Talking to the Experts: The World of Fragrance Today and Tomorrow

The Fragrance Foundation hosted the inaugural Fragrance Forum “Taking to the Experts: The World of Fragrance Today and Tomorrow,” at the French Institute / Alliance Française on Thursday, October 15, 2015.

All images credited to Casey Kelbaugh

Allure Magazine Editor-in-Chief, Linda Wells, led distinguished panelists Daniel Annese, Global President, Aramis and Designer Fragrances at The Estée Lauder Companies; Alexandre Choueiri, President, International Designer Collections at L’Oréal USA; Linda Levy, Omni Group Vice-President/DMM-Fragrances at Macy’s, Inc.; and Jerry Vittoria, President, Fine Fragrances North America at fragrance house Firmenich, Inc., in a wide ranging discussion on the current state of the fragrance industry and how best to meet shifting consumer expectations.

While the discussion touched on millennials, the Latino customer, hits and misses, storytelling, the importance of the juice and more, the overarching message was the need to focus on the customer.

“Our biggest area of opportunity is the customer,” said Linda Levy, Omni Group Vice-President/DMM – Fragrances at Macy’s, Inc. “The customer is the focus and center of every decision that we make.”

All images credited to Casey Kelbaugh

“It’s not one size fits all anymore,” added Alexandre Choueiri, President, International Designer Collections at L’Oréal USA, “Customers want to feel special”
The men’s category is seen as an area with growth potential.

“There is a significant percentage of users in North America who only use fragrances that are gifted to them,” said Jerry Vittoria, President, Fine Fragrances North America at fragrance house Firmenich, of men. “We need effective training tools to educate the consumer.” 

Millennials continue to be a hot topic. 

According to Daniel Annese, Global President, Aramis and Designer Fragrances at The Estée Lauder Companies – which has set up an advisory board of 500 millennials - “The best way to connect with consumers is online.” “But,” he added, “They need consistency in what they see. The experience online and in print should match what they are greeted with in-store.”

 “What’s really different today is it’s all about the experience and it’s all about sharing,” added Linda Levy. “A review online means everything to a consumer.”

Choueiri challenged the panel not to think of it as a choice between online or brick-and-mortar. “We send samples out online,” he said, “but people are buying in-store.”
Fragrance Foundation President, Elizabeth Musmanno summed up the evening, “It is about the story, but it’s still about the juice. Ultimately, we need that juice to be fabulous.”

All images credited to Casey Kelbaugh

The Fragrance Forum series in an opportunity for the fragrance industry to come together around topics and discussions that have a direct impact on the business.

“Part of our mission at The Fragrance Foundation is to inform and enlighten,” Musmanno said, “We are honored to have had such a distinguished group of panelists join us, whose breadth of knowledge and insight allows us to dive deeply into the issues surrounding the industry today.”

During Thursday’s Fragrance Forum, the Fragrance Foundation continued the long tradition of the fragrance industry giving back, raising money to benefit UNICEF – The United Nations Children’s Fund, which provides long-term humanitarian and developmental assistance to children and mothers in need.

The Ugly Reality of Fragrance Sameness: Insights into Stagnant Practices

The homogeneity of fragrances in the marketplace is markedly poignant, especially lately. If you have shopped for perfume yourself (and who hasn't) you have surely noted it, despairing at the lack of what could be different enough to jolt your senses into a eureka moment. It seldom happens. If you have followed out Twin Peaks articles comparing smell alike perfumes you are equipped with solid argumentative aces. Back in 2008 I had devoted space into why it's so difficult to protect a perfume formula as a unique intellectual property with all rights stemming from this and why formulae are copied, more or less.

There are reasons however that are increasingly more relevant than just the historical explanations or the "shooting" of the scent juice that goes on behind closed doors. Those reasons have to do with both marketing research and with chemical intricacies going on in the laboratory. Let's take them one by one.

Source: chiccham.blogspot.com via Sandy on Pinterest

How Perfume Marketing Tests Work

 Modern perfume development for the mainstream invariably involves focus groups. Each perfume "draft" is presented to a randomly chosen public segment, stratified according to their social status. But they are not presented with the draft free to comment on it the way an evaluator works. There is no free association or technical comments, if only because there is no specific knowledge of how to go about the latter and the former would be practically useless and highly individualized anyway. Instead people are presented with a couple of fragrance "mods" juxtaposed with a benchmark perfume that has been performing very well in the market for some time (an Angel, a Tresor, a Dior J'Adore, a Cool Water...). They fill out a predefined questionnaire which will further dictate the twists in the formula that the evaluators will demand of the perfumer. This is why best-selling/popular perfume lists based on market research are somewhat skewed to begin with, exactly because they commence with certain givens within the parameters of which the subjects are allowed to move. This is why so many fragrances smell like tiny variations of the exact same design.

And because time and financial pressures are huge, often the direction of the perfume (the "brief") is given not to one team headed by a single perfumer, but to many, in different companies. If each of them modifies a small part of the whole, then more than one perfumer takes credit for the finished product. This is you end up with not knowing who masterminded what, which in a way devalues the artistic authorship.

The Ubiquitousness of the Same Raw Materials

 One can complain about the endless tirade of pink pepper or oud in the listed "notes" of any given perfume press release, but the truth is that the notes list bears little resemblance to what actually goes inside the perfume formula ingredients-wise. Basically no more than 20 manufactured raw materials (natural-identical or synthesized anew) get recycled endlessly. These include citronellol, phenyl ethyl alcohol, hedione, heliotropine, ionone, methyl ionone, hydroxycitronellal (despite the IFRA reductions it can still be used in very small amounts), coumarin (ditto), Lilial, salicylates, patchouli, Iso-E Super, synthetic sandalwood, vanillin, synthetic musks, and ambroxan. They potentially have the ability to build diverse "effects" when put into context, but the reason they're preferred has to do with two very important reasons.

One is their unchanging nature; they are stable, technically dependable materials, linear, practical and always of the same quality standards (unlike the wavering quality of natural materials or less stabilized ones which are making their way out of the perfumer's palette as we speak). Therefore they're produced in gigantic quantities and supply dictates usage. They have effectively become perfumers' currency.

