Monday, June 23

Purple Patchouli and distorted smells

When I was student at ISIPCA we had a big blue barrel to collect our trials. It has a romantic name in French "mille fleurs". Everybody worked on his own formulas and this barrel was in the end a collection of everything. But during my whole period in Versailles, the barrel smelled always the same as did the school from outside (the famous ISIPCA scent). I noticed a similar case, like an olfactive fingerprint of the place, at Givaudan Argenteuil where between the personal care building and the perfumery school building … it seems to be a particular fruity-ionone smell, unmistakable.
That kind of millefleurs bad feeling I have with Purple Patchouli (Tom Ford). It smells for me like ISIPCA barrel magnified into a perfume. A total confusion like a trial did by a child using room essences and playing the perfumer.
I have a similar reaction with Tocade (Rochas). For Luca Turin it's a masterpiece. For me it's one of the worst perfumes, horrible, syrupy, distorted and bad from every angle. In the same family but acceptable in small doses is Fleur du Male (Gaultier).
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Ouratea guianensis

This weekend I followed the precious information given by Givaudan scientist Roman Kaiser to recreate a floral smell he discovered in the Amazonian forest in 1996. Ouratea guianensis is a bright yellow flowering tree (Ochnaceae). The buds open at sunrise and close at noon and in this short time they emit a delicious fragrance described as a tea rose with osmanthus accents. The scent was analyzed at Givaudan and shows some interesting features. The true soul of the flower is represented by an accord that is only 8% of the volatiles while 80% of the floral scent has a weak smell. This feature is similar with some contemporary perfumes were only 10% is the fragrant soul (the tonality) while the rest is for diffusion and rounding off the accord. In my reconstitution I worked only on the 8% part - a beautiful accord with 3 bones - geraniol, ionone beta and decalactone gamma - in a precise proportion plus other molecules up to 20.
Now it's time to work around this note and wrap it with new materials to transform it in a perfume. To sophisticate it. I find this expression of old French perfumery very amusing. It meant 2 things, the first was the adulteration of a natural oil (as many producers did in Grasse before GC was available) and also to give "the French touch". It meant transforming a perfume into a "sophisticated" perfume, with small little nuances and shades, with the typical "je ne sais quoi" that used to be so Parisian. The sophistication of my "ouratea guianensis" accord would simply mean in modern terms - complicating it with the hope to achieve another modern concept - simplexity.
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Sunday, June 22

Jacques Polge interview

In this old documentary about Chanel from 1986, maestro Jacques Polge explains Chanel perfumes and his new creation, Coco. A true artist that doesn't speak very much in public, Polge is the guardian sphinx of Chanel treasures. As the previous (and new) interview we see that despite he lives in the golden cage of Chanel and not in the first line (like Ellena) Jacques Polge has a lot of things to say about his art. Not giving so many interviews could also be seen as a way to keep the secret and misterious image of Chanel. It seems that in fragrance and fashion everybody knows how the legend works but still .... no one did it better.

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Magnolia grandiflora

Finally it's hot in Paris and it smells like summer. Big magnolias are in bloom and their fragrance intoxicates the air around. Magnolia tree seems like a plant from a different planet: huge white flowers, thick white petals, huge reproduction organs and a fragrance deceptively delicate.
The floral bud, just before opening smells like pure lemon sorbet. It's fresh but opulent and strong. It's 100 % south Italy with their delicious "crema di limoncello", a contrast between icy freshness and milky drydown in the hot summer with verbena touches.
The opened flower is more sophisticate. It starts lemony but then it smells like rose alcohols, an excess of geraniol and nerol built over an opulent base - airy jasmine (hedione), pungent lily of the valley and violet (ionone) plus a sharp note of orange flower. It is the opulent effect of flower mixtures in the opposite direction of tuberose.
The mature flower when it has reached its final moments, has no more the lemony freshness but instead is sparkling like a champagne mixed with rose petals. A fruity note, sweet and sour like the brown spots on overippe fruits, is present in the rosy bouquet. It smells like the butyrates and the first notes of Yvresse (YSL).
From the lemon sorbet the flower steps into decay with sparkling champagne like a mistress from other times.
The flower is still not so much explored by the fragrance world and could be an alternative to the opulent white flower bouquet.
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Saturday, June 21

Chanel Eau Première

A video from CNN about the manufacturing process of No5 and some interesting interviews with the perfumers. Still it is a pity that phrases like "unchanged formula" and the accent put on 1921 and Ernest Beaux are still around at CNN when it's no mistery (in the industry but also for many fragrance lovers) that the consumer does not buy the original 1921 perfume but a contemporary adapted high quality version done by Polge.


