Friday, April 29

Jasmine and the Asian soul by Takasago

After the articles I wrote about Septimus Piesse I had one of the most touching olfactory experiences. Two special perfumes from the XIXth century, completely forgotten, arrived in Paris directly from Japan as a ray of hope and uncompromised beauty surviving in the chaotic modernity. It happened precisely during those tragic events and they moved me to tears. One of these fragrances is Jasmin, a soliflore composition of the British perfumer Septimus Piesse. It has been mysteriously preserved in Japan for more than 130 years after its creation, and it is one of the earliest European perfumes exported in that country. This week, I had another special Japanese experience with the jasmine flower in the leading role of a romantic drama.
On a very gray rainy day I took the old Acacia street near the Arc de Triomphe in Paris and I landed in a paradise of floral scents. It was the secret "Hinoki room" of the Japanese company Takasago. The real jasmine was in bloom for their Jasmine week, a presentation about the history of this very beloved flower. One of the most powerful small flower, able to transform a purist ikebana into the opulent essence of baroque, the jasmine was the star of the day embalming the air from the entrance. Takasago presented several expensive natural extracts (absolute and CO2) for Grandiflorum jasmine and the outstanding Sambac jasmine. The different types of jasmine extracts and notes were explained and discussed, including the very expensive natural benzyl acetate. Yes, this "nail polish banana" molecule, an essential component in many flowers, exists now as a natural ingredient which can be used in 100 % organic natural perfumes. So, next time you'll smell something strong, fruity and nail polish, think twice before saying "it's chemical, so it's dangerous".
The Moroccan jasmine mesmerizes with its powerful top, rich in benzyl acetate + green benzoates, and the deep animalic facet, close to the expensive French jasmine (several drops are used in a very small number of perfume extracts in Paris). The rich Egyptian jasmine is one of the most harmonious, with a specific spicy note, while the beautiful Indian absolute is hypnotic through a rich lactonic bouquet, surrounded by balsamic notes and an important indolic aspect. Every absolute represents a stage of the Grandiflorum jasmine flower capturing its essence until the evening. For some Asian extracts, the flowers are picked up in the morning and extracted during the evening, this "trick" being responsible for their sensual opulence. After they were picked up, the flowers continue to produce odorant molecules.
The Sambac jasmine has a very different story. It is one of the most impressive floral absolutes, with an outstanding power and richness of contrasts. It is at the same time very green hyacinth (phenylacetic aldehyde), very animalic indolic and very orange flower (methyl anthranilate) with a sublime mellow honeyed facet recalling genêt and jonquille absolutes. I included it in an rich accord with the honeyed Firmenich natural "Rose distillation" and the sweet pea accord from l'Heure Bleue. Jasmin Sambac is a flower in high demand today, more and more perfumes are featuring this exceptional note, sold for more than 2000 EUR / kg. It is a pity that many popular brands cannot afford a drop of jasmine floral absolute in their perfume when the huge budget goes to advertising. With very few exceptions, more famous brand is, less interesting are their perfumes.
During the Takasago presentation, several major creations developed around the jasmine note were analyzed, including the marvelous JOY (Jean Patou) and the recent original launches from Paris with a jasmine absolute note.
One of the most special moments at Takasago was the discovery of a classic jasmine base built many years ago by Pierre Bourdon, a composition with an outstanding naturalness where the green explosion with fruity undertones suddenly embraces the sensual floral depth. This very special base with a very pure structure captures the essence of the jasmine absolute featuring 2 ingredients present in the flower, which are not usually available on shelves, and with a very original accent on top, a green note brought by the violet leaves absolute, for a sparkling impressive effect.
Takasago has recently recreated several unusual flowers inspired by the scents of Asia, like the blooming field of magnolias in China where the hundreds of trees were a true olfactory shock for the perfumer Jean Jacques. One of these Asian flowers, among a selection of very specific olfactory notes not really known in western countries, was the star jasmine. The interpretation of this special jasmine, known by Japanese perfumers but less by Europeans, featured the lightness of the angelic flower without its animalic "Indian" elements, surrounded by a cocktail of watery fruits (melon, guava, peach-nectarine) underlined by a special musk.
Because hypnotic white flowers are my specialty I could talk for hours about their ingredients and their role in the structure of scent. There are some molecules in the jasmine with a profound biological effect but not a strong smell. They are not often used by modern perfumers and the disappearance of natural jasmine from formulae, because of cost limits, explains why many modern creations lack an erogenic effect.

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Thursday, April 28

The most beautiful Cherry blossom scent

Some trees growing in Asia and cherished in the Japanese and Chinese culture have reached the perfection in terms of scent, while their European versions have a very light, almost faint odor. We know only the symbolic meaning of flowers and their visual representation because the study of the Asian flora means direct experience, something that was impossible for many generations of scholars. The attempts of the West to understand the East failed and many conclusions are false because they are purely visual. This cherry tree, quite rare in Paris in this highly scented version, is the right example of an olfactory universe that is completely unknown to the western nose. In terms of scent it is the supreme harmony between rose-lily of the valley - early spring magnolia - blue hyacinth - purple lilac. Like the early honeysuckle, its harmonious scent embalms the air and is actually a perfume. The easiest way to illustrate this tree by an illusion is a mixture between phenyl ethyl alcohol, styrax essence 10%, cinnamon oil 1% and indol 1%. Imagine a lily of the valley bouquet without its sharp green top where the characteristic contrast of the olfactory shape became something smooth like an endless melody of serene tranquility whispering a lilac theme. It is the most subtle balance of almost all floral notes around the rose theme suggesting even the light cinnamon and almond quality of the cherries. The complete formula to achieve the balance of notes using noble ingredients is quite long and for this reason it is useless to show it. It is a balance that I found in many classic floral perfumes aspiring to the supreme harmony of the 8th Art.

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Wednesday, April 27

Les Parfums en Russie - conférence 7 juin


Chers Amies et Amis,

Un grand merci à tous qui sont venus hier soir à la conférence sur les parfums russes que j'ai faite pour SAO-Osmothèque afin de sentir un passé lointain et spécial. Un grand merci à Patricia de Nicolai et à Sophie d'Auber!
Comme il y avait beaucoup d'inscriptions pour la conférence, j'ai le plaisir de vous annoncer une nouvelle séance pour le 7 juin à 18h30. N'oubliez pas vous inscrire dès maintenant, depuis hier la moitié des places est occupée.

Une surprise aussi pour les participants qui viendront en juin. J'aurai d'autres parfums à montrer afin que chaque rencontre Osmothèque sur un thème d'une grande richesse historique soit unique:

Les Parfums en Russie
  • Un nombre impressionant de créations dont 90% restent totalement inconnues dans l'Occident;
  • Plus d'un siècle de créations olfactives, des miliers de parfums et compositions odorantes;
  • Une esthétique à part et des formules spécifiques;
  • Des parfumeurs oubliés;
  • Des plantes rares et des variétés parfois inconnues dans l'Occident;
Je vous présenterai les débuts de la parfumerie russe mais surtout la parfumerie soviétique. Quelles furent les grandes créations et maisons de parfumerie ? Entre parfum, art et propagande, découverte des parfums symboles de l’Est et de la typologie olfactive spécifique à cette culture…

Rendez-vous à la Galerie de Nicolaï - 25 rue de Montpensier - 75001 Paris. Métro : Palais Royal - Louvre (ligne 1) - Parking : Louvre.

