Structure of a Perfume: What it is, How to Achieve it and the Myth of the Fragrance Pyramid

Consider flipping through a fashion magazine for a minute: Sandwiched between glossy pages of advertising with models in ecstatic surrender to the sheer beauty of any given potion of seduction, you will find editorial guides that teach you that fragrances are classified in olfactory "families" and that they develop like music "chords" into top notes, heart notes and base notes, built into a "fragrance pyramid": maximum volatility* ingredients first; medium-diffusion materials following them after the intial impression vanishes; tenacious, clinging for dear life materials last. That should make it easier, right? Well, not exactly.

 The thing is most contemporary fragrances are not built as neatly and the bulk of fragrance descriptors are written with a marketing consideration to begin with. It's not a plot to mislead, but the industry is still shrouded in mystery, offering a rough blueprint rather than an analytical Google map into the largely uncharted terrain of fragrance composition. After all, look what happens with "perfume notes"; we're given the effect in the press material but the real ingredient hiding behind the fragrance note is something else entirely.

So how does one go about it?

 The Fragrance Pyramid and Other Myths of Mysterious Structure 

 Recalling Pharaonic mysteries more than hard science the term "fragrance pyramid" entered the vernacular as a means to educate the public into how perfumes are actually constructed. It was legendary perfumer Jean Carles (Shiaparelli Shocking, Dana's Tabu and Canoe, Miss Dior) who used this stratagem to explain a perfume to an industry outsider. The "fragrance pyramid" concept embodies the classic three-tiered French structure of such great perfumes of yore as Ma Griffe by Carven (another Jean Carles creation) or Bal a Versailles (Desprez), where the denouement reveals distinct phases resembling a 3-D presentation. You get all different angles while the perfume dries down on the skin; a slow, engaging process to an often unexpected end.

 Consider too one of the tightest traditional perfume structures, the "chypre" (the name derives from the homonymous archetype perfume by Francois Coty, in turn inspired by the ancient blends from the island of Cyprus, i.e. Chypre in French): a harmonious blend (i.e. an accord) of bergamot (a citrus fruit from the Mediterranean basin), labdanum (a resinous extraction from rockrose) and oakmoss (a lichen from oaks). This compact form, like a musical sonata, has a clear progression of themes, from elegantly sour to resinous/sweet, down to mossy/earthy, but all work together in simultaneous harmony, becoming more than the sum of their parts. On top of this basic skeleton perfumers may add flowers, fruits, grasses or leather notes, giving a twist to this or that direction like a shift to a kaleidoscope; this allows them to flesh out the core's striking bone structure, just like makeup accents luscious lips and expressive eyes over solid jaws and prominent cheekbones.

Not every fragrance is built on the pyramid structure (or the "chypre accord" for that matter), nor is it a foolproof guide of deciphering a perfume's message. Guerlain's Après L'Ondée (1906) plays with the contrast of warm & cool between just two main ingredients: violet and heliotrope; the rest are accessories.

 Comparing Guerlain Shalimar (1925), Nina Ricci L'Air du Temps (1948) and Lancôme Trésor (1990) we come across three different styles of composing, of structuring a fragrance: The first is reminiscent of older-style fixation of natural ingredients (lots of bergamot) via the triplet of animal products (civet, an animal secretion), balsamic materials (benzoin, Peru balsam) and sweet elements (vanilla, tonka bean). The second is pyramidal. The third is almost linear, the same tune from start to finish, a powerful message on speakers.

 In linear fragrances the effect is comparable to the unison of a Gregorian chant: the typically fresh top seems entirely missing, replaced by trace amounts of intensely powerful materials boosting the character. Lauder's White Linen or Giorgio by Giorgio Beverly Hills are characteristic examples. Sophia Grojsman was in fact the one who introduced this minimalist style with maximalist effect, composing an accord of 4-5 ingredients that comprise almost 80% of the formula (as in Trésor, based on a formula originally made for herself). This accord was then flanked by other materials to provide richness and complexity. Times have changed, fragrance launches have multiplied like Gremlins pushed into the ocean and consumers' attention span has withered to a nanosecond on which to make a buying decision. No wonder contemporary perfumes are specifically constructed to deliver via a short cell-phone texting rather than a Dickens novel published in instalments in a 19th century periodical. Other considerations, such as robot lab compounding, industry restrictions on classical ingredients due to skin sensitising concerns and the minimalist school of thought emerging at the expense of Baroque approaches, leave recent launches with increasingly shorter formulae. But that's not de iuoro bad either. One of the masterpieces of perfumery, Guerlain's Mitsouko, consists of a short formula! A succinct, laconic message.

