Arabian Wood, Bois Marocain and Italian Cypress by Tom Ford – three reviews

~by guest writer Mike Perez

Looks are deceiving. Which should not be a problem when talking about fragrances, right? Wrong!
I am just as guilty as the next guy, when I allow the concept of a fragrance (the ad, the bottle or the celebrity’s name (or the attractive model’s face [and body] associated with it) to tempt me into giving a fragrance my attention - when actually I should be more interested in how the fragrance smells on my skin.
So, I admit it. It’s something I’m trying to get better at. I’m trying to not believe the hype (online or otherwise) that surrounds every new fragrance release and smell fragrances (new and old) with no expectations. It is extremely hard to do. Since I’m a big fan of a bunch of Tom Ford fragrances I decided to practice my new approach by testing the 3 new Private Blend scents: Italian Cypress, Arabian Wood (currently only available at the TF Kuwait boutique) and Bois Marocain (scheduled to be released in May 2009 exclusively to the London boutique).
Here are my fragrance reviews:


Arabian Wood
The first spray of Arabian Wood is neither woody nor ‘Arabian’ but something imperceptibly fougère-like, herbal and slightly nose tickling (angelica?) combined with a sharp varnish / nail polish remover accord. It took a couple of wearings for my nose to become accustomed to it and then only when it’s warmed on skin for at least 20 – 30 minutes do you start to perceive a warm, ashy gentle frankincense accord.
I’m familiar with a handful of pure aoud oils, which to me vary greatly in overall smell and complexity. A few of the high quality oils are just gorgeous. Arabian Wood conveys this same accord not as an oil, but as a fragrance (not easy to do) while avoiding the typical medicinal (Band-Aid like) sharpness. It reminds me of the dry down of aoud fragrances (the Montales and Amouages) after a couple hours – almost as if 5 to 10 hours of sharp, medicinal notes are fast forwarded and skipped and you instantly arrive at the plush, velvety floral/wood aroma. I love it! The frankincense blends seamlessly with the taif style rose and then a gentle white floral note finishes it off in a luxurious and sensual style.
Arabian Wood by Tom Ford is exclusive to the city of Kuwait (one of the richest countries in the world) and this scent feels appropriately decadent. However, unlike genuine Middle Eastern attars, Arabian Wood diffuses and doesn’t wear thick or heavy – its incense and complexity aren’t trapped close to the body of the wearer. I wish it lasted longer – it is gone in 3-4 hours. I also wish it was more affordable – but compared to pure Arabian attars prices, Arabian Wood is lower priced (for once). Imagine that?

Notes for Tom Ford Arabian Wood: Patchouli, Lavander, Galbanum, Bergamot, Gardenia, Jasmine, Rose, Oakmoss, Orris and Sandalwood

Bois Marocain
I’ll get right to the point: Bois Marocain (Moroccan Wood) is an extremely safe and predictable wood fragrance; this is majorly disappointing coming from a luxury line like the Private Blends.
The top notes are a resinous blast of synthetic incense (a very sharp slightly metallic incense – think Nu by YSL) that evolves within less than an hour into a typical linear sandalwood note. Not creamy (or anything remotely trying to smell like Mysore sandalwood) or complex – but a Demeter version of Sandalwood: generic, linear and short lasting.
Rush for Men by Gucci and H&M by Comme des Garcons have walked this line before (pencil-shavings cedar notes lying underneath a raspy incense note) and while I have worn and enjoyed both of these scents before, the fragrance world does not need another, using the same two recycled accords – at almost quadruple the price.

Italian Cypress
Tom Ford said, prior to the release of Italian Cypress in Women’s Wear Daily, "It's a very Seventies gentlemen's fragrance, the kind that you don't encounter very much any more..."

He was partially correct. It is a 70’s style fragrance.
I love a great cypress note (Cypres Musc by Creed was love-at-first sniff when I smelled it years ago) and IC’s is a great cypress scent. In the first few seconds the resinous, coniferous notes are stiff, dry, bitter and very wonderful. Let’s call it the Yatagan-effect (I love it!) but then it head spinningly transforms into a wide expanse of green pine needles, fresh air (well, the effect of oxygenated pine needles) and a breezy mosaic of cypress trees, leaves, twigs, branches, sap, the whole darn forest. An extraordinary beginning! A green so true, that if you gathered together all of the shades of green in the world and picked the greenest, the epitome of green, this is the one you would choose.
But the top notes are not enough to win me over completely.
What Tom did not mention is that the middle and base notes are just like Polo (1978) by Ralph Lauren. As the scent progresses its parallel similarities to Polo are astonishing. The creamy wood effect. The whiff of leather at the edges of the green. Ford managed to copy everything about it except for Polo’s longevity since Italian Cypress lasts on me only about 3-4 hours and then disappears (unlike Polo which lasts + 8 hours). Perhaps TF sought to compete with the wonderful flanker Polo Modern Reserve.
A friend of mine snatched up a large bottle when he visited New York recently and loves it (he thinks it has a very Z-14 by Halston slant to it – another 70’s scent!) Me? I’ll pass. Polo retails for $57 (4 oz) and can be found online at discounters even cheaper - whereas Italian Cypress is $450 (4 oz).
In this case, ‘not believing the hype’ saves me a bunch of money!