Réservation obligatoire par email : sdauber@akeonet.com ou par tél : 06 60 63 68 80.
Entrée gratuite pour les adhérents. Une participation de 15€ sera demandée aux non adhérents (8€ pour les étudiants).

A la suite de la conférence, nous partagerons ensemble un verre de champagne.
Venez nombreux !
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Roja Dove about the Royal Wedding


The Quelques Fleurs you see is not the original 1912 masterpiece. It hadn't been produced since at least half a century, but can be smelled today only in Versailles where master perfumer Jean Kerléo has recreated for the Osmothèque the original formula with its true original splendor based on lilac, ylang ylang and many secret bases plus real Musk Tonkin infusion to enhance the floral magnificence. The original formulae of several masterpieces created at the turn of the century are the best kept secret in France, hidden in a coffer in a secret place.

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Tuesday, April 26

Pure honey - floral perfume

The honey facet is an element present in the scent of many flowers and absolutes where it is an important factor for the "living" quality of the fragrance. But there are some plants where this note is unmistakable present as the main odor. These small purple flowers with a strong scent, but not very diffusive in the air, have the precise note of the most delicious honey. It is not a facet, a suggestion or our interpretation of the note. In this case, Nature was extremely specific. Your nose will find with surprise the most accurate representation of a jar with golden honey starting to crystallize, and even more, the sensation you experience with a big spoon of honey in your mouth. Besides this sweet note with a faint balsamic and caramel aspect recalling a dilution of fir balsam, you can experience a very aromatic aspect, sweet almost aniseed recalling the non camphourus aspect of rosemary and of course the light chamomile note combined with the herbal sweet aspect of lavender absolute. There is even an obvious oat meal + cocoa suggestion. The closest raw material is the forgotten composition called Miel Blanc (de Laire) and its structure can be easily modified to represent with accuracy the scent of this flower.
The interpretation of this scent is of the outmost importance because it represents a crucial element in many other flowers and one of the most cherished scents in personal care perfumes.

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Monday, April 25

Choosing the right perfume in the XIXth century

In the XIXth century the perfume industry knew a considerable growth. The number of perfumes and fragrance types increased from one decade to the next one and the catalogs I have from several famous houses show the variety of their production. In the second part of the century perfume houses advertised not one but at least 10 perfumes in the same small ad, while their current offering included at least 50 perfumes. Before the increasing importance of export and the creation of department stores, the perfumes were usually bought in Paris or London where each house had its own big shop displaying a variety of bottles with perfumes and jars with cosmetics. We might ask ourselves today how did a client select his perfume and what were the conversations inside a perfume shop. Today we are free to smell on a blotter and buy, but in those days the perfume was still presented on the counter. The rich clientele had an enormous impact on the selection because knowing that a certain aristocrat bought a perfume was already a buying reason. But not all rich clients wanted to resemble the other members of the same social class. I believe that in those days, in front of the huge variety of scents, some with names of known plants, some bearing fancy names, the recommendation of perfumes based on personality was born. There was no basic olfactory training nor marketing training like today when brands present their perfumes to SA. A client wouldn't go to smell all the perfumes available in Paris but he would certainly be confused in front of 50 perfumes as we can see in Piesse, Rimmel, Houbigant or Piver shop, all presented in the same bottle.
You can find here 2 texts about the relation between scent and personality and they reflect the questions that a woman started to ask herself in front of a myriad of bottles. In the next century this will be codified by marketing but the question remains open "What perfume is best fitted for me?"

" There is an appropriate odour, to our minds, to each particular character. The spirituelle should affect jasmine; the brilliant and witty, heliotrope; the robust, the more musky odours; and young girls just blooming into womanhood, the rose. The citron-like perfumes are more fitted for the melancholy temperament, and there is a sad minor note in vanille that the young widow should affect. When we study the aesthetics of odours, we shall match nice shades of character with delicate shades of odour. Why should human feeling be expressed better by colours than by perfumes? Meanwhile, we must trust to the perfumer to set the fashion, and to impose upon us his bouquets at his own good will. We are, in fact, the slaves of his nose. All the fashionable world, like the Three Kings of Brentford, but a little while ago were smelling at one nosegay in the celebrated "Ess Perfume" later still, we have had imposed upon us 'Kiss-me-Quick" and now the latest novelty of the season is "Stolen Kisses," with its sequel, "Box his Ears". "
Andrew Wynter, London 1865.

"Le parfum, savez-vous ce que c'est, mon cher ami? C'est tout bonnement de la femme volatilisée. Du moment où il y a des femmes perverses, il existe des parfums pervers. L'Ylang-ylang, l'Opoponax, la Peau d'Espagne, décompositions de courtisanes, sont, conséquence forcée, les préférés des vierges folles parce que nées de chairs saturées d'amour ils l'engendrent à leur tour. Cette remarque est applicable à toutes les odeurs. Le new-mown-hay ne vient nullement du foin, mais bien de la fille des champs, nature robuste, sentant son sui generis. La violette doit son odeur aux vierges timides et modestes, l'héliotrope est de l'évaporation de marquise, le corylopsis nous est donné par la femme qui, sous les tropiques, vit nonchalamment ses jours et sensuellement ses nuits. L'encens, sanctifié par le catholicisme, est le lent éparpillement des prêtresses embaumées des anciennes religions, etc., etc."
Auguste Barrau, Paris 1887.

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Sunday, April 24

Présence (Houbigant) - vintage fragrance review

The history of perfumes knows many lost masterpieces, creations that are totally forgotten despite their scent and crucial importance for the 8th art. Présence is one of those perfumes you could hardly forget if you had the chance to wear it. It was meant to be a success but its aesthetic essence would conquer the world in a new shape only after 30 years. It was one of the first creations of Raymond Kling, a mysterious perfumer who signed several extremely beautiful perfumes in the 30's. Présence (Houbigant) is one of the most harmonious chypre perfumes where all the strong and characteristic notes of the classic type (Chypre Coty) have been rebalanced for a smooth harmony. The accent is on the top citrus freshness (dominated by lemon-bergamot) and the delicate floral heart with a different jasmine note, but still an important jasmine absolute facet. This fragrance represents the quintessential chypre aspect of the Coty masterpiece set in a new harmony, with a completely new balance of ingredients and without any decoration or animalic excesses. For this reason, you can consider it the basic structure of all chypre perfumes of the next decade, even Chanel Pour Monsieur which is closer to Présence (Houbigant) than to Coty's masterpiece.
This perfume is actually Eau Sauvage, 30 years earlier without the modern ingredients of the 1960's and imagined as a feminine perfume, the most refined and elegant presence, a scent that is able to haunt your thoughts doesn't suggest any particular odor. The scent lingers in my memory with its unmistakable silkiness and the perfect balance between crispy freshness, chypre facet, ambery notes and a sensual light spicy jasmine with its skin effect over an orris note. The most surprising thing happened when I put together 2 blotters of Présence, one with Hedione and one with Helional. Suddenly the entire hologram of Eau Sauvage appeared. All I needed was a subtle basil accent. Edmond Roudnitska knew without any doubt the perfumes of Raymond Kling, chief perfumer at Houbigant (and client of De Laire), born 3 years earlier that the author of Eau Sauvage, and also the author of a new theory of creation. He is completely unknown today because he passed away right after the war. Both Kling and Roudnitska achieved something unique - the perfect accord, the perfect expression of an ideal within a given range of ingredients through its essential expression. When a perfumer achieves this, the next step could happen only when totally new ingredients are discovered. Présence, though it perfectly fit the aesthetic vision of the era, was not a success in the 30's because the public taste was different and for at least 2 decades heavy perfumes would suggest the Parisian sensual chic.