 Some fragrances are built like a contrapuntal Bach piece and others like Shostakovich: Comparing a fragrance by Jean Carles or Edmond Roudnitska with one from Sophia Grojsman or Jean Claude Ellena are two different experiences. That does not mean that contemporary perfumes are devoid of architectural merit. On the contrary. Refined compositions like Osmanthe Yunnan or Ambre Narguilé (both boutique-exclusive Hermès, called Hermessences) showcase the potential of this school. Structure is not only given by arranging the volatility of ingredients. It's how each material plays its delineated role into achieving the overall fragrance. Structure is consolidated by using the requisite materials and ratios to provide what is commonly referred to as "the bones" of a fragrance. Most often these materials happen to be synthetic, because they consist of a single molecule (in contrast a natural, such as rose absolute, can contain hundreds of molecules), they're stable and produce a closely monitored effect in tandem with other dependables.

For instance Grojsman's Trésor uses a staggering 21,4% of Galaxolide, a synthetic "clean"/warm smelling note. Jean Claude Ellena is famous for maxing out the technical advantages of woody-musky ingredient Iso-E Super in his fragrances for structure and diffusion.

In the end structural analysis is for the professionals. The wearer can experience the fragrance linearly, circuitously or languidly; it ultimately depends on his/her sensitivity, perception, attention-span and education.

ref: Robert R. Calkin, Joseph Stephan Jellinek, Perfumery: Practices & Principles, 1994 John Wiley & Sons
pic od ad coloribus.com

Words are Very Unnecessary

Christian Dior fashions shot in the Château de Versailles for the new "Secret Garden" advertising campaign, produced by Dutch duo of photographers Inez van Lamsweerde and Vinoodh Matadin. Music: Enjoy the Silence by Depeche Mode.

Estee Lauder Azuree (original): fragrance review

There is a family of perfumes composed by the same brilliant perfumer: Aramis being the butch Godfather patriach, well behaved on the outside, dangerously brooding on the inside. Cabochard is the maternal force turning the neck (and therefore the head as well) in any which way she likes, while Azurée is the younger long-haired son or daughter driving fast without a licence. They could have been The Sopranos, had the show been more stylish-oriented and retro glamorous. Or not. It doesn't matter, we can imagine. For those who didn't know it, Azurée (1969) is by the great Bernard Chant, the guy behind both Cabochard and Aramis; a fresher interpretation of the Aramis idea given a luminous fruity topnote of refreshing bergamot, while still remaining resolutely herbal.

Chant was mad for chypres, skanky animalic or non; his Aromatics Elixir for Clinique is a seminal study on mossy herbal patchouli with a big rose lurking inside the bush. Azurée, albeit herbally green and chyprish, is softer than leathery Bandit and lacks the acid green bite of the quinolines that compose the latter's leather note, thus making it more approachable, if largely unsung.

The zeitgeist and the image 

Azurée is unsung because it's an atypical Lauder fragrance. Usually big, expansive and highly floral femme in a very American way, Lauder fragrances are of a routinely high standard, yet of a somewhat "mainstream" image that belies their quality. It's all down to advertising and positioning; the repeat customer of Lauder (in makeup and cosmetics as well as fragrances) is the middle-aged, middle-class woman of predictably good taste, which tends to (unfortunately) brand the house as "unexciting". Azurée however could pass as a niche offering for the customers of -say- Beautiful or Pleasures. If it were embottled in a dark squarish flacon in the Tom Ford Privée line I bet it would be hailed as the new best thing. And it would cost the stars too, while I hear Azurée will only set you back about 40$.


We tend to forget that what passes as niche today was actually mainstream all right in 1969, when Azurée launched. We also tend to forget that the Mediterranean ideal that niche perfumes today advertise with the accompanying imagery/concept (from Aqua di Parma Blu Mediterraneo fragrances to Ninfeo Mio and Philosykos) was incorporated into perfume releases then without any visual or conceptual stimulus. It's odd to think Azurée as a perfume for Chicago wearing; it's just so darn South of France (or Capri-like) in its ambience! After all that's where its name derives from. I can almost see Romy Schneider in La Piscine putting some on casually before embarking in that fateful romance. Or think the swagger of Lauren Hutton when she was in her prime.
But then again, 1969 was the time of the sexual revolution and the fragrances matched the spirit of the times. To quote Queen, these "fat bottomed girls [were] gonna let it all hang out [and] make the rocking world go round"; out for good fun and expected to be worn indiscriminately, without pretence. Azurée is one such gal.

