skin irritation in

some people. This is a great shame because future generations may never experience

the true scent of great chypres. (For more on ingredient restrictions, see pages 68-9.) One classic, allegedly restored to its former glory in 2013, is Mitsouko by Guerlain, which contains a sweet, fruity, and peach top note from the use of Gamma

undecalactone (also known as Aldehyde C14, which is confusing as it is a lactone rather than an aldehyde). I recently compared a vintage sample from the 1970s with a 2010 edition, and the difference was alarming. In the earlier version, the musks

were richer and warmer, while the depth created by the mossy notes was flat and lackluster in the more recent sample. I can only begin to imagine what the original

1919 version must have smelled like. Many of the more modern chypres use fruity notes such as peach, plum, and other exotic fruits to enhance their appeal and make them more commercially acceptable today. Floral notes, such as lily-ofthe-valley, rose, or jasmine, may also be added to the 48

fragrance classification

a

ore

chypre structure. Ysatis

Gienehy |is.

agood example, creating a more musky and

lesstraditional chypre accord. Aromatics Elixir . byClinique was.introduced iin the 1970s as a commercial response to the patchouli oil

often worn by those in the hippy movement. Patchouli, being a key component of the chypre accord, obviously comes into its own in this fragrance. Patchouli has, in fact, enjoyed

something of a resurgence of late and, while most can’t really be classified as chypres,

the combination of fruit and patchouli has produced its own little “fruitchouli”

-category—almost every brand has one! ~The classic chypre accord works well with

amber notes to create oriental chypres such

as Coco by Chanel and Ambre Sultan by Serge é

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Lutens, and, of course, can also lead into the

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more masculine leathery territory. Bescr ees

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Chypre notes in perfumery include: Bergamot

Vetiver

Oakmoss

Benzoin

Labdanum

Castoreum

Patchouli

fragrance classification

49

altiee fousere Fragrance franily Like chypre, the fougére fragrance family is named after a specific perfume: FougereRoyale (meaning royal fern). Created in 1882 by Paul Parquet, chief perfumer at Houbigant, Fougére Royale was originally sold as a toilet soap. It was a “fantasy”

accord in that it was made to imitate the aroma of an odor-less fern. These days we’re used to fragrances evoking imaginary flowers or other abstract themes, but at the time

this “fantasy” perfume was seen as ground-breaking. One of the key components of the fougére accord is coumarin—the main constituent

of tonka beans—which has a sweet powdery scent reminiscent of freshly mown hay. William Perkin first synthesized coumarin in 1868 and refined the process in 1877,

making coumarin available for industrial use. This moment is regarded as the dawn of modem perfumery: when synthetic materials were added to naturals, thereby opening up new possibilities for the creative perfumer. Fougére Royale was the first fragrance to utilize synthetic coumarin alongside notes of lavender and oakmoss, which are still

key components of the category today. Some floral notes, such as geranium, and fresh herbal or citrus top notes are also often added.

Although Fougére Royale was a runaway success, it was some time before many perfumers began to use synthetics in their fragrances. Adhering to the long-held tradition of using purely natural materials, and distrustful of chemicals, even those

perfumers who allowed themselves to be convinced would only work with materials known to occur naturally in essential oils or plant extracts. Similarly, many people today have again become distrustful of chemicals, preferring to use only naturally occurring materials in their products. There is no doubt, though, that the use of synthetics opened up creative possibilities for perfumers, enabling them to enter more

abstract and fantasy realms. Without the invention and use of synthetics we would 50

«fragrance classification

"

not have the perfumery industry as it exists today (see Chapter 4, Natural and Synthetic Fragrance Materials, pages 64-79). The modern fougéres

dominating the masculine fragrance market today use lots of zingy citrus in the top, along

with blasts of minty freshness or clean, watery, ozone notes. The overuse of Dihydromyrcenol in many masculine fougéres, which

almost knock you out with their power, has brought much disdain from perfumistas worldwide who

prefer a more sophisticated and

perfumery include

artistic approach to fragrance.

Coumarin

The most famous example of a

Lavender

typical fougére is the 1964 classic Brut by Fabergé, which was a huge leap forward for the

Oakmoss

t

Citrus

commercialization of men’s

fragrance. Others, such as Drakkar Noir and Cool Water by Davidoff, were so popular that they have

been copied countless times in everything from shower gel to toilet cleaner!

fragrance classification

51

Traiinins Your wofe eee perhunner Fragrance is a way of communicating without words. It’s a major factor in the development of new products and environments: hotels, shopping malls, and most public spaces all have a certain aroma that can either entice or repel—tt’s a big business! Fragrance can make us think of something, feel a certain way, or imagine a scenario,

and yet it’s invisible. It really is difficult to describe something with no physical

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or visual attributes. Although most people regard their nose as the main tool in identifying different scents, all the magic actually happens in your brain. Perfumery is essentially about scent perception, creation, and communication—while your nose is used as a tool, it’s absolutely nothing without your brain!

Most of us can perceive different aromas, but many people find it difficult to describe what they’re smelling in a way that others can understand. A perfumer must know his or her materials extremely well and be able to recognize,

o

describe, and blend them to create something else. On finding out what I do,

many people say, “You must have a really good nose” or “You must be really sensitive to smells.” If they are interested in learning about perfumery, they will

L

also ask: “How do I train my nose?”