Behind the scenes at Chanel
Uploaded by CNN_International
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Rebirth of Soviet Cosmetics (2)


Perfume shop in Moscow - mid 30's. The fragrances in the back are (if I see well) Red Poppy and Krasnaya Moskva.
Red poppy (no connection with Kenzo Flower) was a type of fragrance created around 1900 and based on amyl salycilate like Trèfle type (clover) but floral sweet and without the herbal, almost fougère undertone of the latter. This perfume still produced in the 70's Russia is an extinct formula type that in western countries disappeared many decades before. Despite "red" the name has nothing soviet and it existed before 1910 in other countries (UK, USA).
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Friday, June 20

Inside Guerlain shop



When Après l'ondée was created, when Pour troubler was in the air and Voilà pourquoi j'aimais Rosine was wispered.
Some old ads can be seen in a recent article from l'Express that includes also an interview with the new in house perfumer.
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Thursday, June 19

Thoughts on Caron (1)

After reading the Guide I was quite alarmed about what could have happened to Caron. Also a good occasion to resmell some classics of perfumery. I started to compare the extraits available in Paris but before any conclusions I would like to make some remarks. Caron had a long and difficult history their owners changed a few time and this was reflected into the products. The extraits available in the crystal urns came in the 80's when the brand started to acquire its prestige. The avenue montaigne shop was opened and some books were written on Caron. Unlike Guerlain, Caron was not famous from the very beginning in France, but was rather concentrated on exports (USA, South America). The products created before WWII were formulated in the style and with the raw materials of their time. Some of them are no more on the market long time before the reformulation mania (think methyl heptine carbonate or musk ambrette or for the natural - the absolutes obtained via enfleurrage). Caron perfumes had some characteristic - very rosy, very spicy, sometime violet. The bulgarian rose from the 20's is no more around, the same is for some typical french products, now extinct.
When sampling the Caron extraits to be accurate some "precautions" should be taken. Not only are they strong but they contain some very strong spicy notes and ionones. Ionones give what is called olfactory fatigue - you can become "blind" for violets for a certain period and thus unable to evaluate the violet note. What can happen? Unlike modern perfumes in Sephora you cannot smell 10 Caron extraits in the same time and have an accurate image of them. All the contrasts between them will be more evident. If you smell the very spicy Poivre with N'aimez que moi (floral but with some spices inside) …. your nose will be "blind" to the spices in N'aimez que moi and the floral rosy note will stand out.

Also, I noticed for Caron that vintage perfumes have a tendency to be less pungent, less spicy with a sweet vanilla note that softens everything. The top notes (when they are not damaged) seem not to exist. Unlike Guerlain, in Caron there is not so much bergamot (think the first Shalimar with its one third bergamot).
But let's proceed to the perfumes. My first remark is that there is no big disaster (at least in Paris) and the second is that indeed there is something going wrong inside. Next, I will take a look inside some of the fragrances.
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l'Air du temps - new

After dreaming of l'Air du temps I came back to reality. The extrait is said to be the original formula from 1948. From EDT and EDP it has 2 strange ingredients in a notable amount. Lilial and Lyral, 2 lily of the valley molecules, also allergens. What's strange about that? I hardly believe they were around when Francis Fabron worked on the perfume formula. That's a question I forgot to put at the SFP meeting to Jean Guichard - the myth and the reality of a classic perfume.
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Wednesday, June 18

Rebirth of Soviet Cosmetics (1)

In an old post I showed a picture from the time when soviets started to produce on a large scale cosmetics and perfumes, products that were considered by many as "bourgeois". It took about 2 years but behind this important industrial project were 2 women that charmed Stalin with their creations. It took me some time to find their pictures because as I can imagine Paris is not the best place to find old soviet perfumes.
Tatyana Maximovna Morozova began her career at the age of 17 as a soap packer in the New Dawn Perfume Factory in Moscow (Novaya Zarya). She was in 1937 director of this establishement but very soon will became head of the Soviet Cosmetic Trust (TEZHE) when Molotov's wife was promoted to Vice Commisar of Food Industries.

Paulina Semyonova Zhemchuzina was head of the Chief administration of Perfumes, Cosmetics and Soap-Making Industry of the Soviet Union. She was also wife of the premier minister Molotov.