Scent description

The citrusy introduction of Azurée is wonderfully clean, bitterish and STRONG, providing the ouverture to an aria of leather, tar-like notes fanned on flowers and herbs. But the flowers don't register as especially feminine or romantic, rendering Azurée perfect for sharing between the sexes. A peppery twist is running throughout the fragrance, stemming from the herbal and basil notes and the more the scent dries down on skin the more the herbal and mossy character is surfacing. The perfume straddles several families in fact, from aldehydic, green/herbal, woody & leather without trying to please everyone and ending up pleasing nobody; and that's a great thing!
 The herbal and pungent character makes it very detached from today's sweet sensibilities, unless we're talking about niche perfume wearers joining you, so it's advisable to limit its use to smart company and minute application (it's POTENT stuff!). Amazingly, it's also not ruined through various reformulations, so great value for money all around.

Please note: The classic Azurée is NOT to be confused with Azurée Soleil (also very good but in a completely different game) or any of similarly named "beachy scent" summer variant to be launched in the future perhaps. You will know you got the classic, if you had to ask the sales assistant at the Lauder counter to get this out of the back of her drawer, like it were illegal contraband.

Notes for E.Lauder Azurée:
Top notes: Aldehydes, bergamot, artemesia, gardenia
Heart notes: Jasmine, geranium, cyclamen, orris, ylang-ylang
Base notes: Leather, patchouli, oakmoss, musk, amber

And another set of notes, via Basenotes:
top: basil, jasmine, and citrus
heart: armoise, sage, spearmint, vetiver, and rose
base: patchouli, moss, and amber

pics of Romy Schneider & Alain Delon in La Piscine via europeanbreakfast.tumblr and habituallychic.blogspot.com

The winner of the draw....

...for the Escale bottle is Ipop. Congratulations and please email me using the Contact with your shipping data so I can have this out in the post for you shortly.

Thanks everyone for the enthusiastic participation and till the next one!

Another Lutens Perfume Joins the Bell Jars of the Exclusives

The Lutens team is busy transporting fragrances from line to line, export to exclusive and vice versa. You can refer to our Lutens page for news updates on these issues (and reviews of the fragrances of course!).

In the spirit of this constant transition, which is keeping fans interested (and detractors annoyed), Fleurs de Citronnier (i.e. lemon tree blossoms), "a floral breeze" as described in the press material, is the latest to take its place alongside the other beautiful bell jars at Les Salons du Palais Royal in Paris, France.
Fleurs de Citronnier isn't solely a Paris exclusive though, at least for the time being, as the spray bottle is still available on the official Lutens site.

Brad Pitt as New Face for Chanel ~but for Chanel No.5!

Has the "men trying feminine fragrances, women wearing masculine colognes" bit gone over your head? Brad Pitt is here at last to promote a famous perfume aimed at women in the new advertising campaign of the most famous French house that will surely have many dropping their jaws.

The actor and director has been unveiled as the new face of Chanel No.5 and follows in the footsteps of not just Marilyn Monroe who famously wore only this while in bed, but Catherine Deneuve, Nicole Kidman (unveiled as the face in 2003) and Audrey Tautou (shooting a fabulous commercial in 2009)

"According to E! Online, [Brad] will receive a seven-figure sum for his trouble and a source told the site that Pitt, 48, will shoot his first advertising campaign in London this week." [source] This piece of news is officially corroborated as having Pitt on board.

It will surely be an interesting commercial to watch. I'm actually really taken with the idea. Might we be in for such imaginative concepts as those presented in this magnificent Ridley Scott Chanel No.5 commercial?

EDIT TO ADD: According to Daily ELLE, there is a masculine fragrance version of Chanel No.5 in the works, to be revealed "in the following months". Chanel didn't confirm or deny this rumour. 

Related reading on Perfume Shrine: Chanel No.5 through the years: the images, the faces, the advertisements

Collage of Brad Pit with Chanel No.5 bottle author's own.