The Strange Case of Dr.Oakmoss and Mr.Citrus (part 1)

We have been discussing the latest perfumery restrictions on ingredients these past few days. [You can catch up here and here]. Today's post is useful and practical advice before you rush to buy everything tagged "vintage" on Ebay or stores, especially on anything that says it has a "note" of oakmoss (many of them do not have oakmoss to begin with, as a "note" is not an actual ingredient ~meaning the effect of "oakmoss smell" can be replicated aproximately with other ingredients, some synthetic, some natural). To set things straight therefore, let me say the following.

Oakmoss is ~according to the latest restrictions applicable from January 2010~ only resticted, not prohibited. Let me repeat: oakmoss is not being completely eliminated from perfumes! The direction simply states that it needs to be drastically lowered. What that means: it's allowed to 0.1% of the formula compound AND at the same time the oakmoss extact has to contain no more of 100ppm atranol and chloroatranol (those two are the sensitising parts of the natural essence) But oakmoss has been steadily getting lowered in the last 10 years at least! Even if it means perfumes with high levels of it in the formula have to change again, those are the very perfumes which have already changed a lot, sometimes to the point of unecognisability as many fans have noticed! (Miss Dior, Ma Griffe, Cabochard etc.). After all the Scientific Committee on Consumer Products (SCCP) adopted the following during the 2nd plenary meeting of 7 December 2004: "The European Commission received a letter from the University Louis Pasteur, Strasbourg, France, with data demonstrating that chloroatranol is a potent fragrance allergen in cosmetic products. The European Flavour and Fragrance Association (EFFA) submitted a study “Local Lymph Node Assay (LLNA) – Sensitisation dossier on Atranol and Chloroatranol” and information on the levels of these substances in oak moss and tree moss" (the latter is exactly the study on which Dr.Rastogi was featured and please read on to find out more). Therefore this is known since at least 2004! In fact there is a very brief post on this link that announces it (with an email to the proper recipient, so it's not like they couldn't have been contacted!): Department of Environmental Chemistry and Microbiology, National Environmental Research Institute, Roskilde, Denmark. (scr@dmu.dk) And another from 2003!
So do you think perfume companies hadn't already wisened up seeing the developments that were impending? Surely not! They were already doing reformulations!

On what concerns Mitsouko in particular Mme Sylvaine Delacourte (artistic director for Guelrain) had the good grace to provide a quote regarding the reformulation of Mitsouko with only tree moss, setting things straight (and I translate):

"Our house has honoured two values for decades: Tradition and Modernity. Tradition denotes the quality of olfactive construction of each of our perfumes with savoir-faire and heritage. Modernity denotes the scrupulous and rigorous respect of the European regulations in the constant concern for our clients. Mitsouko has benefited in 2006 from the most recent olfactory innovations which respect our heritage while at the same time repressing the incomfort tied to certain raw materials. Therefore current Mitsouko responds to the European directives".

Perfumes can theoretically still include oakmoss (evernia prunastri or mousse de chêne) in the formula at the approved levels and I quote from the 43rd amendment of IFRA:

“For this material, for pragmatic reasons, restrictive levels allowed by the QRA for certain categories but actually being higher than those already in place before applying the QRA, will temporarily not be implemented until the end of a 5 year monitoring phase. At the end of the 5 years the position will be reevaluated again. […]Introduction of an additional purity requirement in the Standards on Oak moss extracts and Tree moss extracts.”

And category 11 (encompasses all non-skin contact or incidental skin contact products) is unrestricted! If we solemnly swear to only spray on clothes? This is why Luca finished his article with the wittisism “don't spray on skin”.

