Perfumery Material: Galbanum, Bitter Green Claws

Galbanum is a material that has such an intense personality that like a memorable villain in a film it ends up casting its shadow so long that it might easily overwhelm everything else. If the Wicked Witch of the West in the Wizard of Oz had a scent, could it be this green raw leafy smell to match her greenish pallor?

The common fallacy about galbanum in perfume compositions derives from the fact that it is routinely mentioned as a top note; in fact galbanum is a sticky resin of plant origin, much like labdanum from rockrose, and forms part of the more tenacious ingredients in the formula in the heart and base. But it is its intense bitterness with green tonalities, like a super-concentrated coniferous elixir at some crazy alchemist's lab, which comes through, all the way from the bottom up front and is immediately tingling the nose with a clearing capacity that only ammonia salts can surpass.

The shock is to be expected. Take someone unaccustomed to perfumes and let them sniff the initial spray of Chanel No.19; high chances are they won't sit around for the drydown, such is the displeasure at the acrid, intense crack of the whip to the untrained nose. It's no coincidence that the plant it derives from owes its own etymology to the Latin ferule which refers to a schoolmaster's rough rod. A bitch slap it is and it imparts that cool, hard as nails quality to the perfumes it participates in. However it is also prized for its fixative qualities: like many of the heavier molecules with lower volatility, it aids to anchor down the more ephemeral ingredients and as it expands in a room you can feel the air sweetening and becoming comforting with balsam and wood nuances.

Galbanum oil is derived via steam distillation from the resinoid that comes from the trunks and roots of the Ferula galbaniflua plant, which historically grew in ancient Mesopotamia and later Persia. The flowering heads resemble those of angelica or fennel, with which it shares the force of character. The resin is naturally produced when the plant is wounded, in nature's coping mechanism to heal. Even within the same plant there are variations: the Levant and the Persian, with the latter being softer and more turpentine-evoking.

via

Smelling the thick, softly crumbling, yellowish paste and the clear oil produced off it is a revelation: acrid, stupendously green, a tornado of turpentine and earthy, peaty, almost chewy aroma which becomes muskier, more thickly resinous as time goes on. It is mercurial! In dilution in alcohol the "bouquet" opens up and one is reminded of crushed pine needles or pea pods with lemony overtones, very fresh, vegetal and sharp, like snapping the fresh leaves between forefinger and thumb.

The chemical constituents of galbanum are monoterpenes (α and β pinene), sabinene, limonene, undecatriene and pyrazines. The pure oil is, however, often adulterated with pine oil which may be why some batches and imports smell more of green, snapped pine needles than others. The fact that galbanum is so powerful translates as two significant considerations for perfumers: lightness and context. Naturally "greenish" smelling essences/reconstruction of the floral persuasion, such as lily of the valley and hyacinth or narcissus, pair exceedingly well with galbanum.

In Vent Vert (translating as "green wind") by Balmain, introduced in 1945, galbanum gained a starring role and introduced in earnest the mode for "green" fragrances; perfumer maverick Germaine Cellier, instead of using it to compliment other notes, made it the protagonist, giving it full reign and ushering thus a new wave of more "natural-smelling" fragrances. "Green" fragrances, you see, evoke the outdoors and nature much more than the sophisticated intimacy and animal-density of chypres. Nevertheless galbanum is also clearly present in many chypres and fougeres as well (the classic Ma Griffe by Carven, Parfum de Peau, the classic Lauder Private Collection, the vintage extrait of Miss Dior, vintage Cabochard, Bandit with its knife brandishing swagger, Givenchy III, the modern Private Collection Jasmine White Moss by Lauder) and woody florals (the above mentioned No.19, Fidji by Laroche, Deneuve by Catherine Deneuve, Patou 1000, Le Temps d'une Fête by De Nicolai, Bas de Soie by Lutens, Silences by Jacomo,  Untitled Marti Margiela), even florientals! (Just mentioning in passing Boucheron Femme, Comme des Garçons by Comme des Garçons, Givenchy Ysatis, Moschino by Moschino, and vintage Magie Noire). It'd be impossible to list them all!

              

collage via sandrascloset

 Chanel used to use a superior grade of Iranian galbanum which helped form the top note of Cristalle and of No.19. In the modern, more youth-oriented version of No.19 Poudre the bite of galbanum has been mollified in order not to scare the horses.

Finally Vol de Nuit (Guerlain) and Must de Cartier (vintage) both owe a lot to the accent of galbanum: the introduction of the green note in a classically oriental, soft focus composition is akin to daggers thrown on a supple and vulnerable female form at some olfactory circus; unmissable.

Ref: LAWRENCE, B.M; "Progress in Essential Oils" 'Perfumer and Flavorist' August/September 1978 vol 3, No 4 p 54 McANDREW, B.A; MICHALKIEWICZ, D.M; "Analysis of Galbanum Oils". Dev Food Sci. Amsterdam: Elsevier Scientific Publications 1988 v 18 pp 573 – 585

Perfumery Material: Beeswax, Sweet Animalic Intimacy

The note of beeswax is among the few natural "animalic" notes in perfumery that are totally cruelty-free, i.e. involving no harm to the animal from which they're derived. For this reason, beeswax absolute is among the most prized materials in the natural perfume palette, where the absence of synthetics can be a problem. With its naturally fixative qualities, it aids the anchoring of more volatile notes.
Beeswax absolute (Apies Millifera) has been taken from the actual beehive without disruption to the lives of the bees for a long while. For perfumery, the wax is taken from hives that have been used for more than 5 years, therefore the material retains the scents of honey, propolis and the smell of the bees themselves, which makes beeswax a pheromone-rich essence with all that entails.

photo collage: punmiris.com

The wax in the hive is collected carefully by hand and is then solvent extracted. The major countries producing beeswax absolute are Spain, France and Morocco where apiculture is ingrained in tradition, but California in the US is rapidly gaining momentum. The resulting essence is fully miscible in alcohol and dipropylene glycol, making it easy to work with.

The scent of beeswax absolute is a very pleasant, complex composite of both honeyed, sweet aspects (with floral facets) and of essences of a musky, intimate ambience reminiscent of sweet hay and cured tobacco. The essence of beeswax absolute is used in perfumery to render golden-ambery fragrance notes, and serves as a middle to base note. The honeyed aspect of the material with its background of hay serves as a good underpinning of lavender and rose and is great in juxtaposition with naturally bitter oakmoss.

Beeswax absolute has comforting, spiritually balancing and lifting, solar properties when used in aromatherapeutic blends and recalls the joyful activity of bees.