I don’t think I have a better sense of smell than other people and am no more

©

sensitive to different scents. I am, however, a very good communicator and have

a good memory: this is the key, along with years of training. | have spent a very long time building up my olfactory memory so that I can recognize and remember

different scents. Like any tool) it can get rusty with lack of use, but you never really forget, and recollection improves with lots of practice.

As children, we’re taught how to match words to objects by looking at pictures and repeating the words. We learn this for colors and shapes, for textures, and, to 52.

fragrance classification

5

a degree, for the sounds we hear and the

emotions we feel. We are aware of our sense of smell from an early age—even before our vocabulary has developed—and it is closely

linked to our sense of taste. We know how to identify objects intuitively from their smell,

but we aren’t taught words to communicate them unless they relate to a familiar item such as an orange or a bacon sandwich!

As adults, many of us find it difficult to learn things by repetition, especially if we

don’t agree with what we are being taught.

As our sense of smell works on such a subjective level, it’s especially difficult to learn

about fragrance materials in this way, because our perception and inbuilt aroma memory are

very personal to each of us (see page 14). When you train your nose to recognize

specific smells and materials, you’re really training your brain. By creating links with memories, feelings, colors, and textures—and

practising regularly and methodically—you’ll eventually build up your olfactory memory to the standard of a professional perfumer or evaluator. Most beginners are daunted by the prospect of memorizing hundreds of perfumery materials, but it’s fairly straightforward once

you have a system in place. fragrance classification

S38)

Biisols of the perfunet

trade

Here are my tips on what you'll need to hand when exploring different fragrance materials: Smelling strips, mouilletes, or blotters

A notebook

There has been much discussion over the years

Some sort of notebook is essential for writing

about the optimum weight, width, and length of

down your observations. However, the best

the perfect smelling strip. Perfumer Edmond

option, especially if you’re serious about studying

Roudnitska recommended that they should be

perfumery, is to buy a set of ruled cards with A~Z

7in (18cm) in length but most today are around

dividers. You can then use one card per material

5—6in (13—15cm) and %4—Y2in (0.5—1cm) wide.

to record your notes and gradually build your

The best strips for sampling raw materials, | find,

knowledge library. It may seem a bit old-

are lighter in weight with a pointed end, which

fashioned to use paper and pen rather than a

makes dipping them into narrow vials easier. The

computer to record your findings, but when you

heavier and wider blotter cards that you find on

are dipping volatile fragrance materials, the last

department-store perfume counters are better for

thing you want is spillages over cell phones or

spraying fragrance from an atomizer. Always write

keyboards—type

the name of the material being evaluated on the

it up later if

widér end of your smelling strip before dipping it

you wish!

into the sample, so that it can be easily identified

later. Bending the dipped end up at a right angle also prevents the material touching any surface and is essential if you do not have a smelling strip holder. Weighted crocodile clips—often used as

table place markers at wedding receptions—can be found on eBay and make excellent holders for your smelling strips. fragrance classification

55

A well-ventilated, odor-free room

Dipropylene glycol (DPG), which is an odorless

The last place a perfumer should smell is in

solvent commonly used in perfumery. I like to

a lab or studio. For periods of olfactory study,

keep a set of materials diluted in ¥ fl oz (2ml)

choose a quiet place with no interruptions that

vials for evaluation purposes, as it’s best to store

is preferably odor-free. If you are surrounded by

the rest of your materials neat.

lots of fragrance materials, then you'll find it

more difficult to concentrate on the one you’re

Smelling fragrance materials

actually smelling. It goes without saying that you

There is a right and wrong way to smell. This

shouldn't wear any fragrance yourself when

may seem strange but, if you’ve done any kind

studying, as this will interfere with your powers

of fragrance study, you will know that your sense

of perception. Also, make sure you have clean

of smell burns out quite quickly. In fact, your

hands for holding the smelling strip, too!

olfactory sense will become saturated after smelling just a few fragrance materials with the

Fragrance materials

result that everything just smells the same and

When studying perfumery materials, it’s helpful

you'll be unable to pick out any nuances in

to evaluate them diluted rather than neat.

the fragrance. So, it’s important to take a few

T usually dilute at either 10%, or 1% for much

materials at a time and smell in a very deliberate

stronger materials. Materials canbe diluted

way in order to maximize the time you have

in denatured ethanol (perfumer’s alcohol) or

between breaks.

.

. Ensure both you and your environment are

completely odor-free.

. Lay out the fragrance materials to be sampled in order of weakest first, so that you don’t

Helpful tips: Don’t inhale deeply or for too long; it’s

better to smell gently in short bursts, taking notes in between.

saturate your olfactory receptors. . Write the name and dilution (plus, ideally,

Don’t throw away the strip, but come

the date and time of the session) of the

back to it at regularly timed intervals,

material on one end of the smelling strip.

recording any additional information

. Dip about Yin (0.5cm) of the strip into the

that you notice.

fragrance material and bend the end up by

about 7%—lin (2—3cm) so that you can avoid touching the dipped section. . Bring the smelling strip to your nose (taking

Do not cross anything out of your notes: l’ve seen many students do this, thinking that they were wrong the first

care not to touch your skin) and smell gently

time. The smell of all volatile materials

for a couple of seconds before moving the

will change over time, and different

strip away. Record your observations.

aspects will be apparent, even if it’s just

. Sniff gently and move the strip away again,

recording further observations.

a weakening of the scent. It is very important to know how a material develops over time.

fragrance classification

5/

Learnins iP describe Fragrance Rather than worry too much about complicated perfumery terms, start building associations with fragrances that are familiar to you. Simply ask yourself the question: “Does the fragrance remind me of something | already know?” For example, most people understand the terms citrus, flowery, rose, fruity, leathery, tar, and vanilla.