Christian Dior La Collection Privee Grand Bal: new fragrance

Literally fascinated by the excess of the imposing balls that he would not miss for anything, Christian Dior used his fashion to celebrate a certain luxurious and timeless celebratory spirit. Seen in the Musée Christian Dior in Granville, Normandy, the fashions of Dior as presented in 2010 in an exhibition of 50 classic couture gowns, cannot but make one catch their breath; such is their beauty, their clever engineering and grandiose style. A new chapter in the "Christian Dior Collection Privée", the upcoming Grand Bal perfume elegantly embodies the intoxication of a summer's night at the first light of dawn.

via tohaveandhaveon.wordpress,com

Like the most beautiful of gowns, its radiant composition, dominated by Grasse Jasmine, conceals noble raw materials. "Grand Bal is an echo of Christian Dior's great ball gowns, whose full full skirts and beauty evoked the petals of a flower in full bloom" , according to head perfumer François  Demachy.
The classicism of jasmine is further enhanced by sparkling bergamot, Tunisian orange blossom, Comorian ylang ylang, New Caledonia sandalwood (this is a different sandalwood species that smells rather different than the Indian species or the Australian one) and sweet musk. 

The matter of IFRA restrictions on natural jasmine absolutes creates its own little tension and anticipation in perfume lovers.

Christian Dior Grand Bal is a Dior boutique exclusive fragrance (collection privée) and will be available in the standard cylindrical bottles of 250ml of La Collection Couturier Parfumeur. 

info & bottle pic via dior.com

Perfumery Material: Freesia, Peppery Zing, Electric Fresh

“Just because I’m resisting the wine doesn’t mean I can’t appreciate the bouquet,” he whispered. “You have a very floral smell, like lavender … or freesia,” he noted. “It’s mouthwatering.” We can forgive Edward Cullen wooing Bella in Stephenie Meyer's vampire hit Twilight the semi-true reference of lavender as floral (it's really an aromatic in perfume-speak); the matter of the fact is that freesia is mouthwatering indeed and Edward is a major heart-throb for teenage audiences (there's even an online test about how you smell to Edward Cullen).

In Meet Joe Black freesia is a symbol of the hidden sensitivity of the aging father about to meet his death, played by Anthony Hopkins:
- We do need some answers on the flowers.
- Ah, yes, freesia, freesia. Everywhere freesia. Daddy loves freesia.

Not so for sophisticated and rather cynical Miranda Priesley in The Devil Wears Prada, quoted: "If I see freesias anywhere, I will be very disappointed"...

But it is Hugh De Sélincourt in The Way Things Happen who highlights the unique heart-aching aspects of this vividly huedblossom" "The happiness of that afternoon was already fixed in her mind, and always would the scent of freesia recall it to her mental sight, for among the smells of the roses and violets and lilies and wall-flowers, the smell of the freesia penetrated, as a melody stands out from its accompaniement, and gave her the most pleasure."

Scent Profile
The cheerful bouquet of peppery zing and floral freshness projected at the right intensity, a delicious aroma that radiates for a long distance, is what makes freesia flowers so memorable. High in linalool, a major component in all freesia varieties, this small colourful blossom emits a refreshing, floral woody aroma with a subtle citrusy-terpenic note. The mollified sweet aspects, with the nectarous quality of jasmine smelt through ozone, are given a cheerful piquancy by the spicy top note which pinches you by the nose upon stooping to smell the beautiful flowers. The nuance of the blossoms themselves is beautifully varied: white ones are spicier, colourful ones are "greener". The overall character is clean and with a soapy facet, a fact that makes freesia a favorite candidate for inspiring the added scent of soaps, shampoos, body lotions and so forth. It's no wonder freesias stand for innnocence!

Little did Friedrich Heinrich Theodor Freese (1795-1876), a German physician from Kiel, know that the proposal of the name by his friend and plant collector Christian Friedrich Ecklon would result in such a popular cultivar and perfume "note". But it's perhaps even more interesting to note that a minority of Europeans have specific anosmia for freesia, although most Europeans report that freesia is one of the strongest scents known to them! McWhirter concluded that "inability to perceive the scent is a recessive character. Tests of 1,600 subjects showed that the frequency of the recessive phenotype was high in those of Eastern European and British Celtic descent (at about 10%) and low in those predominantly of Scandinavian, English, Dutch, and German descent (at about 4%)" [source]