Not only that, but the vast supply and subsequent widespread use means that the public has been accustomed to them via familiarization; and familiarization, in matters so inextricably tied to memory and emotion as smell is, means that the public seeks them out again and again.

A vicious circle exacerbated by the avalanche rhythm of fragrance releases in the last decade.

Fragrance Industry Insiders: Veronique Gabai-Pinsky of the Lauder Group

“Sure the first purchase of a fragrance is linked to a concept—you buy a perfume because of the name, or the advertisements or the shape of a bottle,” she says. “But the second and the third and the fourth are all about your connection to the scent.”

Thus explains the hold of perfume Veronique Gabai-Pinsky, a creator behind market hits such as DKNY Be Delicious, Coach's Poppy and Michael Kors by Michael Kors, as revealed in a portrait at Forbes magazine by Meghan Casserly.

"Gabai-Pinsky’s presence is nothing if not welcoming. Her French-inflected English and tasteful Van Cleef jewelry are just what you’d imagine from a high-powered executive at one of the world’s largest and well known beauty companies, only without a shred of pretension. When I jokingly warn her I don’t have the vocabulary of fragrance, she reassured me that there isn’t and that no one should tell me otherwise. When I told her the fragrance on my wrists (DKNY’s Be Delicious) smelled like “college,” she seemed to understand entirely.

Veronique Gabai-Pinsky isn't exactly a perfumer alone, nor is she exactly just an executive: she combines worlds thanks to her background which started with business school and landed under the wing of a perfumer at L'Oreal in Paris. She's now Global Brand Aramis and Designer Fragrances at the Estee Lauder Group of Companies.
She reveals" “My role is to work with those wonderful designers to translate the value and equity of their brand into a different category of business that they may have an affinity for but not necessarily experience in,” she says, “And at the same time help them navigate the rules of engagement in the fragrance business.”

Christophe Laudamiel on How Smell Works

How does our brain pick up scents? Fractally it seems and not even trained noses get everything at once. As acclaimed perfumer Christophe Laudamiel says:
"[Smell perception of fragrant molecules] is processed like patches, like facets. And even the best experts can smell only five to eight facets at a given time," explains Laudamiel during his Big Think interview. "For the brain to register a facet, you have to have at least several components for each facet which together are going to give this signature that then you will recognize as coffee. But you won't be able to recognize the different things that you would see in coffee. Some of them, if you take them one-by-one... smell like raw potato, another one is going to smell like smoke, another one like toasted bread, another one like earth, and et cetera." And goes on to add that when creating Aura for the Thierry Mugler coffret he composed for the issue of novel-adapting film "Perfume, Story of a Murderer", asked to recreate the scent of a virgin, "he focused on the scents of milky elements like rice and the soft and velvety scents of water lily and apricot skin. Of course, to add a little human je ne sais quoi to the fragrance, he also added an a few aldehydes, which helped to mimic the notes that our decomposing skin emits regularly".
Read the rest of the article on the Big Think link.


Pic from the film "Perfume, Story of a Murderer" via jdnightghobhadi/livjournal

Oppose the Safe Cosmetics Act in the USA

News of an ominous nature reached me. It's been in the cards for some time (read our article from February 2010), but now indie perfumers are alarmed enough to notify us of impending changes which are about both to close down their businesses and to effect dramatic changes in the industry at large.

Indie perfumer Ayala Moriel who initially notified me is calling it dire: "The chances that you in the USA and as a result in all North America will be able to use any natural products, essential oils and natural perfumes included, is in danger. Not to mention the livelihood of many small businesses, due to the "Campaign for Safe Cosmetics" for passing the "Safe Cosmetics Act" (SCA for short).The main problem with this act is that it proposes that all compoments of all ingnredients in cosmetic products will be listed on the label. Considering that most natural products are very complex and contain many, many molecules (for example: rose essential oil contains over 200 identified molecules and still has many trace elements that are yet to be discovered), this will make labeling of natural cosmetics (perfume included) non-realistic. There will simply be no room to put all the ingredients on the label... So what this law will really do is ensure that mostly if not only synthetic mateirals (which are "purely" just one or two molecules) will be used in your skin care and body products! This will make it very difficult for the growers and distillers of natural raw materials for perfumes and cosmetics to survive, not to mention eliminate the small businesses who will not be able to catch up with such regulations, labeling-wise and sourcing-wise. This is similar (but even worse!!!) than the nightmare that has been going on in Europe for the past decade with IFRA regulations and RIFM (the EU regulatory body). It is not too late to stop this from happening! And if we don't, than the entire world will be smelling like Calone and artifical fruits, and all we could wear on our skin will be silicone... Renown aromatherapist Robert Tisserand, who is an expert on the issue of safety of essential oils and understand the threat of this act wrote an excellent article which will shed more light on the matter. Here's an exerpt: "The thinking behind the wording of SCA 2010 is naive because there is an assumption that substances are either “safe” or “toxic”, and that if we simply eliminate the toxic ones from personal care products, the world will be a better place. It may seem like an excellent idea, but once you start talking about parts per million or lower, it is unnecessary and unrealistic. Not even foods are regulated to that degree, and our exposure to foods is far greater than our exposure to cosmetics".

Read the rest of Robert Tisserand's article, and if you live in the USA, please act on it and Sign the Oppose SCA Petition (the goal of 5000 signatures is only 111 short, so I trust our readers will do their share and help reach it!), write Congress, write Your Senator, vote "Oppose" on Open Congress, and see your representatives & senators in person during Summer Recess August 9 - September 12. If you are on Twitter, please follow the #OpposeSCA hashtag. to oppose this bill, which is draconian and ridiculous and will only ensure that we will all be only using synthetics that are manufactured by large corporations and are supposedly safe, rather than plants and oils that were used for thousands of years. It will do nothing for improving safety in cosmetics.