Notable fragrances with prominent beeswax absolute notes:

Annick Goutal Myrrhe Ardente
Chanel Antaeus
Demeter Beeswax
Dior Leather Oud
D'Orsay Tilleul
DSH Cimabue
DSH Parfum de Grasse
Hermes Caleche Fleurs de Mediterranee
Krizia Theatro alla Scala
L'Artisan Fleur d'oranger 2007 (limited edition)
L'Occitane Reve de Miel
Maria Candida Gentile Sideris
M.Micallef Charm
Ramon Monegal Cuirelle
Roxana Illuminated Perfume To Bee
Serge Lutens Chene
Serge Lutens Feminite du Bois
Serge Lutens Un Bois Vanille
Sonoma Scent Studio Nostalgie
Tom Ford Moss Breches

La Belle Epoque in Clove-Scented Buds & Modern Carnation Fragrances

There's something about the imaginary buds of pepper and clove that conjure the drawing rooms of La Belle Epoque, where carnation bouquets were bursting off their vases, and of funereal wreaths heaving with the sadness of the vanished; an illusion, an unaccountable stay of execution, the carnation blossoms. This tightly swirled affair of fragrant petals, so disregarded, so pedestrian, so much of a filler flower. And yet...From deep beneath its corolla comes the scent of a bygone era and the remnants of romance; a spicy effluvium that speaks of anticipative prom corsages as much as of hidden passions.

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REFLECTIONS ON AN WEARY EYE

Oscar Wilde himself, king of hidden passions, was infamous for his allegiance to the curly blossom which decorated his groomed attire, as much as his homoerotic proclivities; it was "The Green Carnation", a short-lived but widely read scandalous novel from 1894 that supposedly reprised the illicit love affair of the Irish author with Lord Alfred Douglas, which damaged his reputation beyond repair and was held against him in a court of law. Subsequent lore even goes as far as to suggest that the green carnation on his lapel was a nod to the Parisian pederast scene, and yet there is absolutely no evidence to suggest that it was so; in fact were there any shred of truth in that claim it would have been presented during his libel trial regarding the Marquess of Queensbury. But such is the nature of the flower; it provokes with both its voluptuous appearance and its spicy bouquet which removes it from the realm of the chaste and the virginal into the territory of the fierce. After all, in the language of flowers a deep red carnation stands for mad love and affection. Pink and white carnations on the other hand represent a mother's love, enshrined into becoming the official Mother's Day blossom, inspired by the religious tale of having sprang from the earth from the tears of the Virgin Mary weeping for her son on the cross.

If your only acquaintance with carnations (Dianthus caryophyllus) is the refrigerated, florist shop, overbred kind that fills bouquets of more posh flowers in need of a larger budget, or sad, funeral wreaths, the jolting into smelling the vanilla-laced yet oddly phenolic, smoky pepperiness of a good garden variety -such as the Sweet William or the revived Malmaison carnations (reprised in the now discontinued Floris fragrance by the very name), huge and headily fragrant- is enough to make you reconsider.

Most carnation scents harken back to old days quite factually. The incontestable Poivre and the diluée Coup de Fouet, both Caron, are badges of another era, when a Cruella Deville warmth emanating from a plush fur coat was considered the height of chic instead of an invasion of private space and asinine disregard for animal rights. Bellodgia, another Caron, this time more romantic rather than baroque, with its sweetish, soft halo was a huge success when it came out in 1927, reminiscent of Italian vacations. Today it is considered nostalgically retro, too signora for today's signorinas. Ernest Daltroff, the maverick perfumer and founder of the French house, was extremely fond of carnation, nevertheless, injecting it along with his equally beloved Mousse de Saxe like a stealth superpower in almost everything he made. It is unfathomable to speak of carnation fragrances without mentioning the Caron canon; En Avion, Or et Noir, Le Troisieme Homme...there's no end. Even in modern Caron releases, such as the liturgical leaning Parfum Sacre, carnation plays an important role, it's a true fetish!

The prime of carnation fragrances came in the 1920s and all the fragrances of the period are specimens constructed on cloves, with which carnations share facets, as we will see further on. This genre, a, harmonious spicy blend, was considered evocative of the tropics, fanned on cardamom, coriander, cinnamon, cloves and pepper, alongside heady, narcotic flowers, in tune with the Orientalism that pervaded the roaring 20s. Guerlain even revisited this idea with their modern Terracota Voile d'Ete a while ago. Most of those fragrances however, like Oeillet Fane by Grenoville, Patou's Adieu Sagesse or Lancome's Fleches, have all but disappeared with (almost) no trace. Blue Carnation by Roger & Gallet was very popular, ensuring a continued existence, but it finally capitulated; the 1937 scent's been discontinued to the dismay of many; at least the soap survives. If we know and recognize a carnation in a complex blend today we owe it most of all to the enduring success of L'Air du Temps by Nina Ricci, the fragrance which in 1947 consolidated what Coty's L'Origan had inaugurated in 1905 and which L'Heure Bleue made impossibly romantic, the spicy floral. Indeed L'Air du Temps owes a lot to the spicy chord inside its complex, nuanced heart, making the fragrance piquant instead of merely soft and pretty.

Source: powder-blue-birdie.blogspot.com via Justine on Pinterest

This trick is carried over to other fragrances, sometimes NOT specifically within the soliflore category, following the Ricci paradigm: Charlie (Revlon), Norell (Norell and later Revlon), Balahe (Leonard), all take carnation to the bosom to inject a much needed accent, even in greener compositions. Some even take things further, proposing the spicy floral in an orientalized blend, such as Vol de Nuit (Guerlain), Dioressence (Dior) Opium (Yves Saint Laurent), Cinnabar and Spellbound (both Lauder) the original Poison (Dior), Roma (Laura Biagotti)..... The carnation there imparts a fresh spiciness amidst the heftier elements. We might as well see the breakthrough of this latter trend in the potent carnation direction of Tabu by perfumer Jean Carles.

Contemporary creators are not indifferent to such a fierce adherence to this passionate note: Jar's Golgonda behaves like a grand-daughter to Coup de Fouet, clotted cream inside the fieriness, one can almost picture it on the proverbial feisty red-head. Diamond Water is still carnation, but lighter and more transient, with a metallic quality, like a cross between Parfum Sacre and Bellodgia. Garofano, dense and almost thorny to wade through, by Lorenzo Villoresi, is a successor of the hefty tradition. Modern fragrances with a rather light-hearted, unisex character include Dianthus by Etro and Comme des Garcons Carnation from Series 2 Red. Masculine scents, incontestably virile, also utilize carnation for good measure: look no further than Equipage by Hermes, Cacharel pour Homme, Tabac Original (Mauer & Wirtz), Worth Pour Homme and the classic standby Old Spice.

THE PERFUMER'S ART

Eugenol and isoeugenol are practically inseparable in nature so it makes sense to use both when constructing a carnation accord. The former appears prominently in cloves, as well as in allspice and bay leaf, but also in basil and floral essences (rose, ylang ylang, jasmine), while the latter (detectable in nutmeg and mace) is more floral-balsamic, accounting for a truer "carnation blossom" scent.