History of a Trend
The trend for using freesia notes in fragrances began when Antonia Bellanca-Mahoney first brought out her Antonia's Flowers perfume in 1984. It is a freesia dominant fragrance because this is the flower sthe famous NYC florist was most enamoured with. The great perfumer Bernand Chant (Aromatics Elixir, Azuree, Cabochard) composed it for International Flavors & Fragrances (IFF) using headspace technology to replicate that electric freshness that natural freesia exude. Antonia was adamant that her fragrance should be free of the tricks of scented seduction, she didn't want a fragrance that would "remind her of old ladies", but one that would be light and reminiscent of her flower shop; she hadn't been using perfume for these reasons and she thought it was time to find one to claim her own. She focused on freesias because they "knocked your socks off, like trumpets in an orchestra; everyone else sings backup, even the lillies". The result was the definitive scent that put freesia on the map.
Since then, not only has Antonia's Flowers become a cult favorite, it also has catapulted an entire avalanche of freesia notes containing fragrances which take this jolting, fresh, spring-like note as a departure point of clean, feminine, pretty compositions for every woman.

Constructing a Freesia Note for Fragrances
Even though a type of freesia oil can be extracted, all freesia notes in perfumery are uniformely synthesized, usually with copious amounts of linalool (the dominant constituent in over half of freesia cultivars), hints of jasmine synths and green notes. Natural freesias in some breeds also display other related monoterpenoids; 2-penylethyl acetate (sweet, honey-like) and benzyl alcohol (fruity smelling) as well as limonene (fresh lemony, sweetly citrusy), ocimene (green and terpenic with vegetable nuances), and alpha-terpinolene (fresh and delicately lilac-like) in supplementation of the linalool. Perhaps one of the most intriguing facets of freesias is that they display ionone (violet) characteristics while living, but they lose those notes when cut!!

The amateur or natural perfumer may opt to recreate a freesia note as need be via using white verbena essential oil, which has plenty of the floral woody ingredient linalool. This is not however a note you often see cited in natural blends, probably because its main use is acting as a "modifier" rather than a dominant character-giving note. Freesia in mainstream perfumery is paired with other clean, crystalline floral "notes" of lab-synthesis, such as cyclamen and lily of the valley, or magnolia, or the shriller, rosier peony.

List of fragrances with a dominant freesia note include:

Amouage Reflection woman
Antonia's Flowers Antonia's Flowers
Burberry Body
Cacharel Noa
Calvin Klein Eternity
Caswell & Massey Freesia
Cerruti Cerruti 1881 pour femme
Chanel Allure Eau de Toilette
Clinique Happy
Dior Tendre Poison
Dior Forever & Ever
Diptyque Ofresia
DKNY Pure
Escada Moon Sparkle
Estee Lauder Pleasures
Fragonard Freesia
Giorgio Armani Aqua di Gio
Gucci Envy
Gucci EdP II
Guerlain L'Instant Magique
Issey Miyake L'Eau d'Issey
Jennifer Lopez Still
Lancome Miracle
Maitre Parfumeur & Gantier  Freezia d'Or
Paul Smith Paul Smith Women
Ralph Lauren Romance
Victor & Rolf Antidote

pics via openwalls.com, indulgedecorblog.com

Dior Escale a Parati: fragrance review & bottle giveaway

Dior doesn't get high points for originality or cultural authenticity, bearing in mind this new "port of call" in their summery Cruise collection is inspired by Brazil as announced a while ago on these pages. Escale à Parati  vividly recalls in the top notes the effervescent composition of classically French L'eau Impériale by Guerlain extended on the petals of (lots of) soapy & tartly clean orange blossom. 

The effect is pleasant, exhillarating, more specifically it's what the French call "pétillant", recalling the use of orange blossom in its "cleansed up", non indolic form in another summery, uplifting cologne Lancome's Ô de l'Orangerie (for a review and comparison of all the O de Lancome fragrance editions please refer to the link) but not as soapy as the limited edition from 2009 Prada Infusion de Fleurs d'Oranger .

The progression in Escale à Parati goes into predictably classic "cologne" notes in the mould of 4711 by Muehlens, uniting herbal and aromatic essences with a lightly sweet note (in the Dior it's tonka bean with its cut hay and lightly vanillic touch). Francois Demachy highlights the verdant tartness of the essence itself with the leafy scent of mint, arguably another trick in which Guerlain has paved the path in via their Guerlain Homme.