Educate yourself, by reading the following relevant links:
Oppose SCA
Indie Business Blog
Essential U
Personal Care Truth
Robert Tisserand's article

Read more also on Ayala Moriel's personal blog (alongside some wonderful news of hers).

Additionally read about the Natural Perfumers' Guild opposing it on this link.

If you want to follow everything about perfumery restrictions follow the label "Restricions" on our Series linked here on PerfumeShrine.

The IFRA 45th Amendment: Not What You Expected

The sensationalist titles and the panic woes across the Net about perfume reformulation due to perfumery restrictions issued by regulatory body IFRA (International Fragrance Association) bring on more traffic, furore and fame to the authors than positive results for the industry and the consumer, but that's an old story. True to form and confirming our previous balanced and rational treatment of the subject, the latest amendement of IFRA regulations comes with only 7 changes which will not impact the industry as significantly as claimed.

Critically, the rumours on new policies regulating methyleugenol and fyrocoumarins are not verified by the official source.
“This year’s Amendment will hardly affect the palettes of perfumers,” said Jean-Pierre Houri, IFRA director general. “Previous years have seen quite heavy Amendments due to the change over to our new Quantitative Risk Assessment (QRA)* approach. However, this is nearly complete and is reflected in this year’s very light Amendment,” explained Houri as featured on Perfumer & Flavorist.

In regards to whether all companies are bound by the policies of IFRA, let us state that the regulatory restrictions are mandatory for the companies who are members of IFRA (IFRA began as a self-regulatory body and the vast majority of perfume companies are adherening therefore to its rules)

*Quantative Risk Assesment is a process through which fragrance materials suspect for skin contact sensitisation are rationed and was introduced in 2005.

You can read the whole text of the IFRA 45th Amendment announcement follow this link.
Please refer to this link for ingredients restricted and that link for ingredients prohibited.

Related reading on Perfume Shrine: Restrictions part 1, Restrictions part 2

Grasse-hoppers part2: tour highlights & raw materials draw!

Reflecting upon Grasse and the Côte d'Azur I find myself in an embarrassment of riches: Is it the Notre-Dame-de-Puy cathedral with its paintings by Rubens that I retain most dearly in my heart or the sweeping hill-top view to La Plaine des Roses where hundreds of roses are attentively cultivated for their precious nectar? Or is the afternoon sunshine that poored through the windows of our dilapidated old building, one among the many in the old town, making the ochre and Venetian-sienna-shaded walls come alive four hundred years after the original stones had been lain? The quaint, small region of Grasse, awash with both aromata of fine perfumery and diesel fumes of the traffic of the greater area, as well as the larger town of Cannes, are like two faded princesses retaining their past memories hidden into the corners of dusty rooms where old, yellowed letters of paramours were carefully tucked away in secret drawers.

Semi-rural but devoid of a matching atmosphere, Grasse especially is less romantic than anticipated, yet for the eternal student of both perfumery and culture it poses its own special challenges that seem none the less rewarding. Delving into the perfumery firms and factories through trusted connections is the best lesson of them all and I am glad I am able to offer an unprecedented gift for our readers: A Sampler of Raw Materials procured in the Grasse area for one lucky reader who will state their interest in the comments. Thus, we’re giving everyone a chance for pedagogical familiarization with the inner workings of fine perfumery. I trust you will appreciate the novelty of the offer!

photo by Elena Vosnaki

But to revert to mapping out the rich experiences that the Riviera holds, one is at a loss on what to enumerate. Grasse holds a privileged spot, a few kilometers north of Pégomas, past Aurbeau-sur-Siagne and only a 20-minute ride from Cannes. The production of leather goods during the Renaissance took place principally in Montpellier, a town famous for its tanneries, which was closely rivaling Grasse. However it was only the later that rose to perfumery through the habit of scenting gloves and leather goods with floral essences from the abundant-producing area so as to dissipate the strong, pungent smells of the hides. Although initially Catherine de Medici, proud of her hands and a fan of leather gloves to protect them, ordered products from local artisans, it was Marie de Médicis (1575-1642), queen consort, who ~lured by perfumes from Cyprus, the famous chyprés~ sent for her Florentine perfumer Tombarelli to come to Grasse, where the flowers were renowned, instructing him to capture their ambience in perfumed essences. It was thus that Grasse knew a rebirth in economical terms and became The Perfume Capital ever since the 18th century thanks to the mild climate and the protected, sheltered embrace of the hills around.

The mimosa which garlands the area in late winter and early spring is perhaps the most famous of the local flora, imported originally by Captain James Cook from Australia and soon a favourite with the British aristocracy for their villas at Cannes. Queen Victoria herself used to sojourn at the Grande Hotel Grasse, a beautiful white building that is now referred to as Palais Provençal. Jasmine, a key ingredient of many perfumes and famously the culprit in the conception of Chanel No.5 by Ernest Beaux, was brought to the South of France by the Moors in the 16th century. Even though reputation has it that several tons of jasmine are harvested in the area still, the vines were not in bloom yet and even so the notorious Grasse jasmine is used in minute quantities in only the extraits of some prestigious perfumes. The 1860 construction of the Siagne canal for irrigation purposes is aiding the preservation of both these and (the very sparse) tuberoses fields. Wild lavender, as well as tamer varieties, grow around the area; hand-harvested selectively and distilled producing an exceptional aromatic oil. The town is awash with local aromata of various origins: In the lively market at La Place aux Herbes, Provençal herbs (rosemary, thyme, estragon), carrots and lettuces are sold by the kilo, tempting you into buying a little of each. Even the very area code of Grasse, 06130, has found its way into the name of a niche perfume brand, parfums Zero Six Cent Trente by local enterpreuneur Nicolas Chabert.

photo by Elena Vosnaki

Nevertheless, today oils and essences for both fragrancing & flavouring come from around the world finding their way into Grasse and not one but four establishments dedicated to perfume touring grace its streets: The International Museum of Perfume and the parfumeries de Fragonard (with its own small museum), Molinard and Galimard. Besides those, there are factories of Mane, Robertet and Firmenich which operate producing their own products.