L'Artisan Parfumeur's wondrously natural-smelling and deliciously soft carnation scent, sadly discontinued, Oeillet Sauvage, was based on two main floral components: rose and ylang ylang, no doubt aided by spicy accents. Etro's dianthus is a similar take. Guerlain experimented in Metallica, renamed Metalys, when the band objected. The whole exercise proved unpopular however, making the remaining bottles rare collectibles. Maitre Parfumeur et Gantier Soie Rouge is a rich, satisfying carnation with a generous side of good materials. Prada has Oeillet in the boutique exclusive line.

originally taken by Dimitri Dimitriades (sorceryofscent.com)

Source: Uploaded by user via PerfumeShrine on Pinterest

"Natural rose extract and ylang essential oils are the real thing: rich in depth and volume, varying in quality and ...expensive. Especially the rose oil. The "cheat" there is to use nice and cheaper rose and ylang bases provided by industry. Mostly synthetic, but doing the trick for the large scale markets." says Andy Tauer of niche line Tauer Perfumes. Rose is exactly the trick in Eternity by Calvin Klein; the scent smells like carnations, but is built on roses.

The molecule 4-vinyl guiacacol, coming from grape-drived percursors in yeast and must, is an interesting proposition: in white wines it has the double edge of appearing like a fresh carnation in dilution or a dense clove off-note in concentration. The crucial percentage is dependent on grape variety, yeast strain used and the fermentation process, a delicate balance which shows the secret bond between carnation and cloves best of all.

Regardless of carnations falling out of fashion, the sweet-spicy note is frequently part of both women's and men's fragrances, and will remain so in the future. A number of compounds with a carnation character have been invented, supplementing the above stated naturals. Benzyl isoeugenol, or 2-methoxy-1-(phenylmethoxy)-4-(1-propenyl)benzene, a solid with a balsamic note and a powdery carnation-like sweetness, and Methyl Diantilis ® (Givaudan), or 2-ethoxy-4-(methoxymethyl)phenol, which has a sweet-smoky odor with powdery aspects reminiscent of carnation are two of the most popular ones.

The main constituents in the spicy bouquet of carnation are eugenol and isoeugenol. It is therefore unfortunate and foreboding that these substances are greatly rationed in the recent specifications of the SCCS and IFRA directives, signaling a recalibration of how a carnation accord is constructed in perfumery. But not all is blek: Eugenol is strong enough, even in the 0.5% limit in the final formula and new discoveries promise to preserve this retro spicy note.
Lately carnation is revisited anew: Vitriol d'Oeillet is a very recent release by Serge Lutens, steeped into the gothic and mystical ambience for which the maestro is known. If Lutens is doing it, everyone will soon be doing it.

Tuberose: Carnal Floralcy & Drama Note

No note in perfumery is more surprisingly carnal, creamier or contradicting than that of tuberose. The multi-petalled flower is a mix of flower shop freshness and velvety opulence. Which is why it is the perennial polarizing flower note having as many ardent fans as passionate detractors. The Victorians must have been among the latter: they forbade young girls of inhaling the scent of tuberose in the fear they might have a spontaneous orgasm! Roja Dove is right when he says that tuberose is really loose, the "harlot of perfumery".

Polianthes tuberosa doesn't have any botanical or olfactory relation to roses, despite the name. This small white blossom flowering plant is its own thing, a "white floral" (in the same class as jasmine and orange blossom) with an intensity and creaminess beyond any other: Though the scent can be likened to that of orange blossom and gardenia, tuberose has interesting facets of camphor in the opening (comparable to - but not quite that green - as budding gardenias), of dewy mushroom and earth when in bloom and then of rot and bloody meat when browning. Buttery, rubbery and even metallic facets also emerge if one searches for them.

The natural blossoms are so powerful they can fill a room and continue to exude their scent for days after picking. In fact this is why tuberose had been a prime candidate for the enfleurage technique ever since its introduction in Grasse, in the south of France in the 17th century ("Enfleurage" is the traditional and now almost defunct technique of enrobing flowers in fat, letting them wilt in it for days, releasing their scent, and then treating the resulting pomade with solvents to render a very precious absolute). The tuberose blossoms are actually still in bud when picked, so that they can give off their full spectrum of scent as they wilt. It takes over 1200 kilos of buds to render 200gr. of tuberose absolute, which makes tuberose one of the most costly natural raw materials to use.

 It therefore comes as no surprise that most tuberose in commercial perfumery is synthesized in the lab rather than natural. Though this cuts down on the cost factor and facilitates picking up one facet over another in the context of a given concept (say, emphasizing the creaminess over the camphorous, or the sweet floral over the indolic rot), the synthesized aroma is removed from the complex and at once fresh and carnal natural.

Thus a tuberose note in perfume can appear sickly and almost sticky, cloying, sledgehammering you over the head with its intense message. We can trace this as far back as 1980s if not before, as Giorgio, one of the defining perfumes of the decade, was using tuberose with all the subtlety of nails on a chalkboard. The effect was bombastic, powerfully floral, appearing as showing off one's affluence, just held in check by a base of vetiver that muted all the neon brightness. In contrast the natural oil rendered from good Indian tuberose varieties (or from the now very small fields left in Grasse) brings out all the base notes: ranging from buttery to leathery, from menthol to rubber and earth, all the way to woman's skin and even Chamonix orange cake! A good example of tuberose oil being used with naturalistic effect is Carnal Flower in the Frederic Malle niche line Editions des Parfums. This is the fragrance with the highest percentage of tuberose in the formula currently in the market.

If you want to get a good sniff of tuberose in isolation at a more affordable price to see if the scent agrees with your, you can resort to the Tubereuse candle/room spray in the Diptyque line. It should give you an idea.

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THE HISTORICAL MILESTONES

The uber-classic reference for tuberose fragrances has always been (and will always be, it seems...) Fracas by Robert Piguet: the tuberose against which all other tuberoses measure up, influencing as diverse things as Chloe by Karl Lagerfeld, Jardins de Bagatelle by Guerlain and Amarige by Givenchy. Fracas, a transliteration of effect in name if there ever was one, judging by the derisive reception it has on people smelling it, came out in 1948, composed by Germaine Cellier; this maverick and iconoclast of a perfumer considered carefully conceived disruptive effects more important than over-ornamentalisation in her craft. The mastery of Fracas is that it achieves the creamiest, most calorific and lush floral effect (combining jonquil and orange blossom to tuberose to give a green and cleaner edge) while at the same time retaining a modicum of balance through a herbal top note and an abstract drydown of powder and woods. It's striking, dramatic, overpowering even sometimes, like a Callas aria, but it is full of beauty and emotion all the same. It takes a diva to carry it off successfully, which is why lesser mortals fail and attach a stigma to the fragrance; it's not the fragrance's fault!