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When “training your nose,” write down detailed notes on

everything you smell and how you perceive it personally. Always trust your own nose rather than worrying about “getting it right” because we all have different fragrance memories and associations

(see page 14). These associations also vary across different cultures and depend on the aromas that surrounded us as children. For example, when smelling ylang ylang blind, many of my students in the United Kingdom describe it as being medicinal—“like a

hospital.” I ascribe this to the Methyl salicylate that is naturally present in ylang ylang and also used as a wintergreen note in Germolene (a pink antiseptic cream many of us were brought up with in the UR). Other students describe ylang ylang as

reminiscent of summer holidays and suntan lotion—and both groups are correct in their observations! a

fragrance classification

59

If you’re not used to smelling infsuch a conscious (or purposeful) way, then you may find

it difficult at first to think of “descriptors” or associations for what you're smelling. Try not to look up a material’s description until you’ve exhausted your own imagination to begin with, as reading another person’s observations is nor. always helpful initially when building your own connections. Also, don’t limit yourself to

smell-related words. Think on different levels. Consider whether the fragrance recalls a color, texture, or weight? Does it make you think of a

sound, a season, or a mood? If you struggle with what it “is,” then perhaps tryto establish what it “isn’t” and go through a process of elimination with “yes” or “no” answers.

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What awe toy, wniddle é snd Lage woleyS People who are interested in fragrance will already be familiar with the terms top, - ate . mid, and base notes, which are used throughout the perfumery industry to describe

the different notes and structure of a fragrance composition. The terms top, mid, and base refer to the

Top notes

volatility of the materials used in a fragrance and

The top notes of a fragrance are those you first

are a way of describing their rate of evaporation;

notice when you spray on a perfume, and are

the notes are usually illustrated by means of a

traditionally materials with the most volatility.

pyramid diagram. This can be a bit misleading,

Materials that are classified as top notes are

however, because it gives the impression that

usually bergamot, lemon and other citrus oils,

each material lifts off in sequence from top

lavender, and neroli, as well as some of the spice

through to base in a systematic way when this is

notes such as coriander and cardamom.

actually not the case. The use of the fragrance pyramid is a useful marketing tool, but is not

Middle notes

particularly helpful for perfumery students and

These can still be smelled after several hours and are regarded as the heart of the fragrance, which

can cause confusion.

In reality, you will be able to smell top, mid,

is apparent after the more volatile top notes have

and base notes at the start of the fragrance, then

disappeared. They include most of the florals,

more mid and base, and then, finally, the base or

such as rose, geranium, ylang ylang, and jasmine.

drydown of the scent. The drydown is when the base notes become apparent. This is notably true

Base notes

of classic fragrances, especially those created by

These are the materials smelled in the drydown

French perfumer Jean Carles (1892-1966) who based his compositions and teaching methods

of the fragrance. They are the least volatile and will linger when everything else has disappeared.

on this system (see page 84).

They tend to be the heavier resins, balsams, and

62

fragrance classification

woods such as benzoin, vanilla, and sandalwood,

strength of the material in a fragrance formula.

which also help to fix the fragrance on the skin.

Sandalwood is good for explaining this point, as it is very long-lasting, but has a fairly low initial

Perfume notes—being flexible

impact. On the other hand, Cis-3-hexenol, which

When categorizing fragrance materials as either

is very green and reminiscent of freshly cut grass,

top, mid, or base notes, we need to be flexible

has a very high impact but is quite fleeting—only

because of the variations in natural materials. So,

lasting for 30 minutes on a smelling strip. When

use the categories as a loose guide rather than

studying fragrance materials, analyze both their

follow them rigidly. The way fragrance materials

impact and their longevity on a smelling strip,

behave in a composition also differs slightly from

and then begin to create your own chart. This will

how they behave when alone. Materials interact

help you work out how much of a particular

with each other, and some top notes will be

material to use ina

slowed down and some base notes may be lifted

fragrance formula.

vy,

up more than they would if used in isolation. Nowadays, the structure of commercial perfumes tends to be more linear, often with huge overdoses of very high-impact materials, and so the notes you perceive first are not necessarily the top notes. This makes the idea of a fragrance

pyratnid slightly redundant and we need to look at alternative ways of illustrating the composition. Why do some fragrances last longer than others?

When learning about the different fragrance materials, you'll need to take into account the idea of odor perception. For example, how much

impact does a fragrance material have and how long does it last? This will help you determine the

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Frasyance

wthett U erid

When we examine the components of a fragrance, we’re really looking

at the perfume concentrate, that is the aromatic part of a fragrance before it’s either added to a product or diluted with perfumer’s alcohol or a base oil. Unless a fragrance has been created by a company that specializes in all-natural fragrances, the main part of a perfume concentrate will usually be made from aromachemicals. There will be

some natural materials, in the form of distilled or expressed essential oils or absolutes, but most of the concentrate will be made from

chemicals, either isolated from a natural source or produced in a lab. This can surprise people who think their favorite perfumes are created purely from plants, flowers, and fruits. The natural versus synthetic material debate in fragrance and cosmetics is a hot topic, which is too involved for this book, but I hope to give you a better understanding of what goes into a fragrance and why. I believe there’s a place for both naturals and synthetics in perfumery, but you'll find it easier to make

your own choices if you know more ‘about the materials used.