"Ta fine odeur de mandarine et d'ambre reste accrochée longtemps à la tristesse calfeutrée de la chambre dont tu evades. Présence invisible qui déplace les bornes du temps."

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Saturday, April 23

A fragrant flower with a very shy freshness

This flowers, growing near my Daphne bush has a scent quite different from the Daphne odora I've recently presented. It is more delicate, smooth, not contrasted and not lemony. The rosy elements are much more refined and soft, while an earthy rooty element, suggesting some vegetables and the fresh carrots, is present in the background and more obvious in the scent of leaves. A soft honey anisic note surrounds these fragile flowers while the whole bouquet obviously reminds of a very delicate lily of the valley. In fact, there are moments when the small flowers suggests the scent of lilial combined with cyclamen aldehyde over a certain fresh silkiness found in the cherry blossom and with a faint suggestion of elder flowers. Of course, the aromatic aspect is also important, being reminiscent of laurel leaf and fresh ginger.

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Friday, April 22

The most unusual yellow flower

Was Edmond Roudnitska thinking of other less known flowers when he composed Diorissimo? Last week, I was suddenly amazed in a garden by a mysterious fresh and strong scent that was filling the air. The first word that came to my lips before I was able to detect the source was - styrax. In fact, the air was scented with the purest version of styrax extra (without its drydown note) combined with the purest indol note and the purest rose alcohol note. This type of Coronilla (Fabaceae) smells as if the heart of a lilac meets the heart of a hyacinth, without their characteristic unmistakable notes. But above all, this delicious and highly diffusive scented bush smells of something else. It is the precise note of the heart and drydown of Diorissimo, after the green and rosy notes are gone. It doesn't change for several days after it was cut. The illusion is perfect and there is no place for other interpretations. Again, the scent of a plant has reached an unusual degree of perfection and for the perfumer these small yellow flowers represent a key to understand the construction of scents in other sophisticated examples. Take the accurate reconstruction of this yellow flower and you have the heart of a lily of the valley, the heart of a hyacinth and the heart of a lilac. With very simple modifications you can simulate the scent of all these examples, obtaining each time the most precise representation. With a more practical vision in mind I would say this is the perfect candidate for a floral base, a strong characteristic note with an amazing versatility that can be transformed in many other beautiful scents.
To my surprise, I've never found any mention about this flower in classic perfume books.

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Thursday, April 21

The origins of Jicky (Guerlain)

It was inside this house from Paris that Aimé Guerlain composed Jicky in the late 1880's. A small lab was located on the first floor. The young Jacques Guerlain would meet the young chemist Justin Dupont to discuss about the new molecules and the composition of essential oils. In the following years they will publish together several papers. Aesthetic and scientific research was the secret of the glorious days of Guerlain. On the angle, but in front of the corner window, lays a beautiful church. This was "Le Jardin de Mon Curé", one of the earliest compositions signed by Jacques Guerlain. A small detail from the house is reproduced on a perfume label from the same era. 


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Wednesday, April 20

Rondeletia - a famous perfume

A famous perfume and also a perfumery accord based on 3 naturals, invented around 1830 by british perfumers. Here you have the original ad of the first suppliers of Rondeletia. The accord was recently used in a modern masculine creation.


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Tuesday, April 19

A secret wish

A drop of perfume in a forgotten bottle is like an imprisoned spirit in crystal coffin. When you release the Sleeping Beauty after years of loneliness, the molecules start to perform an unusual ballet in the air. It's like opening a very old book and reading the spells after 200 years. 
Yesterday I brought from Ukraine for my conference (Les Parfums en Russie) a beautiful bottle with a special Russian perfume created in Moscow. It was conceived in the late 50's and the beautiful floral scent suggests something a modern scent known by many consumers in Europe. My room became suddenly a huge bouquet. In terms of scent is a very harmonious accord between lily of the valley - white rose and Bulgarian rose oil with a subtle dose of green aldehydes and a very tenacious floral freshness. There is a massive dose of several natural floral extracts and the precious liquid clearly evokes a Guerlain soliflore created before 1920's.  


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The secret tuberose tree in Paris

Have you ever had a dream about a tree that smells like the most luxurious bed of tuberoses where the senses are melted in the most decadent way?
In Paris we have this type of tree secretly hiding its devastating scents from intruders thanks to a modest diffusion and shy sillage. This tree smells like the creamy lactonic sweet facet of the tuberose absolute, what you have on the blotter after the potent medicinal and sparkling top note is gone. It is a symphony of lactones and smells like the skin of a woman whose perspiration is a mix of Fracas and the sweat of love.
Peach, coconut, plum and milky vanilla define the sensual fruitiness of this flower where the creaminess floats between tuberose absolute, frangipani absolute and the most exquisite vanilla absolute extract with its floral heliotrope shade. It is surprising how close is to the tuberose note in Fracas, even on the light sparkling fruity facet reminiscent of coriander. But unlike all the glorious perfumes built around the tuberose, this one is powerful but not very diffusive, as if Nature kept this delicious secret only for connoisseurs. A very curious aspect found in the background, more present in the cut flower after several hours, is a "sexual" note at the limit of acceptability. It is not an indolic or fecalic aspect, so praised by the lovers of civet and French jasmine, but something that recalls the fresh and warm sweat of a woman when a sweet perfume covers an onion, almost imperceptible note with the spiciness of cinnamon. That subtle dosage, located precisely at the border between sexiness and becoming less inviting, gives a human quality to this grape of white flowers. It is the scent of corruption and the decadence of a boudoir with too much love.
Between the creaminess of Fracas (Robert Piguet) and the powdery character of Iris Poudre (Frédéric Malle), suggesting the exotic notes of frangipanni and vanilla, this small tree is the purest joy of this spring.  
The reproduction of the scent is again quite easy, here you have the structure of the scent with half essential ingredients and half additional shades to enrich the accord.
Undecalactone gamma
Decalactone delta
Nonalactone gamma
Jasmolactone
Benzyl Salycilate
Hedione
Benzyl acetate
Linalool
Coriandre, 10%
Geraniol
Methyl anthranilate, 10%
Methyl benzoate, 10%
Cis 3 hexenyl benzoate
Isobutyrate phenoxyethyle, 1%
Indol, 10%
Eugenol, 10%
Methyl eugenol, 10%
Cinnamon oil, 10%
Celeri graines, 1%
Vanilla super absolue
Coumarin, 10%
+

Neroli oil
Ylang ylang oil
Ylang ylang absolute, 10%
Frangipanni concrete, 10%
Tuberose absolute, 10%
Jonquille absolute, 1%
Prunol accord, 1%
Tuberanthia accord, 10 %
Aldehydic skin accord, 1%
Javanol, 10 %
p-cresyl phenylacetate, 1%
Muscenone
Civettone, 1%