It's fun to consider Amarige by Givenchy (1991) the other face of Janus: the two fragrances form two neat bookends; one loud but beautiful, the other loud and over the top. Givenchy enrolled Dominique Ropion to the task and he seems to have been so intent on at least matching the drama of Fracas (and his own godmother, Germaine Cellier) that he produced the highest-pitched tuberose in existence.
 The radiance of Amarige is felt for miles, a fact that is not always appreciated and the creaminess and greenery of tuberose is substituted by the popular for the time frame synthetic base of cassis (a big element in 1980s perfumery) and a cluster of -right about that time emerging as soon to be popular- fruity notes. If tuberose is a diva overshadowing a full symphonic orchestra, Amarige put her on speakers too. But Ropion didn't match Fracas with Amarige, nor did he surpass it artistically. He fared much better when he was free of commercial restraints for his stint for F.Malle and Carnal Flower; this solar floral is choke-full of all the natural elements inherent in the living flower itself. The camphor qualities are exploited to the max via a eucalyptus note to render a life-like hologram, while the coconut tinge and the salicylates (ingredients that appear in some tropical flowers and also in suntan lotions) remind us that tuberose is really a tropical flower coming from warm climates and pelvis-tilting-friendly cultures.

But there's something for everybody and where there's noise and animated conversation there can also be some quiet and silken promises whispered in the dark. Serge Lutens, aided by his perfumer ally Christopher Sheldrake, composed the most gothic tuberose in existence and a historical landmark in the treatment of this capricious note: Tubereuse Criminelle is an etude in the polished facets of the flower with a most disconcerting top note of Vicks vapo-rub, an aberrant chill which takes you by surprise but subsides in the first 10 minutes. The contrast between the camphor and the flower are echoed in Carnal Flower (F.Malle), its successor, but the shadowy, menacing character of the Lutens perfume is not poised as natural as in the Malle, but as a solidly, cleverly manufactured effect that you perceive as a vignette of Expressionism or the fangs of a vampire slicing through vibrant flesh. This fire & ice game is as good as a thinking woman's (or man's) kinky romp in the bedroom. Rounding the attempts at competition, attrition and infatuation with Fracas, there's nothing left but a sincere homage and the one who paid her respects more convincingly was none other than perfumer Calice Becker for the niche brand By Kilian in her Beyond Love. It admittedly smells close to Fracas, but on the other hand its more refined trail of the best Indian tuberose and Egyptian jasmine absolutes presents something new. The perfumer's reference was not only the aromatic oil but also the living flower and in her perfume composition she tried to bridge the two into an harmonious melody. The womanly skin like note marries to the gourmand note of Chamonix orange cake and the effect is nothing short of truly beautiful and, curiously enough, more natural smelling than Fracas. Perhaps a pixelized installation of the Mona Lisa at the MoMa and not the prototype, but still a work of art on its very own.

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OTHER WORTHWHILE TUBEROSE-HIGHLIGHTING FRAGRANCES:
Estee Lauder Private Collection Tuberose Gardenia (more of the gardenia part, for those reluctant for the full dosage of tuberose)
Annick Goutal Gardenia Passion (traitorously to the name, this is actually a tuberose)
Annick Goutal Tubereuse (a very high percentage of natural tuberose in this one)
Caron Tubereuse (an extrait of tuberose, with the glorious richness of Caron parfums)
Diptyque Do Son (a diluted but fresh and naturalistic tuberose for the shy, more concentrated and satisfying in the new eau de parfum)
Dior Poison 1980s vintage (a potently musky tuberose with grape notes on top)
Madonna Truth or Dare (another homage to Fracas, surprisingly pleasant and grown up for a celebrity scent)
L'Artisan Parfumeur Nuit de Tubereuse (a romantic and nuanced take, deeper in scent than usual for the brand)
Guerlain Jardins de Bagatelle (a fantasy of a garden with prominent tuberoses and other white florals) Honore des Pres Vamp a New York (the most playful tuberose on the market, fun and candied like bubble-gum and a great one to wear even casually)
Calvin Klein Beauty (a delicate and restrained, yet non timid tuberose with a polished sheen)
La Prairie Life Threads Silver (razor sharp pitch over buttery base notes)
Guerlain very rare Marie-Claire (a beautiful tuberose fragrance with lots of ylang ylang)
Balenciaga vintage Michelle (a very elegant and complex tuberose blend)
Dior Passage No.9 (a creamy tuberose with sparkly qualities)
La Via del Profumo Mona Lisa (an animalic and sexy tuberose with skin-like properties)

Perfumery Material: Elemi

Patricia Davis in her Aromatherapy A-Z [1] claims that the source of the name "elemi" is an Arabic phrase meaning "above and below" (in itself an abbreviation of "as above, so below") which hints at the spiritual connotations of this sacred ingredient. Similar to frankincense and muhuhu, both in botanical terms and in terms of smell, elemi is not thick and deep like familiar amber mixes. The overall scent of elemi can best be typified in perfume lingo as "terpenic", an aroma typified by fresh pine needles, clean, green with citrusy and coriander undertones. It's therefore not unusual to see it featured in the context of "pine" compositions or in masculine fragrances, as well as in incense blends.

Canarium Luzonicum

The clear yellow liquid has a thin rather than thick consistency and it surprises with its lemony "clean" aspects which are exotic, yet fresh. This is accountable to limonene (a prime lemon molecule) that comprises more than half of the fragrant constituents of the material make-up. The odor profile of elemi is akin to a dill pickle, with a peppery and fennel facet, discernible citrus piquancy, but less tart than expected from that reference. For those reasons elemi oil blends perfectly with notes that share this uplifting fresh quality within their bouquet, be it materials classified as "aromatic" (such as lavender, clary sage and rosemary) or those in the "resinous fresh" category (such as frankincense—which also shares a lemony top-note—and myrrh). It has long being used to extend citrus products thanks to its higher resistance to heat.

The elemi resinoid on the other hand has the spicy peppery and woody-grassy facets more pronounced making it pair perfectly with pepper, woods (patchouli and vetiver especially), and sweet grass, while its constituent elemicin is shared with nutmeg. Elemol is the molecule that gives it its characteristic "flavor."

 Elemi's use in embalming, found in sarcophagi buried in ancient tombs has been celebrated through the ages. The ancient Egyptians championed elemi in the intricate embalming process (alongside styrax, turpentine, benzoin, and other materials) to help the bodies retain their dryness and freshness throughout the centuries. Is the tale that the name derives from an ancient African tribal god whose name translates as "keeper of the spirit" relevant? It's a story steeped in mystery.

According to the Encyclopedia Britannica it was Pliny the Elder who first referenced a styptic medicine with the name "enhaemon," which contained "tears" of a gum substance from the olive tree of Arabia. After the Middle Ages the resin from the Boswellia frereana tree, a Somalian variant (Maydi) of the genus that gives as frankincense, was referred to as "elemi". Its inclusion in Coptic incense (i.e. the incense used by the Coptic Christian church of Egypt), helped the confusion, as elemi is frequently a participant in incense blends. Later, in the 18th century, when the exploration of new lands in the Americas was still going on, the resin derived from the genus Icica from Brazil was -again- called "elemi." 