OR ON L OE ELSONMEI

Vatural fragrance maceriols Natural materials are considered to be those that are produced by a physical rather than chemical means of separation. The part of the plant used depends on the material, with some plants producing more than one type of aromatic substance. For example, the bitter orange tree produces neroli from the flowers, bitter orange oil from the fruit peel, and petitgrain from the distillation of the twigs and leaves. Natural fragrance materials can be extracted from

reaction on the skin and you should, therefore,

their various plant sources using various methods.

only use Furanocoumarin-free bergamot oil.

Expression

Steam or water distillation

The majority of citrus oils are produced by

This is used to extract the volatile components

expression because distillation creates an inferior

from the plant. Although we consider this to be

product; the exception is lime, which is usually

natural, it’s important to point out that processing

extracted by steam distillation. Citrus fruit peel

the material in this way changes it from how it

contains tiny oil sacs—you can see these when

naturally occurs in the plant. Some materials,

you peel an orange, for example. Citrus oil is

such as cloves, are extracted via water distillation;

expressed mechanically by rupturing these sacs

it is a slow process and any plant material that’s

and separating the oil from any juice. Citrus oils

too delicate to undergo the prolonged heating

have a fairly short shelf life and are prone to

involved is steam distilled instead.

oxidation, so should be stored away from heat

The process of steam distillation is very simple

and light in tightly closed containers, filled to

and has been done for centuries. The water is

the top. Citrus oils are often rectified to create a

heated in the still with the plant material held

more stable material for use in fragrance, as well

above (but not in contact with) the water. As the

as to remove problematic components like the

water heats up and tums to steam, it carries

bergaptene (a furanocoumarin) in bergamot oil.

the volatile components through a pipe into a

Bergaptene is known to cause a phototoxic

condenser where it is cooled and tured back

66

natural and synthetic fragrance materials

into a liquid. The water and essential oil from this

essential oil and a solvent-extracted absolute of

liquid are then separated, and the resulting water

the same plant. Both will have a slightly different

is often sold as a hydrolat or flower water.

aroma due to the components in the extract.

Another method of collecting the volatile parts

During the extraction process the material is

of a plant with steam is fractional distillation. At

gently washed with solvent until as much of the

various points in the distillation process, different

essential oil as possible has been dissolved. Once

volatiles or portions of the distillate are collected.

the material is exhausted, the solvent containing

For example, there are several grades of ylang

the dissolved essential oil is distilled. This process

ylang. Ylang complete is produced using the full

removes the solvent, leaving behind the extracted

distillate; ylang extra is the first collection of oil

matter, which is known as a concrete. The

over several hours and is the highest quality; and

concrete is processed further to produce an

ylang grades 1 to 3 are collected at increasing

absolute for use in perfumery. Resinous extracts

intervals with 3 being the final and poorest grade.

produced in this way are known as resinoids.

Natural isolates can also be produced by fractional distillation. Because this can prove too

Supercritical CO? extraction

costly, they are usually re-created synthetically

Extraction by carbon dioxide is becoming more

instead. Naturally occurring materials, such as

popular because it has certain advantages over

Eugenol, Geraniol, and Citronellol, can be

solvent extraction. Carbon dioxide is preferable as

isolated for use in perfumes separated from their

a solvent due to its low toxicity and flammability.

original source. Another method for isolating the

It takes place at a low temperature, making it more

chemical components in naturals is by freezing to

suitable than steam distillation for many materials.

produce crystals, as is the case with menthol.

Tinctures

Solvent extraction Materials that cannot be economically distilled are extracted using volatile solvents. This can

Some materials such as ambergris are ground to a powder and then macerated for a period of time in alcohol to create a tincture. Tincturing is

remove different parts of the plant, which are lost

another way of extracting plant material but does

in the distillation process, and so you may see an

not produce a very strong aroma in most cases. natural and synthetic fragrance materials

6/7

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The limitations of natural materials

Aeriel parts e.g. lavender, rosemary

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e.g. cinnamon Berries ofseen’ e.g. coriander, juniper *rlowers

If you wish to make purelynatural fragrances, you

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should be aware of a few limitati& ‘Although

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but also quite dense and Hen If you want «

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Fragrance materials: a note on safety Remember that legal safety regulations

for the use of fragrance materials are there for a reason, so make sure you're familiar with them before you start

‘

_ creating your own fragrances. | can’t Wood

stress enough how important it is not to

sandalwood

use unsafe materials or to use available

e.g. cedarwood,

|

materials in an unsafe way. | suggest you

become familiar with the regulations listec on the IFRA website and do you

‘

research so you have a balanced of the safety of different frag

materials. In addition, always d patch test for new fragrances, as —

(: allergic reactions can occur with — any material, whether it’s cade considered an allergen or not.