VISIT HIGHLIGHTS & GUIDE

Musée International de la Parfumerie

(International Museum of Perfumery) is located at 2 Boulevard du Jeu de Ballon, 06130 Grasse. Tel: +33 4 9336 8020
info@museesdegrasse.com (Visiting hours: Jun-Sep: 10a-7p M-Su, Oct-May: 10a-12:30p, 2p-5:30p W-M.)
Reopened in 2008 (it was originally inaugaurated in 1989), with a futuristic interior designer by Frédéric Jung, the Museum encompasses a large area that is best savoured slowly. The “scented” video screening is the most tourist-attracting but it is the presentation of plants used in the perfume industry which presents the most interest. Roaming amidst the exhibits that included thousands of pieces of scented memorabilia and beautiful bottles in every material imaginable, we’re struck by the travelling grooming essentials of fated Marie-Antoinette or the Japanese Koh-Do ritual utensils (Koh-Do is an ancient Eastern game involving smoking incense being passed to the participants)

Fragonard Parfumeur

BP 22060 1er Etage de l'Usine Historique
20 boulevard Fragonard 06132 Grasse
Phone : +33 (0)4 92 42 34 34
Email : fragonard@fragonard.com
Visiting hours: 9a-noon, 2p-5:30p M-Sa, Summer: 9a-6p

Molinard perfumery

60, boulevard Victor Hugo, 06130 Grasse
Tel: +33 4 9336 0162
Email: tourisme@molinard.com,france@molinard.com
Visiting hours: Oct-May: 9a-12:30p, 2p-6p M-Su, Jun-Sep: 9a-6:30p M-Su.

Parfumerie Galimard

73 route de Cannes - 06131 Grasse
Tél : 04.93.09.20.00 Fax : 04.93.70.36.22
International: Tél : +33.4.93.09.20.00 Fax : +33.4.93.70.36.22
Visiting hours: 9a-noon, 2p-5:30p M-Sa, Summer: 9a-6p

The Fragonard, Galimard and Molinard perfume factories offer free guided tours with multi-lingual options (including Russian and Japanese) while lush, floral scents fill the atmosphere with their delicious aroma. One is invited to watch part of the production and packaging process of the eaux de toilette, perfumes and surprisingly refined soaps first-hand, while the old perfumery equipment and several collectible bottles are also on display. The gift shops are awash with products at advantageous prices, if only a little pushy sales assistants, as is customary into tourist places. The Fragonard perfumery was founded by Eugene Fuchs paying tribute to local artists family, the Fragonards. Today the remains of the old factory are visited, while the production area has been transplated outside the city.
Molinard worked with Baccarat and René Lalique who widely contributed to the House's reputation with sober and elegant scent bottles for their first "soliflores" perfumes (jasmine, rose, violet). But in 1930 René Lalique created exclusive flacon designs for the House of Molinard and this saw the conception of the prestigious bottles such as "Iles d’Or", "Madrigal", or "Le baiser du Faune". Yet say Molinard and everyone recalls their exceptional tobacco oriental "Habanita", meaning "little girl of Havana".
Parfumerie Galimard on the other hand was founded by Jean de Galimard, Lord of Seranon, (a relation of Count de Thorenc and friend of Goethe), in 1747. Founder of the corporation of "Maitres Parfumeurs et Gantiers” (Glovemakers and Perfumers), he supplied the court of Louis " the well-beloved ", King of France, with olive oil, pomades, and perfumes of which he invented the first formulae. Their products still retain a charming rural air.

photo by Fragonard

La Villa-Musée Jean-Honoré Fragonard

23 boulevard Fragonard 06130 Grasse. Tel: +33 4 9336 0161/+33 4 9705 5800
Email: info@museesdegrasse.com
Visiting hours: Jun-Sep: 10a-7p M-Su, Oct & Dec-May: 10a -12.30p, 2p-5.30p W-M

A villa turned into a museum, not to be confused with the Fragonard perfumery, this charming place buried amidst tall palm trees pays homage to three generations of Fragonards: Jean-Honoré, the father; his sister-in-law Marguerite Gérard; his son Alexandre-Évarisre; and grandson Théophile. The most famous, painter Jean-Honoré Fragonard (1732-1806) ~whom you surely know through The Swing and Young Girl Reading~ is omnipresent through a copy of his work The Progress of Love originally rejected by the Duchess du Barry and now residing in New York City. The style of his paintings, French, elegant and erotic, is well transported into the Fragonard perfumes and scented goods as well, all lively and bursting with joie de vivre!

Robertet essences producing company

Established in 1850, Robertet counts itself among the oldest perfumeries in Grasse, but their creations are thoroughly modern as well, having created scents for Gucci, Bond No.9 and L’Oreal. Still, it is their high-quality raw materials which made them the stuff of legend among perfume cognoscenti. Earthy treemoss, iris rootlets, animalic beeswax, vanilla from Madagascar orchids, Amazonian tonka beans, champaca from India, and maté from Brazil produce an intoxicating blend of earthly delights enough to make the head spin. The refining process which happens repeatedly until the finest grade of raw material is attainable (especially when rendering absolute oils out of waxy concretes off precious flowers such as jasmine) can be customized to the client. It is here that the fractionizing of certain oils happens, such as patchouli where some of the headier more hippie-like facets are subtracted; thus the perfumer can custom the essence to their needs (For instance they might want more of the naturally chocolate-reminiscent facets emphasized or the more camphoraceous ones and so on). Among the loveliest of the raw materials here is the iris absolute: Initially herbaceous and almost medicinal, heavy and full of the earthy accent of the soil, it soon attains a woody and powdery prolonged skin-like effect. Roots can be left unpeeled to produce “iris noir” or they can be peeled to make a pale-shaded concrete (waxy substance) which is then refined through solvents into the absolute oil.
I was surprised to learn that iris is currently customarily paired with red berries; not only in perfumery such as in Insolence by Guerlain but also in the flavouring business, as it enhances and prolongs the tang of the berries! Even though originally perfumery iris best grade came from Florence, Italy, a variety known as Iris pallida, today different species come from Morocco and China (much like jasmine does) with shorter maturation periods lowering down the production cost. The original Italian iris needed a long careful harvesting of the rootlets, a drying out phase of a fortnight followed by three year period of maturation resulting in stratosperic prices.