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Monday, April 18

The most unusual broom - scented gênet

Small and modest plants have reserved for us the most unusual surprises to compensate their shy appearance. Last week my attention went to a bush sitting near a glorious magnolia . The olfactory shock was huge. This is not a common broom, nor the golden type used by the perfumers to prepare the exquisite " absolue genêt ". It is a plant with a Guerlain DNA. When I smelled the small flowers, the first word that came on my lips the following 3 seconds after I inspired the delicious scent was Chamade. This was not an illusion, but one of those special moments in life when you have a revelation. These modest flowers from the Fabaceae family have a particularly sweet balsamic and green note that is at the same time uncommon and highly characteristic. They smell like the heart of Vol de Nuit, the blend between the balsamic cinnamic sweet notes and the green galbanum with the floral accord, they smell like the central accord of Sous le Vent without the strong aromatic lavender facet, and above all, they smell like the essence of Chamade, the green oriental accord later found also in Parfum d'Hermès. It is a combination of notes that I've never smelled before in a single plant and that I've always considered as an invention of the man. Was Jacques Guerlain searching for a very specific note when he imagined the sublime masterpiece called Vol de Nuit? He was a profound connoisseur of the most refined and rare scents in nature and I would not be surprised. After an hour of intensive olfactory analysis of the scent and its components, the second name that came on my lips was Daniela Andrier. She used the same combination and contrast between green notes and balsamic elements (galbanum, lentisque, etc) as if she was trying to capture the same mysterious scent. Aromatic floral, balsamic, honeyed and very green, this type of genêt was one of the scent revelations of this spring.
You can find several unusual plants and their analysis in the wonderful book of Roman Kaiser, Meaningful Scents Around the World: Olfactory, Chemical, Biological, and Cultural Considerations.

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Friday, April 15

Perfume and Music - Carl Engel and La Belle Époque

Carl Engel (1883–1944) was an American composer and musicologist, a writer for The Musical Quarterly and later the chief of the Music Division of the Library of Congress (1922).
Around 1917 he published a perfume suite, an collection of 5 musical pieces for piano inspired by several perfumes. This very obscure creation is one of the earliest homage of a composer to a specific perfume in a non commercial context.

Le vieux temps -menuet in G major inspired by Le Bon Vieux Temps (Guerlain, Paris, cca. 1890);
New Mown Hay - quiet movement in E Major 6/8 time inspired by New Mown Hay (Atkinson, London, 1880's);
Kolnisches Wasser - Andante tranquillo in Ab 4/8 time inspired by Kolnisches Wasser (J.M.Farina, Köln);
Peau d'Espagne - habanera in F minor and major inspired by New Mown Hay (Roger Gallet, Paris, cca. 1894);
Coeur de Jeanette - tranquillo in Gb major in 4/4 time inspired by Coeur de Jeanette (Houbigant, Paris, cca. 1898).

It is interesting to notice that all these perfumes were no more popular creations at the end of La Belle Époque, when other fashionable creations seduced the new audience. They are the embodiment of the style and the tastes of the previous era, the late 1890's, with one exception, Houbigant. They all represent the childhood memories of Carl Engel and we might ask ourselves today what exactly was the intention of the American musicologist when he associated music and perfume. Did he expressed somehow the soul of those perfume through music ? The scent of hay, the freshness of the citrus cologne, the light floral leather note of Peau d'Espagne, the delicacy of the Houbigant perfume like the moment of the first love or even the deep scent of the oriental chypre from Guerlain, they all suggest a melancholic vision of the past, a selection of the memorable events of life that precede the great love. Smelling all these forgotten perfumes today I realize that Carl Engel was actually presenting a very intelligent selection of fragrance types before 1900, covering with just 5 creations the most important prototypes or families known at that time, developed in the XIXth century from the 100% natural formula to the apparition of new synthetic ingredients in more sophisticated compositions. However, the opulent, intoxicating and seductive perfume is missing because, as I could imagine, these were the scents of childhood. We can interpret this obscure piano suite of Carl Engel as the musical version of "madeleine de Proust". Marcel Proust wrote and published in the same period and the "almondy scent", a typical feature of some perfumes of the era, is present in an obvious way in 2 perfumes that inspired the American musicologist who came from Paris to become several years later later the chief of the Music Division of the Library of Congress. The fragile scents are preserving our memories. The music preserves the soul of evanescent perfumes and later the musicologist Carl Engel would preserve the music of others. An Art of Time, an Art of Memory, the science to preserve the emotions.

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Thursday, April 14

Fragrance and Music in the XIXth century - Richard Wagner

 Speaking today about music and scents is more an archeological discussion about senses rather than a new and unheard theory. Compared to the XIXth century, it is our new millennium that is scentless and desperately seeking for a lost synesthesia. In fact, the great music of the XIXth century is infused with scents and olfactory metaphors. The great synthesis of all arts has occurred much earlier we think. We might be aware of the sounds, but we lost contact with the sensorial atmosphere of masterpieces. Most of us, even musicologists, do not know the texts, letters and less accessible documents that were behind the emergency of a new genre. If you read today Septimus Piesse (1820-1882) and his musical theory of scents (1855), you might find it either innovative or bizarre and useless. But this forgotten perfumer and author wrote his thoughts when Richard Wagner (1813-1883) was transforming the operatic thought (early 1850’s) through his concept of the Gesamtkunstwerk or the total work of art, the synthesis of all the poetic, visual, musical, dramatic arts. What is less known today is that the Wagnerian concept included also the 8th Art, the scent. In fact, the entire life of Richard Wagner is a paradise of scents and the letters (like those of Cosima) portray the great composer as a man surrounded and obsessed with odors and perfumes based mostly on rose and violet, composing even a perfume for himself called „Extract Richard Wagner”. His robes were heavily scented each time with a different perfume and Frau Cosima could guess his mood after the scent. The luxurious life of Wagner was fragrant, he scented even the flower bouquets with rose extract, his favorite perfume, but this could be understood only if we look inside the original approach of the great composer. 

In the music and the texts written by Wagner the scent brings the right and precise symbolic dimension to every aspect of the dramatic scenes. This aspect was often ignored because the texts are in German. The entire atmosphere was supposed to be “narcotic” as I explained for the earliest scents and the fertility cult, while for Wagner it is the forbidden dimension of love and the incest.
In Opera and Drama (1852), Richard Wagner writes one of the most important texts about music and perfume, but the true expression of his aesthetic beliefs will be achieved through his major works.