2

_Tesins,>,balsams, and ood. Lightsabe c

decided on a maximum amount allowed in a

don’t last well on the skin and disappear —

finished fragrance. This has meant that many

minutes. You'll also belimited in the types of

ae :

classic fragrances have had to be reformulated,

can crea You won'tt,for example,

while certain fragrance families such as the

- ablle to cet dete, watery florals, ete ~ is

chypre will change beyond recognition due

or aldehydie-tragrrances along + of.Chan j

to the use of synthetic replacements. For this

Fougére, chypre,

reason, if you wish to wear an authentic, old-

5 are, however, easy”

O0 create, “abehelt "¢oe as “you are crea ir gthem fo ‘you

school chypre with a true oakmoss character and

__lots of jasmine, you’ll soon have no choice but

wn to

make it yourself! In reality, though, legal restrictions don’t often concern large fragrance

houses, as many do not carry expensive natural materials like jasmine absolute as part of their working palette due to budgetary constraints. ee

Fluctuations in supply and variations in the

a beg "producing i

Sie fragrancefor

sale, you must comely with

cost and quality of natural materials can occur due to changes in climate and soil conditions.

}

your country’s regulations,

Crop failures may result in sudden price increases, which can cause problems for commercial-scale

: | whereas currently you can make , production. Although this doesn’t really concern your own choices for personal use. small artisan perfumers, it’s something to be - Many natural materials, including —_—_ aware of, along with the variations in aroma that in * _ : if. Tose, calmness: jasmine, and citrus can occur. Many artisan perfumers make a eo ols;atealso restricted in Bese eal feature of this by creating limited editions and ;

a —§

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small runs of a fragrance in the same way that a commercial. fragrances because they. can cause skin imitation in some wine producer does with a vintage wine. Once ae i a batch is sold, it can never be guaranteed to be people. Rather than put warnings on

‘packaging, regulatory officials have

4

the same again—ir’s a truly individual creation! natural and synthetic fragrance materials

69

nthediC Fragrance nndterials As well as materials that aren’t found in nature, synthetic aromachemicals also include reproductions or reconstructions of naturally occurring materials. Often a naturally occurring material such as pinene is used as a starting-point for the synthesis of an

aromachemical, as well as fractions of crude oil. The production of aromachemicals is extremely complex and beyond the scope of this book, but it’s true to say that it has revolutionized the perfumery industry and

produced a huge variety of materials that enable the perfumer to create effects that are not found in the natural world. Obviously, there are risks in this because we don’t

know the long-term effects of these chemicals on the human body or the environment, as we do in the case of materials that have been used for a long time historically. However, they can at least be produced under controlled circumstances so the

perfume industry is then able to create standardized, non-varying materials. Not only does this lead to a consistent reproduction of your favorite fragrance, but it also

ensures that the materials do not contain known allergens, which may be present in naturals. Contrary to popular belief, synthetic materials are closely regulated, with 70

natural and synthetic fragrance materials

Using synthetics at home If you’re happy to explore synthetic

materials, then experiment by adding small amounts to your natural accords and you'll notice an enormous difference in your results. One point |like to make to my

students when explaining the addition

of synthetic materials to a natural accord is that they introduce an

many being restricted and banned over the years due to concerns

over their safety, impact on the environment, and biodegradability, 4

;

:

Cost is not always a valid reason for the sole use of synthetics, as

many aromachemicals cost much more than some naturals. As well as single aromachemicals used in perfumery, there are also many materials known as specialty bases that are produced by ;

‘

fragrance houses to provide the perfumer with shortcuts. These bases may replace natural materials in a fragrance compound where

element of space. Natural fragrance

blends are often rich, complex, and dense. While this may be desirable for some types of fragrance, they often

lack lift and sparkle: simply adding

Hedione to a floral fragrance, or Iso E Superfoan oriental one, makes a huge

:

difference and creates space in

the formula—almost giving it room to

fave aid bree.

restrictions apply due to cost or safety. A perfumer may also create his

or her own base, which then acts as a building block in a variety of different fragrance compositions and avoids the need to re-create a note from scratch each time. Many of these bases or specialty chemicals are reserved solely for the use of the perfumers working for the house that created them and helps to prevent the fragrance being copied by rival companies. It’s also worth pointing out that there may be valid ethical reasons for using a synthetic material in a fragrance over its natural counterpart, especially in the case of animal-derived ingredients. Notes of civet, musk, castoreum, and ambergris are

extremely important in many types of fragrance structure. While these would have been taken from their natural source centuries ago, nowadays a synthetic reproduction

is generally used instead. natural and synthetic fragrance materials

71

Fey fragrance materials A complete list of all the materials used in perfumery is far too long to include here. For simplicity, |have broken the materials down into loose categories of the main notes used. Although | have concentrated on the widely available naturals, | have also included a few of the synthetics. Many of the materials could fall into more than one category, as all naturals have a variety of nuances, so, if you disagree with my classification, then please feel free to change it to suit your own preferences.

Aldehydic notes

Aldehydes are a group of materials

that are most famous for their use at overdosed levels in Chanel No. 5. They

have a powerful aroma and are perceived as waxy, fatty, soapy, and clean. On their own, they would be considered too harsh

and chemically, but in combination with floral notes of rose, jasmine, and

ylang ylang, they impart sparkle and radiance. C8 Octanol, C10 Decanal,

Cll Undecylenic, C12 MNA, and C12

Lauric feature in this group, as do Hydroxycitronellal, Citral, Citronellal,

and Benzaldehyde.

72

natural and synthetic fragrance materials

Citrus notes

composition less of a challenge. Dewfruit,

The citrus notes in their natural state are quite

which is a specialty base from the Swiss fragrance

volatile and prone to oxidation. Notes of lemon,

manufacturer Givaudan, gives a raspberry and

bergamot, orange, and mandarin are used in

lychee note and is used in a variety of commercial

perfumery to impart sharp, sour, and very

fine fragrances.

refreshing top notes to a fragrance. These notes are discussed in more detail later (see page 96).