photo by Elena Vosnaki

The Firmenich perfumery branch in Grasse

Firmenich technicians and perfumers seem to favour the CO2 extraction process, also referred to as "supercritical fluid extraction" process; technologically speaking the most advanced method of oil production of them all, resulting in stunningly realistic essences such as pepper, heady tuberose or earthy carrot seeds. Carbon dioxide usually behaves as a gas or as a solid called "dry ice" when frozen. When the temperature and pressure are both increased, the material takes new properties behaving as a "supercritical fluid" ~above its critical temperature (31.1 °C) and critical pressure (72.9 atm/7.39 MPa)~ expanding to fill its container like a gas but with a density like that of a liquid. Supercritical CO2 is used as a perfect solvent due to its role in chemical extraction in addition to its low toxicity and environmental impact, but in what concerns perfumery it's the relatively low temperature of the process and the stability of CO2 which allows most compounds to be extracted with little damage or denaturing.
The white-coat lab technicians work silently for an array of products including detergents and cosmetics scents, while on the second floor where the fine perfumery is located people write up formulae up in their computer for the printed data to be given to laboratory assistants for the blending, before perfumers step in to evaluate and adjust. It’s a fascinating process, not to be missed if you have any sort of access!

For our readers, a sampler set of precious raw materials of fine perfumery is offered for a draw! Please leave a comment if you wish to enter. Submissions are open till Monday 3rd May 9pm.

Related reading: Read the rest of the Perfume Pilgrimage to the Riviera in part 1.

PERFUMism: What Will be the Talk of Town Soon

Today is a very special day! Contrary to many others, I don't usually broadcast what I'm doing outside the scope of Perfume Shrine on these pages. But today is an exception because it is beyond the merely personal and it embraces the community. I have been working alongside two dedicated people on a common cause which is groundbreaking, innovative and will hopefully rekindle the discourse on the genuine love of perfumery and help the industry take notice.

PERFUMism.com is a new platform, totally uncommercial, completely independent, and utterly respectful to those who will partake of its content. It is unlike anything else that exists in the perfume community today in that it aims to communicate serious thoughts on scents and the people involved with them (we have invited acclaimed perfumers, industry insiders, distributors and exhibitors) beyond the overused concept of niche and "art" which is brandished like the latest It-bag in the blogosphere and the discussion fora. Art will feature naturally too, but will it be a pretentious facade to make money or stroke fragile egoes? No, most assuredly not! We're totally against vanity projects!

PERFUMism is a kick in the groin in that it will tell truths! It will not fear, it will not hold back, it will not mollify or caress ears and will question everything! Along with mme Rebecca Veuillet-Gallot, the renowned author of Le Guide du Parfum and the Patricia de Nicolai Parisian boutique-keeper, and Andy Tauer, the well-loved artisan perfumer who financed this new platform, we have been brainstorming on making a difference in the industry. With our passion and with the fertile discourse which you are invited to provide, we hope to effectuate the changes which we have been all praying for for a long while now...
So, without further ado, you're invited to check out the PERFUMism site, to leave a message at the ShoutBox (on the right hand corner, please leave a comment if you feel like it), take a tour and see if something catches your eye, and to subscribe ~entirely for FREE~ to our quarterly newsletter for news and press. Just click the link! There is also a Facebook page and a Twitter page, from where you can follow us.

My personal aim in participating on PERFUMism is to get a powerful message across that perfumery shouldn't be exploited as the new "It" money-maker, but as the only refuge of sensualists in an increasingly sensory-deprived and sterilised world! I am leaving you with a couple of words by Andy which resonate his thought-process behind this innovative concept championing true art in perfumery: "I am finally here, at the starting point, of something new and exciting, collaborative and driven by the quest to move. I am finally here, and I can make a statement. I am not niche! And now, we will start inviting others to join us. We are not many, but we are the few who will make a difference. That's what PERFUMism is about: Making a difference in the world of perfumes".

Perfumers have the European Commision Irritating the Hell out of Them

Thus is -more or less*- titled the article by Nicole Vulser entitled: "Les créateurs de parfums ont la Commission européenne dans le nez" on Le Monde, which I was alerted to by erstwhile perfumer (and combatant) Sandrine Videault.
In it the matter of IFRA restrictions is rehashed with the emphasis on perfumers who are almost at the brink of a revolution (their words) because of them. IFRA, the International Fragrance Association, as you probably know if you've been following this blog, is a self-regulatory body which every June publishes a list of ingredients that have been deemed by a panel of doctors, allergiologists, specialists on envionmental matters and assorted experts as worthy of banning, restricting or heavily rationing. Based on these findings published the European Comission decides on what laws to implement for the cosmetics and perfume industry. To clarify matters on what this body is exactly I'm quoting: "The European Commission acts as an executive of the European Union. The body is responsible for proposing legislation, implementing decisions, upholding the Union's treaties and the general day-to-day running of the Union. The Commission operates as a cabinet government, with 27 Commissioners. There is one Commissioner per member state, though Commissioners are bound to represent the interests of the EU as a whole rather than their home state. [...] The Commissioners and their immediate teams are based in the Berlaymont building of Brussels". Furthermore, there is the RIFM [Research Institute for Fragrance Materials] annual report which provides info and supplements. The interesting part is all major companies are part of RIFM and IFRA, as well as every aromachemical company (and therefore their subsidiaries and bought-out smaller aroma-producing firms from Grasse etc.)
This is no laughing matter, as it proves the matter is much more complex than the much brandied about opinion that it's all about money, substituting expensive naturals for synthetic substitutes. Several synthetic substitutes are also heavily rationed, you see, and the conglomerates also control companies who are living and breathing in naturals!