„Now, if this Tone-stave may be likened to the delicate fragrance of the flower, and the Word-stave to its very chalice, with all its tender stamens: the man of luxury, solely bent on tasting with his nerves of smell, and not alike with those of sight, squeezed out this fragrance from the flower and distilled there from an extract, which he decanted into phials to bear about him at his life, to sprinkle on his splendid chattels and himself whenever he listed. To gladden his eyes with the flower itself, he must necessarily have sought it closer, have stepped down from his palace to the woodland glades, have forced his way through branches, trunks and bracken; whereto the eminent and leisured sir had not one spark of longing. With this sweet-smelling residue he drenched the weary desert of his life, the aching void of his emotions; and the artificial growth that sprang from this unnatural fertilizing was nothing other, than the Operatic Aria. Into whatsoever wayward intermarriages it might be forced, it stayed still ever-fruitless, forever but itself, but what it was and could not else be: a sheer musical Substratum.
The whole cloud-body of the Aria evaporated into Melody; and this was sung, was fiddled, and at last was whistled, without its ever recollecting that it ought by rights to have a word-stave, or at the least a word-sense under it. Yet the more this extract, to give it some manner of stuff for physically clinging to, must yield itself to every kind of experiment—among which the most pompous was the serious pretext of the Drama,—the more folk felt that it was suffering by mixture with the threadbare foreign matter, nay, was actually losing its own pungency and pleasantness.
Now the man from whom this perfume, unnatural as it was, acquired again a corpus, which, concocted though it was, at least imitated as cleverly as possible that natural body which had once breathed forth its very soul in fragrance; the uncommonly handy modeler of artificial flowers, which he shaped from silk and satin and drenched their arid cups with that distilled substratum, till they began to smell like veritable blooms;—this great artist was Joachimo Rossini.”

Whether the first representations at Bayreuth were scented is not clear enough for me because the technique was not very advanced in those days to produce scented representations at the height of his desires. But his major works have powerful scent metaphors through the precise use of words, expressions, scent metaphors and music. Wagner ironically compares the music of Rossini with to the chemical perfumes fashionable people accept as the equivalent of the natural fragrance of wild flowers (a metaphor for folk songs), making everything as easy and effective as possible.
Wagner created rooms with different scents and colors like the blue grotto or his secret rose cabinet in Venice. Flowers, perfumes, candles, rich textures and colors were part of his intimate setting. The scent is quintessential to seize the mystery of the world, it is part of the Work.
The perfume is part of the working process for Tristan und Isolde and Parsifal. His interest in olfaction grew stronger in old age and during the creation of Parsifal he was immersed in the strong scents of amber, milk of iris, rose bengale, powdered scents for the clothes and extracts he poured in this bath.
Wagner uses aromatic motifs like a sensual phenomena and like a metaphor to evoke a host for later ideological issues. Smell is an icon of the body and the composer associates ideas with specific scents. It represents an important element near the sexual taboo, the judaeophobia or the nationalism.
There are scenes infused with metaphors of scent in Tannhauser (final act), Lohengrin (act 3, bridal chamber), Die Walkure (act 1), Tristan und Isolde (the orgasmic apotheosis with unparalleled scents), Siegfried (act 3), and Parsifal (Magic garden scene).
The dramatic configurations are linked to the musical material showing a consistent similarity over the entire work, where the presence of triplet and trills underline the textual reference. The mephitic scents and revolting odors, often with anti Semitic associations are also heavily represented - the scent of sulfur, the stench, the „foetor judaicus” motif, Mime (the foul smelling creature in the ring cycle and the first music for farts).
With the technique of today, the dream of Richard Wagner could become reality – a total immersion in the work of art.

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Tuesday, April 12

Les Parfums en Russie - conférence 26 avril

Chers Amies et Amis,

J'ai le plaisir de vous annoncer ma prochaine conférence pour la SAO-Osmotheque qui aura lieu Mardi 26 avril 2011 à 18h30, sur un thème d'une grande richesse historique:

Les Parfums en Russie
  • Un nombre impressionant de créations dont 90% restent totalement inconnues dans l'Occident;
  • Plus d'un siècle de créations olfactives, des miliers de parfums et compositions odorantes;
  • Une esthétique à part et des formules spécifiques;
  • Des parfumeurs oubliés;
  • Des plantes rares et des variétés parfois inconnues dans l'Occident;
Je vous présenterai les débuts de la parfumerie russe mais surtout la parfumerie soviétique. Quelles furent les grandes créations et maisons de parfumerie ? Entre parfum, art et propagande, découverte des parfums symboles de l’Est et de la typologie olfactive spécifique à cette culture…

Rendez-vous à la Galerie de Nicolaï - 25 rue de Montpensier - 75001 Paris. Métro : Palais Royal - Louvre (ligne 1) - Parking : Louvre.

Réservation obligatoire par email : sdauber@akeonet.com ou par tél : 06 60 63 68 80.
Entrée gratuite pour les adhérents. Une participation de 15€ sera demandée aux non adhérents (8€ pour les étudiants).

A la suite de la conférence, nous partagerons ensemble un verre de champagne.
Venez nombreux !
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Givaudan the scent of adventure

Two decades before the scent of the sea, ocean, wind and salt became known by the public, perfumers were already inventing the future. In this ad from 1967 for Givaudan we see concepts that were far too audacious for their times. The first "marine" molecules were there, but some perfumes, ideas or molecules have to wait a long time until they reach the public. Today, some perfumers are already inventing the scents of 2020 but it will take a long time until the public will be able to accept them and brands to invest in audacious notes. The creation of a new perfume is always an adventure into the unknown, seeing the new scented territories at the horizon and then exploring the mysterious landscape, years before other would have the pleasure to taste the new world. The perfumer is an explorer of uncharted lands.

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Monday, April 11

Narcotic perfumes and the fertility cult in the 8th ART

The perfume was one of the earliest art forms in ancient times, but its evanescent nature left little clues about its real importance, use and symbolism. The notion of art was quite different from our modern understanding, when we isolate a human artifact in a museum mentioning the word masterpiece.
The ancient perfume, understood as a "preparation" and not as the simple use of a scented flower, is as old as the magic rituals, the earliest cults, later codified in more complex religious structures. The scented materials found in hot climates cover almost the entire olfactory space and were given appropriate meanings because not everything that smells good has the same importance for us, humans. In the history of perfumes we have scents that protect from evil spirits, scents almost exclusively reserved to gods, but also another type of scents, linked to fertility rituals and used by the man.
The origins of this ancient art form are encoded in the earliest interpretation and understanding of the natural forces. In an agrarian society like ancient Egypt, with a high rate of childbirth mortality, fertility was an important matter. Hathor was an Ancient Egyptian goddess who personified the principles of love, beauty, music, motherhood and joy, she is depicted as "Mistress of the West" welcoming the dead into the next life. Her cult may be a development of predinastic cults who venerated the fertility and nature.
The image of the flower attracting the bees, its transformation in a fruit, but also the honey collected from bees, was a powerful symbol for the earliest man, before the African migration (and much earlier than Egypt).
The scent developed several meanings for the earliest agricultural societies and became a metaphor of "pray", essential in fertility. The flower, opening in the morning with its radial tangible petals around a golden disk, emits the perfume to the sky, while the sun sends its rays to the flower. From this symbolic communion, a seed is born and it will germinate the next season. The solar semen is "deposed" on the phallic stamina and was collected by the bees giving the honey, nectar for he gods.