There are no discernible fruits to speak of in the mix nor the overt sensualism & sexiness associated with Brazilians (a most carnal people), which makes the whole Brazilian experiment sound more of a marketing positioning on the part of LVMH than an authentic pilgrimage to the vast culutral tapestry of South America. This in itself makes the launch (especially after 2 years since the last, as opposed to the annual churning out at the beginning of the series) rather incomphrehensible; one would think there are enough summery colognes in the Dior range already, why the need for one more? Undoubtedly because Brazil is an untapped market with the potential of exponential growth...

This particular Escale fragrance is fit for sharing between the sexes and the shade of the juice is really inviting, but the lasting power is comparable to the other Escales, i.e. not much. Nevertheless, when it's hot, one doesn't mind respritzing to feel the coolness of the citrusy breeze.

ior's Escale à Parati is meant to be shared between the sexes, providing a light air inspired by the Costa Verde and its atmosphere of fun, dance and music. The fragrance includes citrusy and woody notes of bitter orange (bigaradier), lemon, petit-grain, rosewood, mint, cinnamon, red berries and tonka bean.
Available as 75 and 125 ml Eau de Toilette from June 2012 at major department stores.  

One new bottle (from which 5ml have been decanted for reviewing purposes )for a lucky reader. Draw is open internationally till Monday 7th midnight. (draw is now closed, thank you)
Share in the comments to enter the draw, which is your favourite summery cologne and why? 

In the interests of disclosure, got the promo bottle through a distributor.  Collage by Eric White

Perfume in the Office: Uncharted Territory

"Moore, an evaluator with the Fragrance Foundation, says perfume is not the expression of power it was for women in the Eighties but has instead become part of the daily grooming routine ''and that's not about to change''. ''Wearing fragrance is quite acceptable now but there still have to be certain codes for work,'' she says. ''Fragrance is an incredibly personal thing - the olfactory memory is primal and how you smell fragrance is unique to you. Everyone has preferences and sensitivities.'' One women's Beautiful is another's Poison. Which is where the problems emerge at the office."

The environment of the office is a minefielf of potential faux pas of every conceivable magnitude. When fragrance, one of the most subjective and highly personal things a human being can use, mingles, the situation can be explosive. But is it better than body odour? In a turn of phrase that recalls Mad Men imagery, Natasha Huges writes: "There was a time when the office was a lot smellier - when real men didn't wear deodorant, people smoked at their desks, air-con was non-existent and dry-cleaning a luxury."

That time wasn't too far back. But that should probably not be carte blanche for overdousing with potent fragrances in the workplace; the only subtle point is there are no rules, so we make them as we go along.

Read the whole article on the Casey Weekly.

And you, do you have examples of toxic perfume (or BO) in your workplace? Please share them in the comments. 

cartoon via nextforwomen.com

Good News on the Regulations Front: Macrocyclic and Cinnamyl Phenyl Propyl fragrance Ingredients Proven Safe

"The Research Institute for Fragrance Materials, Inc. (RIFM) now has available, from its web site at www.rifm.org, human health safety assessments on Macrocyclic and Cinnamyl Phenyl Propyl fragrance Ingredients. Found in the Publications section of the RIFM site, Toxicologic and Dermatologic Assessments for Three Groups of Fragrance Ingredients: 1) Macrocyclic Ketones, 2) Macrocyclic Lactones and Lactides, 3) Cinnamyl Phenyl Propyl was published in Food and Chemical Toxicology, Vol 49, Suppl 2S, Dec 2011 and is already one of the journal's top ten downloaded publications. Included in the review of the three groups are 24 related Fragrance Material Reviews (FMRs).  Printed copies can be ordered from the RIFM Online Store."

These popular materials, used in different scented uses (fragrance, functional products, air care,cosmetics) and carrier/disolving purposes have proven to be "practically nonirritating, have a low sensitization potential, no genotoxicity potential and a low order of repeat dose toxicity".

Read more here: http://www.sacbee.com/2012/05/01/4456540/macrocyclic-and-cinnamyl-phenyl.html#storylink=cpy

News via  The Sacramento Bee where you can read the whole article.

photo showing the hull of a boat that was painted with a coating containing macrocyclic lactones, with the exception of the stripe down the middle via gizmag.com

Read more here: http://www.sacbee.com/2012/05/01/4456540/macrocyclic-and-cinnamyl-phenyl.html#storylink=cpy

The winner of the draw...

...for the Aftelier mini-atomisers is Coach Fabulous. Congratulations and please email me using Contact with your shipping data so I can have this in the mail for you soon!

Thanks everyone for the enthusiastic participation and till the next one!