Green notes Green notes add freshness and naturalness to

Minty notes

many types of fragrance, from floral to fruity and

Minty notes follow on from citrus notes as

chypre. Cis-3-hexenol is a very powerful material

refreshing and clean-smelling top notes used

that is reminiscent of freshly cut grass, and

extensively in functional perfumery like

galbanum is a natural material, which always

household cleaning products. In addition, notes

reminds me of uncooked green beans. Green

of peppermint, menthol, and eucalyptus give a

notes should be used sparingly because they

cooling effect to many masculine fine fragrances

can seem harsh if used in large quantities.

and shower gels. Herbal notes Fruity notes

Lavender, rosemary, and clary sage are used

With the exception of Osmanthus and blackcurrant

in both masculine fragrances and functional

bud &bsolute, the majority of fruity notes used in

products for their cooling and natural effect.

perfumery are created with synthetic materials.

Herbs add naturalness to a fragrance and are

Gamma undecalactone (C14) is used for a

usually the steam distillate of the aerial parts

peachy/apricot effect, along with other materials

of the plant (see page 68). Lavender is a key

such as Raspberry Ketone, Benzaldehyde (for

component of the fougére family, with each

cherry), and Allyl amyl glycolate (for a sour

variety and extraction giving a slightly

pineapple note). The large aromachemical

different effect. I particularly love lavender

manufacturers produce ready-made compounds,

absolute for its bright green color and warm,

which makes adding fruity notes to a fragrance

hay-like aroma.

natural and synthetic fragrance materials

73

Floral notes Floral notes make up the heart of most fragrance types. There are many different types of floral, each with their own characteristics, so I have split

them up here to give you a clearer overview:

Rose notes These can include everything from rose absolute and rose otto to geranium and even guaiacwood which, although smoky and woody, has definite rosy undertones. Phenethyl alcohol is used as a blender in fragrances to give a rose note, and the Firmenich base Dorinia is used

where a large amount of natural rose would be too costly or restricted. Apart from cost, one of

the main issues with using natural rose absolute in a commercial fragrance is that it typically contains 1-1.5% Methyl eugenol, a naturally occurring component that is restricted in the EU

Jasmine notes As well as jasmine absolute and

and other parts of the world. The maximum

jasmine sambac, synthetic bases are created with

amount of rose allowed in a leave-on skincare

Benzyl acetate and other jasmine-like chemicals

product is around 0.025%. Low Methyl-eugenol

such as Hedione, which is used in a huge range

rose is available, but cost and minimal-order

of fragrances to impart radiance and diffusion.

quantities are high, meaning it is out of the reach

Unfortunately, although used for centuries, like

of many fragrance producers. Laboratoire

rose oil, jasmine has been severely restricted in

Monique Rémy produce a molecular distillation

commercial fragrances, due to sensitization,

of rose for this very reason, which enables large

and it is only allowed currently in the EU ata

quantities to be used in the fragrance Portrait of

maximum of 0.7% in a finished fragrance for on-skin usage.

a Lady (Editions de Parfums Frédéric Malle). 74

natural and synthetic fragrance materials

A

LS

yy

Muguet notes An essential part of am

contain some synthetic materials. The

muguet ingredient, Hydroxycitronellal,

reliedae

for many ae is now res

isa Lilial, and Dupical, which are combination with other materials.

violet absolute is5 actly from the ic le smells very green, wet, and mulchy.T powdery violet notes actually comefr

group of materials called theiionones

Beta; and Methyl ionones—which ac cosmetic violet note to rosy florals,

a

being a great link to woody not of a fragrance. Other notes that category are the orris notes, wh natural and excruciatingly expe r

concrete), or come from a synthetic such as

Orivone or Orriniff by IFF (International Flavors and Fragrances).

:

Narcotic floral notes I have included naturals such as ylang ylang, tuberose, and orange blossom in this category due to their heavy, sweet, almost narcotic effect in a fragrance. With the exception of perhaps ylang ylang, which is available in a variety of grades, these materials offer a low yield and so are quite costly. In

commercial fragrances, synthetic materials such

as Aurantiol and Methyl anthranilate are used instead. White florals contain traces of the chemical indole (also present in jasmine), which can be added to a fragrance in trace amounts for

effect. Alone, indole has an odor of decay and can be extremely unpleasant, as is the case with

many animalic notes.

Animalic notes

Zealand. It has an aromatic, almost marine-like

Indole brings us nicely on to the other animalic

note that I find quite soft, musty, and musky.

and musk notes used in fragrance. For the sake

The synthetic versions are most often used. | find

of space, I have also included the leather notes

it works very well with sandalwood for a soft,

in this category, as there is a fair amount of

skin-like accord.

crossover. The animalic notes are generally quite strong and often fecal. The following are the main

Natural musk Use of this is now completely

animalic notes used:

outlawed due to the near-extinction of the musk deer from which it was historically

Civet This is the main material used and is

collected. The musk notes we experience today

extracted from the anal gland of the civet cat.

are all synthetic and, in fact, are perceived as

Strange and unpleasant as it may seem, civet

much cleaner than you would expect considering

when used in trace amounts gives a sweet, exotic,

their origin. This is due to their extensive use in

and sexy edge to a fragrance and is reminiscent

laundry detergent fragrances, hence the term

of the indoles present in white flowers.