Looking at these pictures I had an instant flash of the movie Ninothcka with Greta Garbo. You will see in the next post that the story depicted in the movie and the real one of those 2 women are quite close.
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Monday, June 16

Artistic freedom in perfumery

Often marketing, price and regulation are named as limits for the modern perfumer in the quest of beauty and perfection through scent. But there is another one that is not so much talked about. Every big fragrance house has its own raw materials (internal quality) and what is sold to other companies. This year IFF brought to the public some of their natural products as they were used only by IFF perfumers. In this game you have also the captives, the very new molecules used only in house, years before they could be sold to other companies. Some of them are available through bases. If you see a different facet or use of that molecule (and work for a competitor) you cannot take advantage of that and must take the olfactive direction of that base. Before damascones and damascenones became available, they were used in a rose base from Firmenich. When they became free … other accords were born like Cool Water, tobacco or osmanthus notes. There is little chance, if none, that in the same perfume beautiful but captive molecules from IFF, Firmenich, Givaudan meet to create new accords. It is also little chance that if you work for a big name to use in your formula a great amount of commercially available molecules from your competitor. If you work for X it's hard to built a perfume based on X captives and a great amount of ingredients from Y. The beauty depends also on the supplier.:) When a brand truly invests money in the fragrance, I'm not sure that they are aware of this next limit. The concept of "I want to give the best of perfumery / I use the best perfumers" as Tom Ford said in an interview it's still far from reality. If you are not in some of the great labs it's worth because a whole range of products are not available to you and it's not a question of price. But not all perfumers seek innovation and novelty. You can restrain the palette, as Jean Claude Ellena did to around 200 products and hope to be as inspired and creative as he is. There are still some good formulas around but not very soon available to the public because not commercially in the sense I explained. In terms of exclusive perfume those are really hard to get and are true luxury though not fashioned into Baccarat numbered bottles.
In some Etat Libre d'Orange perfumes you can find exclusive molecules from Givaudan. In terms of style we could say they are .... givaudanesque. Imagine now a new brand that goes beyond this kind of "restrictions". It would be something new in terms of fragrant innovation.
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Friday, June 13

L'Air du Temps - 60 romantic years

Yesterday Nina Ricci celebrated 60 years of l'Air du temps and as a member of SFP I was invited to the marvelous event - presentation. As I arrived quite early I had the privilege to understand one of the facets of the perfume. The air was scented with l'air du temps. It was delicious and I soon realized that a big part of its success relies in the sillage or fragrance trail. The perfume might not impress you on the blotter but it will seduce you by its delicate musky spicy aura. After a presentation of the concept, bottles, graphics and all the history that surround a monument of perfumery, Jean Guichard (Givaudan) told us some secrets of the perfume. New things that I was not aware about:
- the formula is very short, about 21 lines
- it's one of the very few that are macerated around 5 weeks in order to get a very smooth smell
- the formula was actually created on 23 october 1947, as it is written in Roure register
Another interesting anecdote he told us is about Germaine Cellier. As she was working with Francis Fabron it seems that one tuberose base from l'Air du temps (with natural tuberose inside) inspired her later for Fracas.
Perfumer Raymond Chaillan told us other anecdotes from Ricci's history, when he worked for the company (he did Signoricci 2).
L'air du temps is a modern composition and we could call it "minimal" - large doses of synthetic notes are combined with beautiful natural rawmaterials. The synthetic notes used are sometime in a great proportion quite unusual in that time - more than 10% of musk ketone, benzyl salicilate, methylionone, hydroxicitronellal .... If musk ketone (a nitro musk and maybe you know the controversy) will be forbidden one day, that masterpiece will die as did other good perfumes from the past.
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Thursday, June 12

Shop in Moscow


Perfume shop in New Moscow Hotel, mid 30's (photo I took from an american magazine) It's a part of the reborn of cosmetic/fragrance industry that I will detail next week.
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Wednesday, June 11

Henri and Guy Robert

From the early 50's a photo of a famous family of great perfumers: Henri Robert, not yet perfumer at Chanel and the very young Guy Robert, his nephew.
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The lack of sensorial nuance