Amyris elemifera

Today however when we refer to elemi it stands for the resinoid and the essential oil, a gum harvested from the tree Canarium Commune, Linn (N.O. Burseraceae). or Canarium Luzonicum which grows in the Philippines, both wild and cultivated. The Manila Canarium ovatum variety (the "pili" nut) is grown also for its skin-beneficial properties which European brands, Chanel among them, use in their skincare lines. Manila elemi is actually a trade name for the soft, fragrant exudates obtained from the trunk of the Canarium tree species which includes "pili." The gum is obtained by exudation of the trees: when the trunks of the trees get an incision resin flows from there, forming "tears," as the liquid solidifies when coming into contact with the air. The collected tears are then steam-distilled to get the essential oil or they are treated with volatile solvents to produce an elemi resinoid.

It is important not to confuse elemi from the Canarium Luzonicum tree from the oleoresin from the Amyris elemifera tree (also known as "torchwood"), the trunks of which exude a type of balsam (oleoresin) that contains elemic acids, liquid sesquiterpenes, and triterpenes such as α- and β-amyrin among other components. To differentiate we can briefly say that Amyris elemifera produces "Mexican elemi", whereas the Canarium Commune variety produces the "Manila elemi". The Amyris derived elemi essence has a sandalwood scent profile, woody balsamic, similar to other balsams, without the complexity of natural sandalwood, rather than citrusy terpenic. Essential oils containing caryophyllene, cadinene, and cadinol are extracted from Amyris balsamifera and Amyris elemifera. These are used in varnishes, perfumes, medicines, cosmetics, soaps, and incense.

Fragrances rich in elemi notes:

Biehl Parfumkinstwerke MB03
Byredo Chembur
Cerruti 1881 pour Homme
CB I Hate Perfume Violet Empire
Chanel Allure Homme Sport
Comme des Garcons Avignon
Davidoff Cool Water Deep
Dior Homme Sport
Diptyque Eau Duelle
Gucci by Gucci pour Homme
Guerlain L'instant pour Homme
Hermes Eau de Merveilles
Histoire des Parfums 1740 Marquis de Sade
Ineke Gilded Lily
Kenzo L'Eau par Kenzo Indigo Pour Homme
Lagerfeld Femme
Lalique White
Lorenzo Villoresi Incensi
Marc Jacobs Bang
Miller Harris La Fumee
Neela Vermeire Mohur
Neela Vermeire Trayee
Olfactive Studio Autoportrait
Olfactive studio Still Life
Roberto Cavalli Her
Victor & Rolf Spicebomb

[1] Cambridge. The C.W. Daniel Company Limited. 1998

Perfumery Material: Peru Balsam & Tolu Balsam ~warm, majestic, plush notes

Tolu and Peru Balsams distinguish themselves among perfumery materials thanks to their refined and soft ambience, incandescent like the flick of a candle, a golden honey drop abandoning itself into a pool of hot liquid. The fragrances which contain them exude a warm, majestic, plush character, inviting and comforting, with a heft that corresponds to their dark, caramel-like thickness. Both of these materials have a gentle tone, while at the same time they're softly enveloping and have a pronounced character. They fix flowers into lasting longer and thanks to their properties when used in large quantities produce the Semi-Orientals or "Florientals" (i.e. in conjunction with rich floral essences).

Origin of the two balsams: the Myroxylon tree
Peru balsam comes from the Myroxylon tree, literally "fragrant wood" in Greek, (or else known as Quina/Balsamo), which also produces Tolu balsam, as you will see further on; the latter differs mainly in production methods and in its odor profile, being a little sweeter and fresher than Balsam of Peru. The species is also known as Myroxylon toluiferum HBK (which is mainly used for the production of Tolu balsam as its name suggests), M. balsamamum (L.) Harms and Myroxolon Pereirae (i.e. from Peru, which is mainly used for the production of Balsam of Peru, naturally).
The plant is mainly cultivated in the South America and the West Indies, although it has spread to other part of the world as well. Today El Salvador is the main exporter of Peru Balsam. The name of Balsam of Peru is a misnomer, however, since it was originally assembled and shipped to Europe from the ports of Callao and Lima, in Peru, even though the species is not indigenous to Peru. In fact Tolu balsam owes its name to the name of the native precolumbian people  (Tolú singular and Tolúes plural) who used to be the inhabitants at the same place where now is located Tolú, a small town and municipality in Sucre Department, northern Colombia (South America) by the Caribbean sea!

Odor Profile & Production
Tolu balsam is comprised of 3/4 fragrant resinous compound, containing approximately 15% free cinnamic acid and benzoic acid and about 40% of the benzyl and related esters of these free acids. A volatile oil is present in small amounts (from 1.5% to 7%). Traces of styrene, coumarin and vanillin are also present, giving the warm, lightly spicy character. The Tolu resin is tapped from the trunk of the tree through incisions into the bark, trickling yellow-brown semi-fluid or near solid material in thick "drops" and collected. The cold material fractures like flint and is stored for use in pharmaceuticals and perfumery. The dry resin has a complex aroma consisting chiefly of cinnamon and vanilla, while at the same time it has a floral aroma that is inviting and soft.
Peru Balsam on the other hand is a dark brown, thick liquid also with cinnamic and vanillic facets but with a gentle green olive base note that is earthier and bitter. The process of producing it from the Myroxylon tree differs: The balsam in the bark is obtained by boiling. Following removal of strips of bark from the tree, the exposed wood secretes balsam. The material soaks into rags wrapped around the tree, which then are boiled in water. The naturally heavier balsam sinks to the bottom and the water on top is thrown away.

vintage Youth Dew via pinterest

Fragrances featuring Tolu balsam :

Aqua di Parma Blu Mediterraneo Mandorlo di Sicilia
Ayala Moriel Finjan
Donna Karan Gold
DSH Perfumes Cafe Noir
Esteban Baume Tolu 
Estee Lauder Youth Dew
Estee Lauder Cinnabar
Jean Desprez Bal a Versailles
Kenzo Power
Lanvin My Sin
Ormonde Jayne Tolu
Parfum d'Empire Cuir Ottoman
Piguet Fracas
Reminiscence Eau de Patchouli
What we do in Paris is Secret A Lab on Fire
Yves Saint Laurent Opium
Yves Saint Laurent Opium pour Homme

Fragrances featuring Peru balsam:

Estee Lauder Youth Dew
DSH Perfumes Arome d'Egypte
Etro Heliotrope
Guerlain Chamade 
Guerlain Vol de Nuit
Guerlain Shalimar Eau de Cologne
Hermes Elixir des Merveilles
Hermes Parfum des Merveilles
Jean Desprez Bal a Versailles
Montale Oriental Flowers
Patricia de Nicolai Sacrebleu
Patricia de Nicolai Sacrebleu Intense
Santa Maria Novella Potpourri
Serge Lutens Ambre Sultan
Serge Lutens Fumerie Turque

Related reading on PerfumeShrine: Perfume term: Resinous & Balsamic

Perfumery Material: Fig, Between Woody and Succulent

The scent of figs is amazing and unique among fruits; succulent, juicy, milky sap green with a bitter edge when unripe. Pairing a few slices of prosciutto with fresh figs and grapes is an exercise in pure hedonism...But apart from the quality of the fruit, the ambience of the whole tree, the crisp verdancy with the almost fuzzy leaves, the nubile bitter stems, the tough bark and the resinous freshness of the sap, its shade and all, is a major constituent to its charms. It's not hard to imagine how one would long to capture that summer solace from the scorching sun of the Mediterranean in a fragrance to put on in the darker days of autumn to evoke summery pleasures. Or how the fig leaf has retained an added sensuality thanks to its traditional imagery of hiding many a pudenda in art. Dusty or glossy, bitter or sweetish and hazy or succulent, the varied universe of fig fragrances is winking at us to impart of the joys of the here and now before more sinister thoughts detach us from sensual pleasures.

via flickr.com/photos/xerones (some rights reserved)

Fig in Perfumery: How to Synthesize a Fig Note 

 The recreation of the smell of fig trees in perfumery is possible thanks to two crucial ingredients: stemone and octalactone gamma. Stemone (Givaudan tradename) imparts a green, fresh tonality like mint that combined with octalactone gamma (prune-like) evokes the earthy, sticky green of fig leaves (a smell of dry earth, scorched by the sun of a hot place with a hint of bitterness) and the milky sap of the young fruit. The always handy Hedione (a fresh jasmine note, Firmenich tradename) and Iso-E Super (a dynamic and shape-shifting woody synthetic, IFF tradename) are often utilized to bring “lift” to the genre.

 The best fig-centered fragrances balance the warmer and cooler tonalities and recreate the ambience of sitting under the shady branches while breaking open the naughtily-shaped fruit: likened to male genitalia when whole and female ones when cut into halves, figs are an evocative fruit in more sensual ways than one. Could that be one of the reasons the voluptuous Christina Hendricks loves a particular fig scent so much?

via kapuciner.blogspot.com

Fig Fragrances: The Historical Milestones 

The first soli-fig fragrance was Premier Figuier (meaning “first fig tree”) stating its innovation at hello, launched by L’Artisan Parfumeur and composed by perfumer Olivia Giacobetti. Still one of the very best out there, it conjures a vivid image of late August days spent in the Greek countryside when cicadas are loudly singing around at the scorching hour of noon and people hot and weary from a sea dip are sitting beneath the shade of the fig tree to enjoy their Spartan meal of fresh fruit and cool still water. The coconut curls note is rounding the foliage with just the right sweetness and provides a euphoric touch.

Olivia Giacobetti went on to create another emblematic and still highly regarded fig scent for Diptyque and my personal favorite: Philosykos. This time the homage to Greece which is characteristic in the Diptyque scents line anyway (the founders being fond of vacationing at their house in mount Pelion and trekking through the Athos peninsula in search of herbs) is evident in the name; the scent was inspired by a dreamy vacation in Greece. Philosykos means “friend of figs” in Greek (much like Phillip is the friend of horses). And one wouldn’t be hard-pressed to see how anyone who likes the fig tree and its connotations would fall madly in love with this gem of a scent! Supported by the more robust cedar wood note, the green note of leaves is nicely mellowed. Diptyque also do a less complex but equally welcoming Figuier candle and room spray.

via heartofgoldandluxury.blogspot.com

Giacobetti in an unstoppable strain of fig-producing mode went on to create an Eau de Parfum version to the best-selling Premier Figuier, baptized Premier Figuier Extreme, highlighting the rounder elements and extending its stay. This EDP version even has its own fig-shaped limited edition bottle! Both lines have matching and faithful home fragrances in the form of sprays and scented candles which recreate a paradisial, calming atmosphere at home for when you want to bring back those lazy summer days of skulking aimlessly and relax.

Another great approximation to the scent of the fig tree and its ambience is A la Figue by Satellite. A study (fugue) on fig, it’s delectable, piquantly bittersweet and dustily green just like the imposing trees themselves are. So is Carthusia’s unisex Io, an aromatic composition with tea leaves inspired by the majestic villa the Emperor Tiberius built on Capri.

Nevertheless, much as realism is admired in perfumery when recreating a certain smell, one could not leave out impressionism. And herein enters one of the most individual and unique renditions of figs in recent perfumery, the one which Jean Claude Ellena proposed for Hermes with his first Jardin offer, Un Jardin en Mediterranée. Inspired by a plate of fresh figs, offered by a young woman, hot (so to speak) off the branch in a garden in Tunisia, the scent presents the bitter, sharp and yet imposing qualities that the inspiration behind it must have conjured in its creator’s mind like taking in the serene paysage and the introspective, philosophical thoughts the latter surely triggered. The fragrance’s coolness and vegetal feel, comparable to tomato leaf, is truly imaginative.

Miller Harris with her Figue Amère is proposing another fig off the beaten path. The salty, slightly bitter impression of the composition is perhaps a nod to the usual accompaniment of figs in the countries where they’re consumed by the gallon: salty cheese. Salt at once cuts down on bitterness and rounds out flavors, providing the perfect backdrop for such a central idea as unripe figs. Complimentary notes of ambery fir balsam, shady violet leaves, bitter angelica and citric hesperidia demand an inquisitive and adventurous soul to carry it off with panache.

The most perverse and love-it-or-hate-it fig fragrance however has to be Womanity by Thierry Mugler. There is a watery-sweet note on top which is very unusual: The fruity note passingly resembles that in Un Jardin En Mediterranée or Figue Amère by Miller Harris, but whereas the warmth co-existed with the cool in the Hermès fragrance, laid on thin over the green notes, and it was bitterish-cool in the Miller Harris, in Womanity the figs have caramelised. Their succulent flesh id more apparent in the sun than the leaves or the bark of the tree, with a nod to fig cookies as well. And then the salty note, said to evoke caviar!! Its intimate, lightly animalic quality is musky and intriguing and shows the frontier options to bypass.

via bigpouffyskirt.blogspot.com

Modern interpretations 

Jo Malone in the line’s usual luminous, diaphanous style presents Wild Fig and Cassis, marrying the sourness of cassis with their ammoniac note with the sweeter aspects of the fig fruit in a simple game of a contrasting duet. Guerlain on the other hand opted for the delicate and earthy-powdery anchor of iris along with the house’s characteristic sweet vanilla note in their playful fruity-accented Figue Iris. The fragrance forms part of the Guerlain Aqua Allegoria line, a collection of refreshing simple colognes that partake of beloved materials in simple compositions.