“laundry musk.” Nitro musks such as Galaxolide by IFF are used due to their substantive and

Castoreum This comes from the glands of the

long-lasting effects through a wash at high

beaver or a synthetic reproduction, which is

temperatures. They are not very soluble in water,

slightly less alarming. It can have quite urine-like

which means that they will stay on the fabric

notes, which at low levels give a honey aroma.

through the wash cycle. Of course, this means

Castoreum is used in chypre and leather

that many are not biodegradeable or very

fragrances, along with woods, mosses, and

environmentally friendly. Musk notes are used

labdanum or birch tar and Isobutyl quinoline

in most fragrances for their fixative properties

(leather notes).

and for the soft, comforting effect they give to a fragrance. Many people, including perfumers,

a

Ambergris This comes from the sperm whale and

are anosmic to different musks and so they

is the most gentle of the animalic notes. It’s often

are often used in combination with each other

found washed up on beaches, mainly in New

(see page 15). natural and synthetic fragrance materials

7/7

Balsamic and vanilla notes Balsamic is a perfumery term that often confuses

Hay notes

Another sweet, powdery note is coumarin, which

students, as it’s not really in daily use. It refers

is a key component of the fougére family and

to the sweet, warm, and resinous notes of Peru

works well with both vanilla and lavender.

balsam, benzoin, and oppoponax, which also

Coumarin is a white, crystalline powder that

have slightly vanilla and caramel undertones.

occurs naturally in tonka beans. It is created

Vanilla is fairly self-explanatory, but it’s worth

synthetically for perfumery use, but tonka

pointing out that vanilla absolute does not smell

absolute has a similar smell, which is that of

anything like the vanilla notes used in food or

powdery, newly mown hay.

commercial bath products, which are more

“ice-cream-like” and foodie. These are usually

Woody notes

created with Ethyl vanillin and vanillin, rather

A key part of oriental fragrances, the woody notes

than the more costly vanilla absolute, which is actually

~@ _ less sweet and more woody.

can be soft and creamy, such as sandalwood, or cool and earthy, such as patchouli and vetiver.

Although patchouli is a distillation of the leaves

Vanilla absolute is quite

rather than a wood, it does have some woody

difficult to work with

aspects and reminds me of walking through an

in products due to its

English wood with damp mulchy leaves on the

insolubility in alcohol.

ground. Vetiver is very rooty and also has rich

It can also cause extreme discoloration in some products, turning lotions

and soaps a dark brown to black.

caramel undertones, as well as an earthy woodiness. Cedarwood Virginian, with its

sharp, dry, pencil-shavings aroma, is useful in perfumery and is featured along with violet notes in Serge Lutens’ Féminité du Bois. Iso E Super

is a lovely, transparent, woody ingredient to add to a fragrance as a blender and is even used alone as a fragrance in its own right in Escentric Molecules’ Molecule 01. 78

natural and synthetic fragrance materials

Mossy and marine notes

Spicy notes

Although very different I have included the

Spice notes play a huge part in perfumery as

marine and mossy notes together as they all have

accessory notes for floral and oriental fragrances.

a slightly yeasty, fungal, and pungent aroma.

Spices can be overpowering, and notes such as

Mossy notes are important in both the chypre

cumin can take on a slightly sweaty odor that

and fougére fragrance families and, although

may smell unpleasant on skin. There are warm

oakmoss is being restricted, there are synthetic

spices

variants that will give similar effects. Seaweed

aicarnation effect to florals, and cooler, dry-spice

such as clove (or Eugenol), which can give

absolute can be tised for a natural marine note

notes like black pepper. Shinus molle, or pink

but the most widely used in fine fragrance is

pepper, has been used extensively over the last

Calone, which was prolific in perfumes of the

few years in floral fragrances. Cinnamon, nutmeg,

1990s such as L Eau d'Issey and Cool Water.

and coriander can also be used, as can other

Calone has a sweet, melon, ozone-like fragrance,

foodie spices like cardamom in the form of

which many people find extremely cloying. This

distilled essential oils.

is often used with other fruity, melon, and marine notes such as Melonal and Helional.

79

Chapter 5

Creat Ve terhuner

Techniques

1s

Much has been written about the perfumer’s palette and how modern fragrances may contain upward of 200 materials, but this isn’t

necessary for the home perfumer. The number of materials used will really depend on what you're aiming to achieve with your fragrance. When starting out in perfume creation, though, simplicity is best: the more you restrict your palette of materials, the easier it will be

to discover what works and which materials are responsible for the effects you're getting. A noted perfumer who famously restricts his palette is Jean-Claude Ellena—his fragrances are beautiful,

transparent watercolors, with fans worldwide. Being a minimalist at heart, ’'m also a huge fan of simplicity, and, although I love some of

the classic complex fragrances, | prefer to use as few materials as possible in my own work, with a hefty dose of naturals in the heart.

Leavin 8 a

maderials

So far we have learned how to smell materials and build a fragrance vocabulary, a as well as about the wealth of different materials used in perfumery. In this section,

|will try to equip you with a few tools that should, hopefully, make the steep learning curve in your olfactory study a little easier. Perfumer Jean Carles, who is well known for the

creation of classic fragrances such as Ma Griffe and

LAir du Temps, became frustrated at the lack of structure in teaching new perfumers and so created the first real training system for the industry. His method—known as “The

Jean Carles Method”—is still taught today and forms the foundation of _ study for industry-trained perfumers :

Carles’ method was published ina series of articles in Perfumer and |

Flavorist Magazine in the 1960s.