The "black" point is that since 2007 IFRA accepts big boys as members and this is the real news: Givaudan, Firmenich, IFF, Takasago etc. can be members who have a say in the regulation of perfumes. The perfumes which they themselves produce. Is it about the concern for consumers' health? It might but most importantly it's about money. How could this happen?
Like Anya McCoy told me:

"Perfumery is being forcibly mutated into a beancounter-driven business with an extremely limited palette. Afraid of lawsuits from consumers if they dare refuse to reformulate classics or create new fragrances with the limits placed upon them, big perfume houses have capitulated. This is a quote from a retired perfumer I interviewed two years ago, the one who blithely answered "we were asleep at the wheel" when I queried why the perfume industry allowed so many regulations to pile up. IFRA, at first golden and shiny with the promise of providing an industry regulatory system that would give the world of perfumery professional and governmental status, botched the deal ~badly!"

There is a PDF available for download (mail me if you want to read it!): It’s the study that Luca talked about in his article, the one I referenced above and of which Dr Rastogi is one of the paticipants. It opens with:

"Based on the submission by EFFA1 of a study "Local nymph Node Assay(LLNA)-Sensitisation dossier on Atranol and Chloroatranol", the Scientific Committee on Consumer Products (SCCP) adopted at its 2nd plenary meeting of 7 December 2004 an opinion (SCCP/0847/04) on Atranol and Chloroatranol present in natural extracts (e.g. Oakmoss and Treemoss extract) with the conclusion:“Because chloroatranol and atranol are components of a botanicalextract, oakmoss absolute, it has been impossible to trace exposure. Chloroatranol was shown to cause elicitation of reactions by repeated open exposure at the ppm level (0.0005%) and at the ppb level on patch testing (50% elicit at 0.000015%). As chloroatranol and atranol are such potent allergens(and chloroatranol particularly so), they shouldnot be present in cosmetic products."

The study talks about 2 ppm though and I quote:"The main identified allergens in oakmoss are chloroatranol and atranol. The ‘typical’ levels of these chemicals have been reduced to levels described". And it concludes with the very logical matter which we tried to explain the other day on why a simple warning label doesn't cover the issue and I quote (bold is mine):

"In recognition of the fact that contact allergy to oakmoss/treemoss is important, product ingredient labelling is required. Such labelling, as a secondary measure to prevent disease, is helpful only to that group of the European population who have a recognised contact allergy to oakmoss/treemoss (following diagnostic clinical patch testing). Labelling is not helpful to the group who have unrecognised contact allergy".

And tree moss which also contains the sensitisers has to be in tandem restricted so that the combined sum of essences does not exceed 0.1% in the formula.
Therefore since oakmoss is again to be reviewed in 2013, this means that there is a window frame for companies to conform and for us to think about this and decide with a cooler head than today's panic.

But there is hope for oakmoss notes yet! Although the patented synthetic Evernyl is not a satisfactory substitute, there is another oakmoss synthetic, Orcinyl 3, which if used together with Evernyl could do the trick.(And it’s only $2400/kilo).
Laurie Erickson, an artisanal pefumer from California for the Sonoma Scent Studio line, also told me: “The big difference for oakmoss with the 43rd amendment is that people who want to use natural moss have to switch to a low allergen moss like the Biolandes product with less than 100 ppm of atranol and less than 100 ppm of chloroatranol (the Biolandes is the only currently available natural moss I know of that meets this standard). If you use the low atranol moss below the maximum usage level and perhaps add a smidge of Evernyl/Veramoss and/or your other favorite mossy ingredients, you can create a pretty nice oakmoss note and still be within IFRA standards; I’m just starting to work with the new moss but so far I’m quite optimistic. I do wish they’d make some exceptions for the old classic formulas and I’m very concerned about the direction we’re heading with all these restrictions on so many materials, but I think we can still create moss notes in new perfumes even under the new guidelines if this low atranol moss turns out to be as promising as it seems right now. I’m just going through all my formulas to substitute the low atranol moss for the regular moss that I was using, and I’ll know more as I continue that process. I had been skeptical before sampling this moss because I’ve been disappointed with the low allergen versions of lavender and bergamot I’ve tried (though I hear better bergamot is available now), but I was pleasantly surprised when I sampled this moss and I ended up buying some.”

Ayala Moriel, another artisanal naturals perfumer has interesting commentary:

"As of the end of last year, neither of my oakmoss suppliers were no longer carrying complete oakmoss absolute. The sensitizing elements were removed, as per IFRA's regulations. Which is not surprising, since oakmoss is grown and harvested in the EU (mostly in former Yugoslavia), and most of the perfume industry at large is still concentrated on that continent. To my pleasant surprise, even at this manipulated state, oakmoss still presented the full spectrum of performance it always had, and was just as good as ever for creating chypres, fougeres and adding nuances to florals, orientals and citrus".