Economics gave perfumery the chance to evolve with a tremendous speed (think the new molecules available now) but also we entered the new era with less sensorial nuance. It is funny to see that while marketing plays a lot on sensorial rediscovery in the formula of many perfumes what happens is the contrary.
But that's not that new because since the first days of 20th century cheap perfumes meant a severe reduction of the olfactive nuances.
The violet odor (so popular) was nothing more than ionone alpha and many violet perfumes did not smell violet but this molecule rounded by something else and in better cases with violet leaf absolute.
The gardenia was styralil acetate plus a creamy lactonic note in all possible variations.
Very soon (in our times) lemon oil became simple the molecule citral, amber gris became ambroxan, musk in most cases is galaxolide and vanilla products are vanillin (or ethylvanilin) and skatol is civet. References started to change.
But we are in a world that appreciate minimalism, both for its intellectual clarity (easier to understand) and economic advantages. It would be incorrect to say that the world is invaded by copies. But after a certain time in the evaporation of the perfume … it's not hard to listen the same melody. Combinations are different but when a perfume has … let's say a vanilla note, it's usually the same vanilla idea as 30 other fragrances. We talk now about a new gourmand era, but it would be interesting to see in a supermarket how many truly different flavors have we … or how many new brands.
It's quite a paradox because the number of ingredients today would suggest a huge array of new perfumes, if not in structure, at least in details. 50 years ago perfumers had less ingredients and more time. Today the amount of knowledge is impressive but brands have no time to wait.
Creation in perfumery starts to have something in common with Fritz Lang's movie - Metropolis.
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Purity

Like architecture, perfume is about structure and detail, bones and decoration. Depending on the style of the perfumistic "writing" the choice of the "stone" can be crucial. Think Adolf Loos, Frank Lloyd Wright, Carlo Scarpa. The aroma chemicals of the organ can hide treasures that are not available to anyone. The purity (or not) can change the olfactive profile of the same molecule from cheap to divine while the GC/MS analyze would show you the same thing. The problem is that in our very fast world not all the people have the time to explore/know their molecules and even though, they might not be available for everyone.
The secrets lies in the isomeric ratio or in the lack of some impurities. A molecule, though it became a symbol for the artificial world, is a living thing. It can oxidize, polymerize, transform itself into another isomer. The life within a bottle can be fascinating in the limits of smelling good (I don't talk about the "deterioration").
Some examples:
The ionones and methyl ionones. Since their discovery their history shows that in perfumery the concept cheap-haute couture is a reality that was not invented by marketing. Since early 20th century depending on your budget you could find ionone for soap, for cheap colognes, for extraits … or special quality distilled for you by one of the suppliers. Looking on the olfactive profile of the individual isomers found in my commercial Firmenich&Givaudan bottles it's not one Iralia or Isoraldeine …. but already a "bouquet" of methylionones.
Hediones - from the same mixture known under this name that made Eau Sauvage we arrived at Hedione HC and Paradisone. The latter is the soul of the first and like a gateway to a new dimension.
Indole - a lot of nonsense has been told on that very old molecule, essential in the odor of many flowers (jasmin, lily of the valley, orange flower, etc). What is often available on the market (even the best) have some impurities, like skatol. It is the reason why it could be seen as fecal when the 100% is floral and not dirty!
Sometime perfumery is about that small shade that cannot be reproduced when the same molecule is bought cheaper. People with decision on prices have no culture on that side of perfumery (and I do not talk naturals) but that's understandable in our smell fast era.
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Saturday, June 7

The Orris war: Firmenich & Givaudan

Two giants in chemical research. Two great scientists. One molecule - irone, one of the principles of orris concrete so beautiful expressed by Iris Gris (Fath). In 1948 the small fragrance world was "devastated" by a controversial issue with both scientific and economic impact. The correct structure of irone and its synthesis. Magazines like Essential oil review or Helvetica Chimica acta reflected this dispute - who is the father of the molecule and consequently who will produce it. The protagonists were Ruzicka (Firmenich) and Naves (Givaudan) and they "fought" for the priority of discovery of the constitution of natural irone. One previously sent sealed letters to Helvetica Chimica acta, the other one came with a patent. Many articles were written on this subject and after many years of fight&science the 2 companies came to an agreement. The irone alpha that I use today is from Givaudan.
It was not unusual in the past that molecules were not patented or their discovery published. Not only formulas were secrets but also molecules, their synthesis and chemical structure. For some molecules of modern perfumery in pre 50's era it's hard to tell with precision when they were actually created and available on the market. Other examples are hidroxicitronellal and jasmone.
A very old example of controversy is the perfume Vera Violetta (Roger &Gallet). It seems that there were on the market 2 versions. The first one without ionones and the final one with the new available ionones that was remembered by the history. The perfume available at the Osmotheque is intriguing: it's very violet leaf (green), and not so much violet as we now that type of perfume. I wish to mention that by the end of 19th century natural violet flower absolute was also available.
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Thursday, June 5

Scent dinner .... but in futuristic Rome

This short presentation is from an american trade magazine - mid 30's. Scent dinners are not new in the business but look how it was done in that exuberant era. The final phrase contains a word - Fascisti. To my entire surprise, reading american trade magazines (1934-1936) - I saw a lot of reccomandations to retailers (in perfume business) to take note of the Fascist trend but also Tyrolean trend in decoration. They were invited to be inspired by these trends (reflected also in fashion by Harper's and Vogue). Quite surprising.
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Wednesday, June 4

Chanel Le 1940 Beige


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Tuesday, June 3

Scent dinner in Paris

Thursday, 5th june, 7.30 PM - Scent dinner with Chandler Burr in Paris - restaurant Lapérouse.