Several perfumery ingredients have been banned over the years: The animalics (castoreum, real deer musk and civet) certainly have for long. (Any niche perfumer using covertly using them must be relying on old stock bought at previous decades). Heavily restricted is oakmoss (see two articles on this), Peru balsam, coumarin derivatives, fig leaf absolute and benzyl alcohol (a very common ingredient in several perfumes, classic and modern). Also rationed are geranium essence, jasmine (to extreme limits under the upcoming IFRA 44th Amendment), lavender (gosh, lavender, the 1st aromatherapy oil proposed to just about any novice), cade oil (used to render natural leather notes) and the extract from tea leaves.

That leaves the majority of classic fragrances already mutilated, which brings us to the frantic hunting of vintage specimens as long as the reserves hold. But what will happen next? When these dry up will it mean that several of the perfumes with which generations grew up will have no possible footprint in history? This is a sad and foreboding proposition, much like thinking that Galleria Uffici is vacated in lieu of posters depicting the images that were once "real". The matter is complex, as François Demachy points out that "some perfumes were developed because there were no penalised constraints". More or less it meant that perfumers were mapping territories and were free to roam however they pleased on the world of naturals and synthetics. Guerlain's Thierry Wasser laments: "Among the perfumes we sell, the oldest is over 150 years old. If some day Brussels opposes the essence of rose, what am I to do? There is rose in almost all our perfumes… It is a heritage we need to defend" adding "Jean-Paul Guerlain composed Parure for his mother. We were obliged to discontinue it because we could no longer use the ingredients necessary to produce it. It’s heart-breaking.” The French are certainly very proud of their patrimonie olfactive (olfactory heritage) and that factor might come into play if some "preservation project" gets whipped up for the safe-keeping of historical perfumes. L'Osmotheque is a perfume museum but maybe something on a larger scale with other attributes that would allow more people of different walks of life to be able to partake in this rich tradition. Maybe have some recreations of historical fragrances on display (but not sale, since they won't meet with the criteria)? Maybe devote a line of recreated perfumes in some form that doesn't come in contact with skin or gets pulverised into air? I don't how this could be implemented, I'm just thinking aloud.

The matter of restrictions poses threats to modern perfumes as well (and not only those manufactured within the European Union, because very often the licenses and the sales directive involves Europe too, the most sophisticated luxury-consuming market of them all). Sylvie Polette, the marketing vice-president of Parfums Jean-Paul Gaultier, says: “Brussels will be killing off part of the profession: We aren’t able to rebuild everything in the same manner. This will instigate research, but it translates as a real constraint.” Frédéric Appaire, international marketing manager of Paco Rabanne states: "Our palette is diminishing. This is comparable to telling a painter he’s not allowed to use red, then blue or yellow".

Luckily for us these two prominent perfumers, under the aegis of LVMH no less who oversees classic fragrance houses, Thierry Wasser, in-house perfumer of Guerlain, and François Demachy, overseesing perfumer at Parfums Dior, are quoted in what is essentially a serious reference French newspaper, Le Monde. This means something, as it was often referenced that the industry "had been caught sleeping on the wheel" when these regulatory bodies were first founded, as per the words of a renowned perfumer.
It is also perhaps of some significance that there is a strong rumour that Tony Blair, former Prime Minister of the UK, after having quit M6, will be counseling for the giant LVMH luxury house in 2010 with a monetary recompensation that will run "into the six figures" (according to British Telegraph magazine and reported across the media). His aim will be to open the luxury brands into new markets, which basically means Asia (and possibly South America), come to think of it. Blair is already a JP Morgan consultant for Chase and Zurich Financial. The move ~if to be materialized, as it is neither confirmed nor denied for now~ recalls the announcement of Claude Chirac in the direction of PPR and the more recent one of the return of Patrick Ouart, counselor to Nicolas Sarkozy, as right-hand to Bernard Arnault at LVMH.

Whatever the case might be, there is some commotion happening across the luxury industry (LVMH in particular) which might be translateable into changes that might be beneficient to us, the consumers. On the other hand, if there has been speaking up, it most certainly has been with the proviso that every single quote has been carefully monitored by headquarters, as is the usual practice. Which might defeat the purpose, indicating part of a strategy. Let's wait it out and see.

For a complete list of IFRA restricted materials click this IFRA link. And here are the materials in use as of 31 Dec.2009.

For French-reading readers, here is the Le Monde article, in its entirety.

*The idiomatic phrase, which is very a propos in French (as "nez" means nose and also perfumer) indicates a major annoyance.

pics of Belayrmont building via wikimedia commons, Ed.Munch painting The Shout via last.fm.

Mathilde Laurent Responds to Perfume Shrine's Questions (& a little on Cartier Les Heures du Parfum)

Most of you are familiar with Mathilde Laurent through her early work at Guerlain, when as a young graduate of ISIPCA, under the aegis of Jean Paul Guerlain she created her modern epics, faithful to the patrimony of papa Jacques: Her Guet Apens (later re-issued as Attrape Coeur, the whole entangled story can be read on this link) is one of the most celebrated "new Guerlains" among cognoscenti, in the degree that it reflects a true Guerlain character, yet is resolutely of its own era.

Her Shalimar Eau Légère, reviewed and cherised on these pages, is another one which takes the best of tradition and injects it with the saturated hues and bold lines of a contemporary Francis Bacon painting. Like her artistic idol Camille Claudel ~as divulged to Marian Bendeth on a Basenotes project last year~ Mathilde appreciates modernity coupled with sensitivity and creativity.
Pamplelune with its sunny grapefruit side is, surprisingly enough for its daring sulfurous mien, still a Guerlain best-seller and one of two Aqua Allegorias (a sub-line in the Guerlain portfolio with lighter, less complex scents) which has remained in production ever since introduction of the line, the other being Herba Fresca with its surprising take on mint. (Her other creations in the Aqua Allegoria line included Ylang et Vanille and Rosa Magnifica) At some point, Mathilde Laurent left Guerlain to spread her wings unto greener pastures, including a brief stint at jeweler André Gas in 2006 (for the Polynesian tropical scent Ensoleille-Moi) and the current in-house perfumer position at the venerable Cartier headquarters, where she is composing bespoke scents (Sources place the price for juice to last 3-5 years up to 60,000 euros or $75,500). Her masculine, (again) mint-ladden Roadster for the mainstream jewellery house release last year has graced our pages and was considered a successful entry, poised most wisely between commerciability and artistic merit. Mathilde's talent is undisputed, her desire and ambition to compliment the art of perfumery with a decisive and landmarking contribution nevertheless is laudable. For her "perfume is a message, an expression of oneself" and a perfumer is "a sillagiste!"