More tropical nuances reminiscent of beach vacations and sunscreen lotion are explored in Coco Figue by Comptoir Sud Pacifique, a French line in aluminum cans fit for travelling and inspired by exotic locales, as well as by Fresh in their Fig Apricot where two summery fruits conspire to give a delectable treat that tempts to be eaten rather than dabbed.

Other fig fragrances in the niche sector include: Ninfeo Mio by Annick Goutal (with its matching candle Sous le Figuier), Les Nez Turtle Vetiver Front, Fig & Garcons by Nez a Nez, Fico di Amalfi by Aqua di Parma Blu Mediterraneo, Fig Tree by Sonoma Scent Studio, Figuier Eden by Armani Privee, Hermessence Santal Massoia (Hermes), Fig Tea by Patricia de Nicolai, Byredo's Pulp, Fico Verde by Antica Farmacista, Sous le Figuier by M.Micallef, Figaro by Lubin, Aftelier's Fig built on all naturals, Bois et Fruits by Serge Lutens, Fresh Fig by Laura Mercier, Mediterranean Fig by Pacifica, and Henri Bendel's Wild Fig.

Even more mainstream brands have embraced the fig fad in their portfolio, starting with Marc Jacobs Men, Marc Jacobs Splash Fig, Island Capri by Michael Kors, and Versace Versence, all the way down to Bath & Body Works Brown Sugar & Fig, proving niche brands map out emerging markets.

Related reading on Perfume Shrine: Scents of the Mediterranean, Perfumery Raw Materials articles 

Do you like figs and fig scents? Which is your favorite?

Perfumery Material: Blackcurrant/Bourgeons de Cassis

Have you wondered why some people spontaneously identify a particular ingredient in perfumes as "cat piss"? The seemingly rude term is not without some logical explanation and might indeed indicate a refinement of nose rather than an abject rejection of perfume en masse. Let's explain.

Black currant bud absolute is known as bourgeons de cassis in French, coming from Ribes nigrum and differentiated from the synthetic "cassis" bases that can be cloying and which were so very popular in the 1980s and early 1990s perfumery, notably in Tiffany for Tiffany (by Jacques Polge) in 1987 and Poeme for Lancome (by Jacques Cavallier) in 1995. Compared to the artificial berry bases defined as "cassis," the natural black currant bud absolute comes off as greener and lighter with a characteristic touch of cat. Specifically the ammoniac feel of a feline's urinary tract, controversial though that may seem.

The Peculiar Smell of Thioles in Cat Piss and Blackcurrant Buds
The characteristic odor of the black currant berries and flower buds of the black currant plant is due to glandular trichomes that carry thioles, especially 4-methoxy-2-methylbutan-2-thiol, an ingredients which brings on a cat-urine note atop the fruity facet of the plant. Three hydroxy nitriles also contribute a significant element into the odor profile of black currants, attesting to the acquired taste that black currant is as a note in perfumes. But other plants share some of the particular note, though they're less used in perfumes, such as the leaves of the South African buchu, with which it pairs when the desired effect is to reinforce the feline.

Blackcurrant Buds in Perfumery
Black currant absolute comes from the bud (as per Biolandes, who produce it in France in Le Sen and Valréas regions) but also from the distilled leaves of the plant (as per perfumer Aurelien Guichard) and is extracted into a yellowish green to dark green paste that projects as a spicy-fruity-woody note retaining a fresh, yet tangy nuance, slightly phenolic.
Its most celebrated use has been in being introduced in Guerlain's classic 1969 perfume Chamade, composed by Jean Paul Guerlain. Van Cleef & Arpels, however, have done much to promote their own pioneering use of black currant buds in First, coming out in 1976, composed by perfumer Jean-Claude Ellena. The niche creator Annick Goutal envisioned a fragrance for the young girl in every woman in 1982 when she created a deliciously mellow blend of blackcurrant buds, mimosa and cocoa for her daughter Charlotte in Eau de Charlotte, because her daughter loved blackcurrant jam.

Due to concerns with irritation hazards to eyes, the respiratory system and skin sensitization, black currant bud absolute is used no more than at a rate of 1.0000% in the fragrance compound nowadays and only 20,0000 ppm in flavoring usage.

In fragrances, black currant bud absolute blends particularly well with roses but it also allies very well with a pleiad of perfumery ingredients: allyl amyl glycolate (a modern "pineapple"-like metallic musky note), ambrettolide (light, vegetal smelling musk), benzoin (a sweet resin), benzyl acetate (fruity floral with hints of jasmine), buch leaf oil (for reinforcing its catty profile), orange and citruses, cyclamen aldehyde, beta-damascone (rosy-fruity), beta-ionone (violet), ethyl maltol (the scent of cotton candy), heliotrope/heliotropin, galbanum (bitter green resin), oakmoss (tree lichen with bitter inky profile), jasmine absolutes and various rasperry ketones.

Fragrances that feature black currant buds/leaves notes: 

Annick Goutal Eau de Charlotte
Calvin Klein Escape 
Cacharel Loulou
Diptyque L'Ombre dans L'Eau 
Éditions de Parfums Frédéric Malle Portrait of a Lady
Estée Lauder Beautiful 
Estée Lauder Bronze Goddess Capri
Estée Lauder Jasmine White Moss
Fendi Fan di Fendi 
Floris Amaryllis
Floris Night Scented Jasmine
Gucci Rush II 
Guerlain Chamade 
Guerlain Champs Elysées 
Hermes Eau d'Orange Verte
Houbigant Quelques Fleurs Royale 
Jacomo Silences Eau de Parfum sublime (2012)
Juicy Couture Peace Love Juicy Couture
Lalique Amethyste 
Lancome Miracle Forever
Lancome Tresor Midnight Rose
Michael Kors Island Hawaii
Patricia de Nicolai Sacrebleu
Tom Ford Black Orchid 
Valentino Rock & Rose 
Van Cleef & Arpels First 
Van Cleef & Arpels Féerie
YSL Baby Doll 
YSL In Love Again
YSL Saharienne

Perfumery Material: Heliotrope

Among the most popular and beloved notes in perfumes, heliotrope evokes images of goose down comfort, almondy yumminess, fluffiness and powdery goodness. A pliable note, despite its characteristic odor profile, it can twist slightly here or there. Coupled with violets and iris it gains on intensity reminiscent of retro talcum powder; embraced by bitter almond, vanilla or frangipani, it gains on a mouth-watering quality that is delectable, like a billowy dessert you can't resist. A high pitched and curiously deep, at the same time, smell, this fascinating butterfly-attracting plant is but the introduction to a delightful and ubiquitous perfumery material.