The divine fertilizing is strongly related to odor in Ancient Egypt (the theory of Luxor temple, pineal gland and olfactory bulb). Capturing the beautiful highly diffusive perfume of the flower, in such a contrast with the human scent, meant entering the cycle of life and resurrection. The scent would attract the Sun and thus, the man was prevented from "death" transforming himself in something different while the art of embalming preserved the body.
The strong scent (good or bad, attractive or repulsive) is the most powerful sign of Reality. What lacks an odor, but has all the signs of life, was often seen with suspicion, it was an illusion, unless it was something "artificial". A scent is not something you immediately associate with dreams.
Narcotic scents were those able to generate a light euphoria, an intense state of transcendent happiness (this word in Greek means also fertility). The extreme is represented by the psychoactive substances able to generate experiences that are real without being real.
This symbolism of the narcotic scent, able to open another gate in their extreme expression, is depicted by the images of Egyptian women smelling the lotus flower, a plant that contains several alkaloids (the seeds were mixed with wine in a potion). We have here both the depiction of a real euphoria during a banquet or a fertility ritual and the symbolism of the scent - the floral perfume "attracts" the rays of the Sun. I would add to this the fragrant conception of Queen Hatshepsut, her mother being impregnated by the odor of Amon.
Each morning as the sun begins to rise, the Lotus floats above the water surface whereupon it submerges again at night. The water surface is a mirror because the process is symmetrical (rays - perfume). "That which is above is the same as that which is below". The water is condensed sky, sky is evaporated water.
The attraction determined by the scent of the flower means life and death - it can be also a trap when the scented plant is poisonous. This duality fertile / infertile, pleasant / deadly, but above all the mysterious invisible nature of scent that could not be reproduced by drawing or sound making is responsible for the fascination of this "life essence".
We can see in Ancient Egypt several representations of music and dances with powerful sexual connotation where women were wearing those scented cones on their head. If the real existence of a cone with perfume on the head is subject to interpretation, the symbolic meaning is obvious. It is the floral sexual organ of a flower (the ginoecium and pay attention also to stamen) "producing" the perfume, the invisible force attracting the good and ensuring the fertility, thus the cycle of life. It is symbolic botany.
The art of "narcotic perfumes" involved in this symbolism of fertility and dealing with "invisible" images, but "real" because they reflect the landscapes of our mind, was occult (hidden to others) as it contained the "secret essence" of life.
Nature created during millions of years perfect scents which continue to please and attract their pollinators, while many scents from the XXth century were discontinued because they failed to please us. There is always a special combination which brings the same universal joy like the flowers we enjoy every spring.
The scent of a flower had a powerful symbolism, but only with the science and the art of the perfumer its "soul" could be captured, preserved and used.
It's not about a garland on a statue or putting together several herbs. The eight art began because all these were "ineffective". Creating a certain scent, actually the reflection of a "mind landscape" was far more complicate. It was about preferring some plants to others, learning how to prepare them to obtain a scent and not just a scented juice, and learning how to mix to create something elaborate. Mixing plants was always a domestic activity, while the perfume in its most supreme form is not and will never be accessible to everybody.
Much of the sexual history of ancient Egypt was hidden to the puritan eyes during the XIXth century, but their recent interpretation offers more clues to understand the symbolic meaning of representations.
The use of perfume as a sexual ingredient should not be understood in the depreciating moral value attached to pleasure, but in its very profound way related to the fertility rituals as a quintessence of life. Extracting the perfume from flowers (and not the incense which is something else as I will show you in the future) meant extracting the principle of life and the powerful messenger attracting the blessing of gods of fertility.
It was for pleasure, because the act was consumed during a banquet, but also a powerful remedy, a drop meant to cure infertility or at least to solve the problems of pregnancy, and a messenger to gods, while the "soul of the plant" or the perfume was represented by Nefertoum.
One particular case is a perfume presented in the laboratory from Edfu temple and dedicated to the goddess Hathor. It is actually a narcotic perfume in its purest form where the "euphoria" of fragrance dedicated to the ancient fertility Goddess contains a plant responsible for less metaphoric effects. In the Hathor shrine, the relationship between the incense of Punt and the divine fragrance of the gods is made explicit, but this is another subject.
However, I wish to make a clear statement about the "narcotic perfumes". It is important to make a  distinction between symbolic texts, many times infused with "esoteric" information and little "substance", the "narcotic" term used by doctors and my view of narcotic scents and fertility. There are fragrant molecules, natural extracts or perfume types showing this type of effect and all belong to a bizarre area on the olfactory map with a significant effect on sexuality. On the other hand, the use of these ingredients and the perfumes are rather the fruit of intuition and not a secret science written "under" the pyramids.
You can find some interesting aspects about Egypt and unusual perfumes in the book Fragrance: The psychology and biology of perfume.

I chose for you a documentary (no perfumes) about the Sex in Ancient Egypt and the Turin erotic papyrus.







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Friday, April 8

L’Herbier parfumé - un livre sur les parfums pour le weekend

J'ai récemment découvert un très beau livre sur les plantes et les parfums que je vous propose ce printemps comme un parcours pour savourer la Nature, une sorte de préface à une longue série d'articles sur les fleurs méconnues de la parfumerie que je viens de préparer.
L'herbier parfumé : Histoires humaines des plantes à parfum, écrit par Freddy Ghozland et Xavier Fernandez est un ouvrage dédié à l'amour des plantes et aux odeurs spéciales qui ont sillonné l'histoire de la parfumerie. C'est une approche très intéressante car le livre mélange d'une manière originale l'histoire du parfum, l'histoire des plantes, leur origine, leur association, leur usage dans la parfumerie mais aussi des recettes de Bernard Garotin.
L'auteur a demandé à trente-huit parfumeurs parler à travers ces plantes à parfum, à retracer leur quotidien, à expliquer leur choix. Le profil des parfumeurs nous dévoile des créateurs assez peu connus ainsi que des créations qui n'ont pas été dévoilées dans la presse. Il y a encore des parfums, surtout pour les produits de soin ou les produits ménagers, dont je ne sais absolument rien car le nom du créateur n'a pas été communiqué, les produits se sont perdus au cours du temps. Avec L'herbier parfumé, quand la parole a été donnée aux parfumeurs, j'ai appris des faits assez surprenants, par exemple la première création de Dominique Ropion et ses premiers pas dans la parfumerie, avant son premier grand parfum qui m'éblouit encore.

Voilà la liste des parfumeurs et les plantes qu'ils présentent dans L'herbier parfumé:

Alexandra Monet pour l’anis étoilé
Alain Garossi pour l’armoise
Maurice Roucel pour le basilic
Caroline Mallejac pour le benjoin
Olivier Pescheux pour la bergamote
Françoise Caron pour le bigaradier
Daniel Molière pour le bourgeon de cassis
Dominique Preyssas pour la cannelle
Pascal Sillon pour la cardamome
Dominique Ropion pour la cassie
Michel Almairac pour le cèdre
Pierre Nuyens pour le ciste
Jeanne-Marie Faugier pour l’encens
Guillaume Flavigny pour la fève tonka
Évelyne Boulanger pour le gaïac
Jeanine Mongin pour le galbanum
Nathalie Zagigaëff pour le géranium
Richard Ibanez pour le gingembre
Alexandra Kosinski pour l’immortelle
Amandine Marie pour l’iris
Bernard Ellena pour le jasmin
Alain Allione pour la lavande
Frédérique Lecœur pour la mandarine
Raphaël Haury pour le maté
Mathilde Laurent pour la menthe
Karine Dubreuil pour le mimosa
François Robert pour le narcisse
Jean Kerléo pour l’osmanthus
Patricia de Nicolaï pour le patchouli
Sylvie Jourdet pour la rose
Jacques Huclier pour le santal
Mathilde Bijaoui pour la sauge sclarée
Olivier Polge pour le styrax
Aurélien Guichard pour la tubéreuse
Christophe Raynaud pour la vanille
Francis Kurkdjian pour le vétiver
Sophie Labbé pour la violette
Jean Guichard pour l’ylang ylang

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Thursday, April 7

HAUTE PARFUMERIE - new auction this week at Richelieu Drouot

This week only in Paris - a splendid collection of perfume bottles from 1890 to 1960's. There are more than 280 bottles including 80 Baccarat from L.T PIVER, D’ORSAY, GUERLAIN, MOLINARD, LUBIN, ARYS, RIGAUD, VOLNAY, GUELDY, HOUBIGANT, GIRAUD, GRAVIER, ISABEY, BICHARA, GABILLA, COTY. and of course, bottles signed by DÉPINOIX, Julien VIARD, Lucien GAILLARD, René LALIQUE.