I took the invitation that Elisa de Feydeau kindly opened for her francophone readers and asked Mathilde a couple of questions which she was most gracious to reply to. For the benefit of our English-speaking readers, here are her answers.

My first question had to do with something I had read in Perfumes, the Guide, a quote by Luca Turin in his Pamplelune review, in which he equated Laurent's turning to bespoke perfumery to "the saddest waste of human talent since Rimbaud decided to study engineering" (If this isn't praise, I don't know what is!). I was wondering whether the foreboding feeling created by this remark in my mind had come to a reversal through the new line Les Heures du Parfum for Cartier (a high-end project more on which below) and whether she was hopeful that the new line would open a dialogue between herself and perfume lovers; those Others beyond the scope of the mega-rich who have the means to order their very own perfume. After all, as revealed by Jean Claude Ellena to us before, custom perfumery runs the risk of inadvertdly "deceiving" the customer.

Mathilde Laurent herself had explained the bespoke process in the past in very clear terms: "Together (with the client), we explore scents associated with meaningful life experiences, from pleasant childhood recollections to a present image the client wishes to project. We transpose the Cartier style, a perfectly studied simplicity, into the scent. Just a few carefully selected high-grade ingredients are blended, so that each essence remains distinctive, not lost in a hazy combination." In the pursuit of good materials, she's relentless: "I look for the truly exceptional, the atypical, the never-before-seen" (The floral extracts used cost about $5,000 per kilogram, or $142 per ounce). "The provenance of the flower, its rarity where it was bred, the manner of extracting its essence, the climatic conditions that year, all are taken into account."
In hindsight Mathilde appreciates Luca Turin's accolades enormously: "He was among the first to support me and encourage me". She terms the bespoke service "a step, a detour in order to get someplace else". "I could never imagine not creating for The Others", she reveals, although she's quick to point out that "bespoke perfumery is for me a wonderful means to be close to those who love and wear perfume and to push the envelope regarding experimentation on new accords, to test and increase one's creativity and one's technique. Bespoke perfumery acts as a complimentary course for me, it nourishes my work on other projects. I hope that Cartier's Les Heures du Parfum will generate a dialogue with people wearing them, since for me perfume is a message that the skin diffuses, I am always interested in expression, perfume is always destined for the Other".

Another issue that is burning perfume lovers and the industry itself with the intensity of a surgical laser is the pressing issue of restrictions on perfumery ingredients. (You can read a recap and personal thoughts with a minimum of emotional sidekicks on this link and on that one). Mathilde Laurent proved to me to be both practical and wise: "Regarding the perfumery materials which are restricted from our palette, I pretend they never existed. Nevertheless, I continue to search for the effect they present, even though it might be considered a tad Utopian; to substitute with other ingredients and combinations. One must always start from scratch and search, search...Having "come of age" at Guerlain however {she started apprenticeship there at the tender age of 23, going to exotic places and learning about ingredients with the very best} I have intimately known all of those precious materials before they were rationed and their effect has most definitely marked me. I do keep them in memory, always!" Hopefully, with creative minds such as Mathilde's, even the parsimonious palette of essences that is left to perfumers can take a new shape and be utilized in a novel syntax that have been left unatttured till now. The future is here and it is brave!
As to her own pleasure, Mathilde has left herself to be seduced by her latest creation for Cartier XIII La Treizième Heure, a smoky leathery composition, even though she declares she never wears perfume on her free time (Her other rare ~she stresses~ indulgunce is Guet Apens). After all, she hopes to instigate a discourse, not a monologue, and I hope she will always succeed in doing that!

Les Heures du Parfum by Cartier are set to be 13 fragrances in the "neo-niche" mold of luxury brands such as Chanel Les Exclusifs, Hermessences, boutique Guerlain scents, Armani Prive, Van Cleef & Arpels etc. (material-oriented compositions, uniform bottles, limited distribution). Cartier touts them as 'one really haute collection of fragrances for connoisseurs' to commemorate . The scents take on Latin numbers instead of names to reflect the digits on the famous Cartier watches, plus a lucky number thirteen in honour of the number of la maison Cartier's first address at 13 Rue de la Paix in Paris. They are to be spaced out in a period of a few years. The first five are coming out this November on the 10th in 35 Cartier boutiques all around the world. Eau de Parfum in 75 ml flacons for 250 dollars (Chayaruchama told me they're already at Saks in New York City, so New Yorkers take note and report back!).

Fragrance Notes for Les Heures du Parfum according to Grain de Musc (who got them straight from the horse's mouth and is enthused):

I – L’Heure Promise (The promised hour): a green iris with petitgrain, fresh herbs, sandalwood and musk.
VI – L’Heure Brillante (The shining hour): a bright aldehydic citrus cocktail with lemon, lime and a gin accord. X – L’Heure Folle (The crazy hour): an aldehydic fruity green with redcurrant, pink pepper, grenadine (pomegranate syrup), blueberry, blackcurrant, blackberry, violet, leafy notes, ivy, boxwood, shiso, polygonum (=knotweed)
XII – L’Heure Mystérieuse (The mysterious hour): a woody floral with jasmine, patchouli, elemi, coriander, incense, olibanum, juniper.
XIII -La Treizième Heure (The 13th hour): a sweet leather with maté tea, birch tar, narcissus, bergamot, patchouli and vanilla.