"The evening will begin with an introduction to a category of scents universal in France yet virtually unknown in the world beyond: "les parfums gourmands" or culinary perfumes. These perfumes—by houses from Gucci and Dolce & Gabbana to Dior and Hermès—contain perfumery raw materials made from such edible sources as spices, herbs, fruit, chocolates and teas. In this case, Burr has chosen a selection of perfumes that explore the relationship between Paris and perfume."
read more on the website
Unfortunatelly 5th is also the day for Yves Saint Laurent funeral.
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Sunday, June 1

My vision

On the french site auparfum I gave a short interview where I explained my vision on perfumery/blogging and future.
My hope is than in less than 10 years with a click all the scents that I evoke would be available to sniff within seconds. :) For perfumes and internet it's stil SF now but who knows.
I'd like also that past fragrances, no more available on sale would be available at least to be smelled. Not everyone can come to Osmotheque and not all from history is in Versailles.
There are very intelligent and good difusion systems that could be used to experience fragrances. I think at the tool from Firmenich where you press a button (or turn a small wheel) and the fragrance is in the air, just for your nose. Frederic Malle has something similar in one shop (rue Victor Hugo).
I hope that the Museum in Grasse will have something from the modern technology and not only the old alambics. History of perfumes is about personal experience and until now the presentations (even for the brands) are in most cases from stone age era (both design and technology).
I still think at Guerlain shop in Champs Elysées - since 2 years they were not able to refill their microwave like rooms of old perfumes (Kadine, Sous le Vent, Ode, Cachet Jaune). What I hoped to be an amazing experience of Guerlain past turned out to be a shameful failure. (I check them on a regular basis still with hope).
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Pure Distance I - the perfume


Pure Distance is a new luxury brand located in Vienna where the perfume is protected in the Puredistance Perfume Lounge, hold in a crystal masterpiece made of Swarovski crystal and 24 carat gold-plate. Its aim is to be one of the most excusive fragrance brands .

The fragrance created by Annie Buzantian (Firmenich), as described on their website, "is intriguingly complex. The perfume’s rich and sophisticated tones are a discreet statement of elegance.The perfume opens as top note with a fresh, ozone-tangerine blossom blend with a hint of cassis, complemented with neroli bigarade and crisp watery nuances. The heart of the fragrance warms to a sophisticated, modern blend of magnolia, rose wardia& jasmine; parmenthia & natural mimosa, before finally settling softly into the rich classical notes of sweet amber, vetiver and white musk."

I sampled the precious perfume and I was amazed by its composition and the new twist brought to luxury perfumes. Often very expensive perfumes face a problem with their customer. Not all the people with money have a certain fragrance expertise (or appreciation) and not all fragrance lovers can afford very expensive creations. In this delicate case it is very difficult to transmit to the customer the feeling of richness and preciousness. In many cases the already existing perfumes on the market have some "tricks" - heavy/opulent notes, an accent on very expensive and obvious raw materials, high concentration and strong trail, a traditional approach.

But Pure Distance brings us something new in this field. It has a very contemporary and clear approach like the cristal. It's very american (or what I imagine about NY), refined like modern architecture with no refference to the past. A certain quality that I found in some classic Estée Lauder fragrances.
The perfume is constructed around a lily of the valley -magnolia note, that is strong and very long lasting, but not heavy in the Guerlain tradition. It is very green on top like a fresh syrup from heavy white petals, refreshing and transparent (but not in the sense of 90's perfumes). It evolves very slow into a powdery and warm note with sandalwood and musk but the flower is still there. It is like a flower that you see in the wind and step by step you fall into her secrets hidden deep by the petals. Or the secrets of a woman!
Also, what is new about this perfume is how it relates to the skin. It's not a fragrance to stare at and admire the virtuosity of the perfumer but rather it's a luxury to be worn in silence. It makes a perfect fusion with the skin. Like the fashion done by women designers in this case the fact that it has been done by a woman is not a surprise. It's like a moment of personal luxury, a secret and intimate pleasure.
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Fragrance is the 8th Art - Octavian Coifan - Le Parfum est le 8ème Art
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