HAUTE PARFUMERIE
Collection Serge Albisetti


Drouot-Richelieu - Salle 14
Vendredi 8 avr. 2011 à  14h00

Expositions publiques:
Jeudi 7 Avril 2011 de 11h à 18h
Le matin de la vente de 11h 00 à 12h 00

Experts: Bernard GANGLER

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Wednesday, April 6

A*Men Pure Havane by Thierry Mugler - new fragrance review

Thierry Mugler is the only fragrance house who has carefully orchestrated every flanker and the only case where this type of perfume is not just a new bottle to seduce the customers. For this reason I expect every year their new interpretations and I've been rarely deceived. A*Men Pure Havane is exceptional and maybe the best flanker of this classic. This time, its not exactly the dry note of a cigar that was bottled, but that unusual scent found inside a bouquet of vanilla beans. If you open the metallic box containing about a hundred of pure dark brown vanilla beans, used to prepare the vanilla tincture, you are in front of the best tobacco you can find on earth. The scent of raw vanilla and the scent of a vanilla bean after one or 3 years, perfectly illustrates the warm, animalic, sweet and dried fruit facets of the tobacco. This idea was expressed by Havana Vanille (Artisan Parfumeur) but now, much better by A*Men Pure Havane in its characteristic oriental sweet context. Compared to the classic A*Men, this one is softer, more oriental vanilla and less patchouli, with an exquisite pipe tobacco and leather scent. In fact, it recalls the scent of the leather pouches for pipes. The dried fruit, liquorish cognac, and the rose-damascenone facet are perfectly represented. What is new here is the woody accord. A*Men Pure Havane is not just a tobacco note added to the classic perfume, it is an entire reorchestration from top to bottom. This sweet woody accord can be found in the recent Fahrenheit version or the new exceptional Midnight in Paris (Van Cleef & Arpels) but it is actually magnified in A*Men Pure Havane. The vanilla note dominates the drydown where the caramel facet is less obvious. It has a very beautiful gender duality, half masculine, half feminine and stands between A*Men and a version of Angel with a beautiful cherry note (Aphrodisiac Kilian), a very soft "burnt" note found in Lapsang tea and Black Bulgari and even an almond-anise licorice aspect.
A*Men Pure Havane is the exquisite sweet tobacco note of "Fumerie turque" with the special patchouli off Borneo, all set in a rich creamy vanilla context with a honeyed cocoa facet.

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Tuesday, April 5

Un Jardin sur le Toit (Hermès) - new fragrance review


Jean Claude Ellena amazed me once again with one of the most poetical fragrances of this spring where the evanescent fragility seems to be the main theme. Un Jardin sur le Toit is the suspended garden over the boutique scented with Kelly Calèche, where only the lightest molecules with low molecular weight (the very volatile fruity esters) could reach. Like a poem written on the lightness of clouds, where the fresh colors of an aquarelle are mixed by the wind, Un Jardin sur le Toit speaks about the tender quality of fresh green fruits. The perfume opens with an explosion of green notes where apple and pear are mixed with the odor of grass, lemon and grapefruit through a very simple combination of molecules. Jean Claude Ellena seized the ephemeral scent of the early spring magnolia flowers with their strange note of decomposing fruits, watery herbs and macerating tea. This unusual touch, somehow the less attractive facet of the flower, has been brilliantly metamorphosed by the perfumer into something of an unprecedented beauty lasting several minutes only. The sparkling quality of the perfume, after the short transition of the obvious fresh fruits, suggests the quality of champagne and white wine. A delicate litchi note, a bubbling butyric aspect suggesting "lie de vin", the acidic freshness of the pomegranate and some delicate rose-violet notes, like those found inside the elder flower, contribute to the unusual effect. Is this a party on the roof where you can smell the organic grass, the fresh fruits, the lipstick rose and some champagne? Inside this aerial poem one can even detect a short quote, almost a subtle homage to Sophia Grosjman and her style, written with small letters on a musky scarf. The entire perfume has the same bitter sour character found in many Jean Claude Ellena perfumes as if this pastoral urban party was accompanied by a Kelly Calèche melody. The drydown of the perfume has the bitterness of vetiver and rhubarb wrapped in soft creamy musks and transparent jasmine, but also a very faint accent of tree moss.
Unlike his first creations for Hermès, Jean Claude Ellena is not really innovating inside this beautiful fragrance, he simply rearranges the story, as he did for Voyage.
I appreciate the work and the early moments of the scent but I would like also that Un Jardin sur le Toit had more character, as it was the case for the first garden, and more tenacity on the skin. After less than 2 hours, a generous splash on my skin becomes the combination of 2 well known molecules, a very faint odor that could be any Roger & Gallet inexpensive cologne. The most challenging thing for the master perfumer would be to change the duration of his compositions, from several minutes to several hours. His most interesting stories happen usually on top notes when original ideas are brought to life juxtaposing ingredients with contrast and personality. My secret wish is to see all these ideas orchestrated in the same manner as he did for Déclaration and Terre d'Hermès, 2 masterpieces with authentic sillage.
For me, Un Jardin sur le Toit, despite its poetical value and subtle refinement, is still a sketch, a beautiful idea and not exactly a perfume. I do not understand why Jean Claude Ellena acts as if he would refuse us the joy of wearing a perfume. One should compare his transparency, lightness and crystalline freshness with the perfumes of Mathilde Laurent. In all her creations, but mostly in those with a citrus, green or fruity theme, the Cartier in-house perfumer has brilliantly managed to give life to her ideas and to the joy of scent. From this point of view and for this type of notes she surpassed Jean Claude Ellena. When I wear her perfumes I feel them but when I wear the light Hermès creations I am always frustrated by their evanescent quality. One cannot apply a cologne every 2 hours in a society that complains about perfumes and dreams about a non scented work place.