_

Unfortunately, the articles ended

abruptly on his death, but they are —

still available to view online.

As a first stage in training novice perfumers, the method provides ar system for effectively studying the raw fragrance materials. The following is a simplified version of his system. 82

creative perfumery techniques.

4

Stage 1 Firstly, we need to break the materials

Stage 3 The next stage of the Carles Method

down into their different odor categories. As

places several materials from the same category—

when classifying different fragrances (see Chapter

e.g. the citrus notes—alongside each other for

3, Fragrance Classifications, pages 36-63), there

study. Of course, you know at this stage that they

are many methods for this, but, being singular

are citrus, and why, but can you tell your lime

materials, it’s slightly easier than classifying

from your lemon or your mandarin from your

fragrances made from different accords. The chart

orange? Evaluate each fragrance side by side and

used originally by Jean Carles separates naturals

take notes, documenting their similarities and

and synthetics for simplicity, and splits them into

differences—what will help you tell them apart?

several lessons. The lessons begin by comparing

Once you're sure, ask your friend to test you

a material from each category side by side and

again and continue until you get all of the

noting their differences in order to gain a true

answers right.

understanding of why each particular material

sits in its category. In other words, comparing a

Stage 4 You’re now ready to move on and repeat

material from the citrus, herb, woody, spicy, and

both lesson types with the synthetic materials. At

floral categories will help you fully understand their

this point, you may begin to see why perfumers

differences. This may seem obvious for natural

study their craft for so many years! Indeed,

materials, but is very useful when analyzing

a perfumery trainee has to undergo extensive

synthetics that may be unfamiliar to you.

training like this before being taught the main

accords in perfumery. Stage 2 Once you understand each odor

category, set yourself a test. Label some smelling strips with numbers and get a friend to dip each strip into a material and record the

‘number on the strip used. Try to identify the material and the odor category it belongs in. Do this until you guess correctly every time. creative perfumery techniques

83

Buil divs fragrance secords One of the elements that most people struggle to master when learning about perfumery |is which

materials work well with each other and how much of one material is the correct amount to blend with another. The more materials you put into the equation, the more complicated it can become! Those with an aromatherapy background, who

three citrus notes together: they’re all citrus and

have made lots of trial-and-error mixtures over

they’re all top notes. Then, you need to consider

the years, will know this can be very frustrating,

their impact (see pages 62-3). Materials with a

especially when you have to throw away

higher impact should be used more sparingly in

expensive blends that don’t work. Of course,

accords with materials of a lower impact (unless

being able to recognize your materials is key, but

you're going for a specific effect). For instance, try

that doesn’t automatically mean you know how

placing one drop of mandarin oil on a smelling

they will work together. When we talk about

strip and one drop of lime on another—which

accords in perfumery, we actually mean a

one has the most impact?

combination of two or more materials, which,

when blended together according to a specific

How to create a simple accord

ratio, no longer smell of the individual

In my classes, I teach both the Jean Carles

components, but have a completely new scent.

Method (see page 82), which I recommend as a

They become more than the sum of their parts.

tool for self-study, and a couple of other slightly

For the blending to be successful, there should

quicker methods for creating simple fragrances.

be a logical link between the materials, and the

The Jean Carles Method is invaluable for the

ratio must be correct so that no single material

novice perfumer, as it is a very structured and

dominates the fragrance. The easiest way to start

systematic way of studying accords. However, it is

creating accords is with materials that fall into the

time-consuming, so be prepared for many hours

same odor category and/or have the same level of

of experimentation with this method. Here is an

volatility. For example, you might decide to blend

exercise that I use with students to introduce the

84

creative perfumery techniques

concept of creating accords (which is basedon _the Jean Carles Method). In this example, we wish to create a simple base accord, with

—_labdanum as the dominant note. If you're not sure which note you would like to dominate the fragrance, extend the exercise to ten beakers,

|Step 1 Take five small beakers andlabel them 1-5. Step 2 Add 9 parts labdanum and BEAKER 1 part frankincense to the first beaker —Labdanum Repeat for the other beakers using Franincense

4

2

3

4

5

4 =4

8 2

7 3

6 4

5 5

4

OO &

3 7 3

5 5 5

_ the quantities in the table below. Bee ie

Sei talede

BEAKER,

_Suits our purposes and, in order to

Labdanum —

'avoid wasting the other materials,

Frankincense

we can do the following calculation:

=O = -«

ey)

4

PARTS 948+74+6+5=35 -142434+445=15

4,4. cranes we can mixal ofthe beakers together because 25:15 is a 7-3 ratio. i we required a ratio of 6:4 instead, we could add 1more part oflabdanum and

9 pasts offrankincense, as 36:24 is the same as 6:4. e

Step 4 We then label the mix LF 7:3 (which stands for labdanum/ - frankincense 7:3) and repeat the

BEAKER LF73 Benzoin

1 9 1

2 g 2

3 7 3

4 6 4

5 5 5

exercise with a third material—in

This method can be used with all fragrance materials as part of your continued study

this case, benzoin.

and really isthebest way tolearn how different materials interact withone another.

~