Arcane Connections

The name comes from the Greek words "Helios" (the sun) and "tropein" (turning), denoting the propensity for turning towards solar rays. Thus is explained the old English name "turnsole" (via the French "tournesol"). But apart from the plant and its delicious scent, it also refers to a purple-pink shade of color: the first use in that regard recorded in English comes from 1882.

Allied to puccoon, forget-me-not, and beggar's lice, the heliotrope comprises 100 kinds of varieties throughout the world's warmer zones. The fragrant garden heliotropes have sprung from two species only though: One is native to India, the other to Peru. The most usual heliotrope variety grown is heliotropium arborescens, like its name suggests resembling a small tree. Garden heliotrope has been a constant feature since at least the Victorian times, thanks to its delicious scent that oscillates between marzipan, vanilla, cherry pie and almond (hence its alternative name "cherry pie flower"). Indeed vanilla essential oil contains an amount of piperonal (heliotropin) in its composite, drawing the two close. It comes as no surprise that in mythology heliotrope is associated to the god Apollo, god of the sun and of the light. Hence the plant's connection to healing, prophetic dreams and exorcism. Apollo was the pre-eminent god of insight, bestowing his gift of prophecy to his acolytes and to the oracle of Delphi.

How Heliotrope Notes are Created in Perfumes 

Both maceration and enfleurage (enrobing blossoms in clarified fat and then treating the fat with volatile solvents in order to catch the pure essence of the flower) yield heliotrope essence from heliotrope peruvianum, but it is neither sufficient nor totally accurate. A Japanese study from 1995 identified some odoriferous components as major components in the flowers, such as benzaldehyde, anisaldehyde and benzyl acetate, but these notes do not comprise the scent of the flowers adequately. On the contrary 3,4-          methylenedioxybenzaldehyde (heliotropin) does smell like heliotrope flowers, to an adequate degree, although the ingredient is not actually found in the blossoms' scent profile!

Therefore in perfume formulae, heliotrope is routinely replicated with heliotropin. Also known as piperonal or oil of sassafras, heliotropin derives from sassafras indeed (Sassafras albidum) and has been in wide demand for perfume and soaps for decades, especially for reasons of cost. The odour profile is powdery, like vanilla meringue with a helping of almond. The characteristic comforting scent of heliotrope has been proven to induce feelings of relaxation and comfort, a pampering atmosphere that finds itself very suited to languorous oriental fragrances and delicious "gourmands" (i.e. fragrances that recall culinary desserts by their scent).

Teaching your Nose into Recognizing Heliotrope Notes

To get an education in heliotrope notes in perfumery one needs to look no further than classic Guerlain fragrances: From Guerlain's ultra rare Heliotrope extrait from 1890 to the ethereal Après L'Ondée (1908), which is mainly the pairing of warm heliotropin with cool and shy violets, and the troubling yet nostalgic L'heure Bleue (1912) ~which pairs the vanillic facet of heliotropin with anise on top, soft flowers in the heart (violet and carnation) and benzoin, iris and Tonka bean in the base to compliment the floral-oriental character~ Guerlain is the definitive house for heliotrope.

 It was therefore a fitting homage that perfumer Jean Claude Ellena was reinterpreting Après L'Ondée in a modern context when he created L'Eau d'Hiver for Editions des Parfums Frederic Malle. The aim was to create a light fragrance, inspired by the structuring of eau de cologne but creating an eau chaud (hot water) than cooling sensation of a classic cologne. In L'Eau d'Hiver heliotropin is almost reduced to its pure state for this purpose: fluffy, like a late afternoon cloud, salmon golden. Etro's Heliotrope is yummy, innocent and hazy, enveloping you in its comfort like a goose down duvet; it's no accident it's considered the finest representation of the note, coupled with white flowers for a light, floral, airy touch. Heliotrope Blanc by L.T Piver is charmingly more complex with a slightly naughtier note. Crown Perfumery also lists a Heliotrope amidst their wares, more restrained and balanced in its sweetness. Molinard makes a classic, simple Heliotrope in their line Les Senteurs, which highlights raw materials one by one.

 Several modern fragrances succumb to the charms of heliotrope, even when not featured in the name. In Kenzo Amour the heliotropin take is on the vanillic side, boosted by milky notes. In Love, Chloe we encounter the retro-smelling pairing of heliotropin and violet notes producing a powdery effect, reminiscent of makeup products. In Sicily by Dolce & Gabanna it provides the sweet anchoring of soapy aldehydes on top. In Lolita Lempicka eau de parfum heliotropin takes a anisic mantle and becomes a full-blown gourmand, while in the older Cacharel Loulou it's the comforting billowy background alongside tonka bean (with which it shares an almond and hay facet) and orris, producing a true floriental.


IFRA Concerns & Regulations

 Currently heliotropin is under reduced ratio of use in perfumery, according to IFRA regulations, because safrols in food have been proven to be carcinogenic and hepatotoxic. Therefore concerns about the inhaled and skin-absorbed quantity from scented products have resulted in a preventory measure, rationing heliotropin to much lower ratios than before. This may be why your favourite fragrance with heliotrope might start smelling less deep and almondy in the coming months or getting discontinued altogether (as happened with Jour de Fête already).

Fragrances containing prominent heliotrope notes

Ava Luxe Heliotrope
Avon Heliotrope
Barbara Bui Le Parfum
Boucheron Jaipur Homme
Bvlgari Omnia Amethyste
Cacharel Loulou
Caron Farnesiana
Chloe Love,Chloe
Crown Perfumery Heliotrope
D&G Feminine
Dolce & Gabanna Sicily
Etro Heliotrope
F.Malle L'Eau d'Hiver
Gucci Gucci Eau de Parfum (brown juice)
Guerlain Après L'Ondée
Guerlain Aqua Allegoria Angelique Lilas
Guerlain Heliotrope extrait
Guerlain L'Heure Bleue
Guerlain Quand Vient la Pluie
Herve Leger eau de parfum
Kenzo Amour
Kenzo Flower le Parfum (red bottle)
Lalique Le Parfum
L'Artisan Parfumeur Jour de Fête
Lorenzo Villoresi Teint de Neige
L.T.Piver Heliotrope
Lolita Lempicka Lolita Eau de Parfum
Maitre Parfumeur Gantier Secrete Datura
Miller Harris Fleur Orientale
Molinard Les Senteurs Heliotrope
Oscar de la Renta Esprit d'Oscar
Oscar de la Renta Volupté
Patricia de Nicolai Kiss me Tender
Paul & Joe Blanc (by perfumer Jean-Claude Ellena)
Philosophy Pure Grace
Santa Maria Novela Eliotropio
Serge Lutens Daim Blond
Serge Lutens Datura Noir
Trussardi Jeans for women

 heliotrope plant pic via factspage.blogspot.com, LHB bottle via guerlainhistoiredeparfums.wordpress.com