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Monday, April 4

Weekend à Deauville (Patricia de Nicolai) - new fragrance review

Patricia de Nicolai continues to mesmerize our imagination with her profound sense of classicism and her continuous quest of elegant harmonies of an impeccable taste. Weekend à Deauville, a previous limited edition, now reworked for a more sparkling effect and subtle approach, is an exceptional introduction of this spring. The perfumer captures the cold freshness of early mornings in the profusion of a green garden invaded by the lemony honeysuckle surrounded by the breeze of Deauville.
The fragrance, a direct descendent of the extraordinary Cristalle (Chanel), takes us in a new journey where the marine notes of Calone and Helional suggest with accuracy the morning breeze. More than 20 years ago, Yves Tanguy used the same Cristalle structure overdosing the Calone to create the revolutionary perfume New West (Aramis). Patricia de Nicolai offers us a suspended moment in time between 2 great perfumes and with a great elegance she draws a familiar landscape from a new angle. The use of cardamom, the subtle leather note, the green galbanum facet and the powdery quality opposed to the crystalline sparkling watery note are the original elements of this creation. Like a landscape artist, Patricia de Nicolai seized the immensity of space infused with pastoral qualities but she seized also its fragile delicacy. Her freshness is poetic and nostalgic, not sporty, tonic or vivid. Mint and basil are echoed by the sensual touch of jasmine absolute in a floral watery aquarelle where the shades of honeysuckle and lily of the valley creates the illusion of a caressing wind with a musky touch.

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Sunday, April 3

Spring honeysuckle fragrance- the ideal freshness

Early spring, right before the blooming period of lilac, the fresh air, still cold during the abundant rain showers, is scented by one of the most fabulous flowers. The spring honeysuckle with its small white flowers hidden under the green leaves is filling the air with a refreshing green lemony scent with an amazing diffusion, perceptible many meters away.
The perfume of honeysuckle captivated the soul of the most talented perfumers in the past century, but its reproduction was extremely difficult. The main ingredients responsible for the scent were not available until the 1960's.
One of the earliest reproduction of the flower was Olnicera from Naef around 1912, followed by Chèvrefeuille, also from Naef, and in the 20's both deLaire and Givaudan had their versions, based on the same principle. Even the young Edmond Roudnitska created a version, very nice as a floral perfume, but quite far from the real prototype. All these honeysuckle creations served a different purpose than the floral reproduction. For many decades these were the enduring prototypes, what perfumers believed to be a honeysuckle, an academic interpretation which became more and more abstract compared to the original source. The scent of spring honeysuckle, so hard to be reproduced with accuracy, haunted the spirit of Roudnitska for many decades, but he was the first one to made the true interpretation of the scent. Diorella is in fact the interpretation of a honeysuckle over a chypre base. Take off the non floral drydown and you have the most poetic, natural and real interpretation of this flower, long before headspace could tell perfumers the structure of the flower. For several decades, a honeysuckle absolute was available in Grasse and I found this product in the original formula of several important creations imagined before WWII. But that was the summer version, with a different profile, closer to orange flower and with a subtle honeyed jasmine touch.
The spring honeysuckle has common points with the lily of the valley, the green tea scent, the very green jasmine fractions and the amazing cédrat flowers. Its very diffusive scent covers almost the entire olfactory space, from the very green notes brought by some leaf esters and their acetates to the strong indol, in its most floral stage. Indol, one of the most amazing ingredients has many facets, but in this case its scent is floral while in the summer version it is floral and animalic because the context can twist the facets of a versatile ingredient. A strong lemony note surrounds the rosy molecules while soft peach accents are underlining the light jasmine facet and a very delicate neroli note. Very soft aromatic elements suggesting basil and a subtle cardamom accord contribute to the sparkling effect of this amazing flower, while an extremely refined vanilla note will give a round effect to the contrasted freshness.
To illustrate the perfume of the flowers I made a short reproduction, without disclosing the proportions, that can be used for a further study of the floral scent and its interpretation (the ingredients are arranged according to their importance and the first part represents the scent main profile)

Geraniol
Nerol
Linalool
Citral, 10%
Hexenol cis 3, 10%
Cis 3 hexenyl Acetate, 10%
Benzyl acetate
Paradisone
Indol 10%
Jasmone cis, 10%
Undecalactone gamma, 10%
Jasmine lactone, 10%
Neroli oil
Farnesol
Citronelil acetate
Phenylacetaldehyde 85, 10%
Phenylethyl alcohol
+
Basil, 10%
Cardamom, 10%
Cis 3 hexenyl Butyrate, 10%
Cis 3 hexenyl Tiglate, 1%
C9 aldehyde, 1%
C10 aldehyde, 1%
Vanillin, 1%
Methyl cinnamate, 1%
Citronella oil, 10%
+
Helional
2,3 dihydrofarnesol
Cyclosia Base
Helvetolide

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Saturday, April 2

Olfactophobia in college

A possible ban of fragrance in an american college. 
I'm rather skeptical about the actual use of strong perfumes by the very young, but this recent case presented by Fox News shows a popular trend  - the fear of perfumes. The scent is present in the detergents and in the deodorants used by everybody, not only as an EDT, and what exactly they will ban is unclear. From my personal experience in Paris, where I'm surrounded by many schools, I can tell you that, indeed, there is a noticeable scent around kids and ados but this doesn't come from perfume! It is their personal care products combined with the very substantive molecules used in detergents that are responsible for a light lingering scent around, where musks and woody ambery molecules are dominating. When you take a shower in the morning, when you change your clothes and in 20 minutes you are in school, it is impossible to avoid any scent. This ban, where people evoke the environmental allergies and the perfume is "guilty", simply reflects the disease of the modern society. The perfume, once a remedy, becomes a poison. It is not easy to deal with people sensitive to chemicals, but banning the perfume in a college will not solve their problems. In the 80's when very strong perfumes were the main trend, I could understand this, but now, when fragrances became light, less diffusive and less tenacious (Many Parisians are not perfumed, not because they do not use a fragrance), this discussion will not lead us to a better future. Everything is scented, you should deal with that if you want to protect sensitive people in a college.


I selected a XIXth century text that I will use in a more elaborate paper because it reflects an idea that has not changed since antiquity - the influence of the invisible perfume, both remedy and poison, the expression of heaven and the sinful garden. Perfume is the corruption of soul, but the soul of the modern society is the body. Thus, the fragrance corrupts the body and this olfactophobia will spread in the next years  as a new disease of the Western societies. No campaign will solve that.

"De l'influence des parfums. Il paraît - c'est un docteur yankee qui l'assure - qu'un traitement par le musc développe chez la femme l'amabilité et la sensualité; que les jeunes filles soumises à l'influence de la rose deviennent effrontées, hautaines, querelleuses et avares; que le géranium provoque la hardiesse dans le caractère; la violette prédispose à la piété et à la dévotion; le benjoin porte à la rêverie, à la poésie, à l'inconstance; le patchouli rend hystérique; la menthe développe la ruse; le camphre abrutit; le cuir de russie cause l'indolence et la lasciveté; l'opoponax prédispose à la folie; l'œillet à l'amour. Le jour n'est pas éloigné où l'on pourra s'écrier: Dis-moi qui tu sens je te dirai qui tu es!"
Gazette de gynécologie (1892) & Bulletin de la Société d'Horticulture (1893)

« Of the influence of perfumes. It seems – a Yankee doctor claims – that a treatment by musk develops pleasantness and sensuality in women ; that young girls subjected to the influence of rose become cheeky, haughty, quarrelsome and avaricious ; that geranium provokes boldness of character ; violet predisposes to piety and to devotion ; benzoin leads to daydreaming, poetry, fickleness ; patchouli fosters hysteria ; mint develops cunning ; camphor stultifies ; Russian leather causes indolence and lasciviousness ; opoponax predisposes to madness ; carnation to love. The day is not far off when we will be able to cry out : Tell me who you smell and I will tell you who you are ! »


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