Portrait of Mathilde Laurent via Basenotes, images4.hiboox.com and luxuryculture, Cartier bottles via punmiris.com

Esxence: first olfactory exhibition by perfumers

April 2 marks the opening of the round table discussion "Perfumers speak" (at 11:30), part of the exhibition Esxence, which will take place in Milan, Italy from 2nd April though 5th April 2009. Esxence is the the first professional fair show dedicated to niche perfumery tagged "The Scent of Excellence" hosted at Spazio Pelota, Via Palermo 10 in Brera, the artistic centre of Milan.
Professional noses of French, Italian and British origins will be upfront with the public, granting them a glimpse into the secret cosmos of the fragrance industry, allowing them to see a bit of the Science and the Art of perfumery, the originality and passion that drives them. According to the official info:

"In Italy the art perfumery has gained a relevant dimension not only in terms of revenues generated but also in terms of number of dedicated retailers. The innovative distribution approach that has been developed and adopted by the Italian market in the last few years has attracted the attention of many international operators. The quality and excellence involved in this market are what make it at the same time vital and respectful of traditions, in addition to being highly responsive to new ideas that may flow against the current. Esxence is created to be an international house, a place where opinions meet along with experiences, proposals, provocations and know-how. Esxence will host main firms, Italian and international distributors that will support the firms, along with the press, buyers, Italian and international retailers".

Mark Buxton and Stéphane Humbert Lucas, prolific creators in the service of numerous niche brands (let me remind you of Comme des Garcons), Erwin Creed, descendent of the famous Creed dynasty and on the helm of the historical house, as well as Lorenzo Villoresi, the well-known Florentine creator with his own line of artisanal fragances, will all participate. Sebastian Fischenich and Tobias Mueksch will be the protagonists in the "Theater of emotions" project on Friday April 3, at 14:30 as well as Antoine Vuillermet, perfumer for the Breton brand Lostmarc’h.


Last but not least on Friday April 3 at via Brera n.6 there is also the public presentation by Pierre Guillaume, creator of Parfumerie Generale, of his newest L’Eau Guerrière, belonging to “Collection Privée”.

The list of participating brands can be seen here. Admission is by invitation only, but you can download the invitation on this link.

For information call: +39 02-72023334
Click for map of centre Pelote via Google Maps

Pic of M.Buxton via Elternhaus and of Guillaume via Pafumerie Generalle.

Why do Fragrances Smell the Same?

Why do fragrances smell the same? This is a question that many people ask themselves when they're sampling fragrances spanning the spectrum from mainstream to selective distribution to niche to drugstore and of course knock-offs. Because professionals "shoot" the juice! This is industry-speak for analysing the formula (the "recipe" so to speak) of any bestseller or indeed any new perfume on the market using a gas chromatograph. The gas chromatogaph is a machine that separates the individual molecules that make up a fragrance, puts them on a sort of conveyor belt and then identifies them one by one. In tandem with a mass spectrometer they analyse what goes into a given fragrance which then allows technicians to replicate any formula, rendering it common knowledge and no longer secret.

But why are formulae secret in the first place, if it is so simple to break them down like a secret WWII code broken by the Enigma? The answer is two-fold.

First, because the perfumery world works in conservative, traditional mores, some would almost say obsolete: it was the custom of the medieval societies and guilds such as the gantiers et perfumers (those are the precursors of formal perfumers as they were scenting the leather gloves of the aristocracy to get rid of the smell of raw hide and then progressed into producing seperate fragrances for the body). They kept the formulae secret because in an age of low technological advancement it meant that their clients would have to get back to them to have their perfume replenished when they ran out, ensuring them a prosperous business.
Secondly, because in an equally anachronistic twist no one has contracts to protect themselves. It's true that the big brands, for example Gucci, Yves Saint Laurent or Givenchy, do not have possession of their own formulae for their perfumes. Those form intellectual property of the big aromachemical companies which produce the actual juice for them, such as IFF or Givaudan or Symrise etc.
But here's the catch: those perfume-making companies do not have a specific contract with the customer companies who own those brands (for instance LVMH who owns Givenchy). Therefore said company could very well take the "shot" juice to another perfume-making company and ask them to do a miniscule twist (say change a 0.1% of the formula, which will mean that the consumer will never understand the difference in smelling the finished product) and go on producing it more cheaply and make more money in the process! Should the first company ever take them to court ~which they never in a million years do because it would mean that they would lose all subsequent briefs from that gigantic customer~ they would de iuro lose the case, because of that little twist. Technically it just wouldn't be exactly the same. And legalese is very bent on the "technically" part.

Therefore the formulae theoretically are secret but in practice they circulate behind backs (no one admits it openly!) and get copied almost instantly: within days of actual release.
Of course in business terms, unless we are talking about knock-offs which by definition aim to be photocopies of the original, there wouldn't be much point in making something exactly the same as something else on the market. You could of course, in light of the above, but why would you? It would be even better to give a twist in the top-notes so as to fool the consumer into thinking they're buying something else, when in fact the core of the formula is the same. Repackage, rename, relaunch with a different image and you got yourself a hit. If not as big as the original one, then at least a very lucrative one that basks in the glow of the success of the first one.

Is there no way to get out of this mess, you'd be asking yourselves by now. It has been intimated to me that certain smart perfumers, of who I am in no liberty to reveal their names, have devised little tricks to fool the gas chromatograph by including red herrings. Those in essence are minute amounts of materials that do not actually contribute to the formula's olfactory result but act as decoys. And in order to accomplish that, those materials are naturals; because naturals contain hundreds of molecules instead of the single molecule or in any case much simpler contruction of aromachemicals. Yet, what one man constructs, another finds a way to break down. Lab technicians understand that the quantities are exceedingly small and although it slows them down, in the end with a little creative twinkering they still manage to come up with a quite plausible copy.

And this dear readers is why your new fragrance is smelling so much like the one you had in your cupboard all along and why the market is saturated with endless versions of the same recipes over and over again to the point of fatigue. In a high-tech market that worships sameness for the sake of familiarity, since psychology teaches us that the familiar creates a sense a security and comfort resulting in the desired sales, there is sadly no light at the end of the tunnel.

Pic of WWII poster via history1990s.about.com