And she likes the Biolandes oakmoss as well! This is what she stated to me:

"1) IFRA is not scheduled to review oakmoss again until 2013, so I have no reason to believe there will be any changes to the current oakmoss regulations before than
2) I checked with my suppliers and they are not aware that this material is about to become unavailable in the near future
3) Since last year, the oakmoss absolute sold in the market was one with the sensitizing molecules removed, namely atranol and chloroatranol and resin acids. This
is also the reason why combining both oakmoss and tree moss is restricted (tree moss contains resin acids, so if it is used in a formula in a conjunction with oakmoss the concentration of oakmoss will be even lower). "

Roxana Villa of Roxana Illuminated Perfume has assured me that she has created an accord that mimics oakmoss sufficiently, composed of natural materials that are within limitations and if her Q is anything to go by on how her woody, green mossy blends go I am very optimistic! Liz Zorn of Soivohle' Perfumes is also another artisanal independent pefumer who is capable of creating oakmoss accords through the combinations of other ingredients: "It doesn’t take a rocket scientist to figure out how to dupe oakmoss, or even jasmine for that matter. Natural a combination of natural and man made or all man made."

Alex, a perfumery student who writes J'aime Le Parfum had a lovely quote:

"I do not remember whether it was me or a fellow classmate who asked Jean Claude Ellena several months ago about his feeling about IFRA, and he basically said “I don’t really care, and it does not stop me from doing my work.” I think what he says is key here, and it has to do with creativity. You do not need jasmine to give your fragrance “naturalness” or “richness.” You do not need iso e super to do perfumery. You do not need oakmoss to do perfumery.You do not need majantol* to do perfumery." (*majantol is a synthetic lily of the valley ingredient.)

I have personably been in the fortunate position to have smelled the new Biolandes low-atranol oakmoss and compare it to the traditional oakmoss essence and it does seem to perform well, although perhaps not perfectly “photocopied” but a talented perfumer can certainly put it to good use. AlbertCan is also one who has worked with both and corroborates the potential. Technology is on our side if we give it time and who knows what the future holds?
Since reportedly the Chanel Company controls Biolandes, did they just opt for re-creating a chypre with no oakmoss in their 31 Rue Cambon instead of relying on this new low-atranol material? It goes to show how boundaries need to be crossed for something to be created anew or how they cannot be sure on further developments ruining a newly launched product.

The big news is however something else entirely: the raw materials suppliers at Grasse (who mostly dabble in naturals) have been bought out by the big companies! Laboratoires Monique Remy is owned by IFF. Robertet bought Charabot and so on...It figures, doesn't it.
Like Anya Mc Coy says again: "Another wrinkle is the buying up of all the small- to medium- size processing houses, from Charis to Charabot. The pipeline that is in place to bring the extracted aromatics to the perfumer, from the distiller with a field unit in the jungle of Indonesia, to the jasmine plants in Egypt are more and more under the control of corporate conglamorates. If they - the corporations - find it easier and cheaper to use synthetics and the demand for naturals dries up, so will the pipeline. Price fixing, as with vanilla absolute, is firmly in place, in my opinion."

So practical advice: If you need to stock up on favourites from big companies, don't rush to buy whatever has been produced in the last 6-7 years at least. And even then, it's good advice to save up your money for extrait de parfum only, the most concentrated version and therefore the one in which the limitations would pose a greater problem. Do continue to support the artisanal perfumers, now more than ever.
And another suggestion for the perfume industry this time: Have you thought of the vast potential of hair mists and oils?

To be continued with other questionable materials...

Natural Pefumery Course in idyllic Italy

We have often announced olfactory training programmes on Perfume Shrine, but this is truly exceptional. I was sent the news and I share them with you with enthusiasm. Not only you have a chance of smelling real ambergris, natural orris, and tuberose and many other costly materials, but you get to test your own hand and nose in creating accords and fragrances following a simple method.

Bespoke Perfumes, A COURSE IN NATURAL PERFUMERY – May 18 – 20, 2009 or September 14 - 16, 2009 Monte Colombo, Italy, April 10, 2009 - Making perfumes is easy!

Not everyone who chooses to learn about scent will become a professional perfumer but anyone can make good perfumes. AbdesSalaam Attar’s perfume course in Italy is ideal for those who want to discover the little-known world of olfactory psychology as well as for aspiring natural perfumers. You will compose perfumes and learn how scent links to mind, emotion and spirit. The course admits only 10 students – the intimate group size assures that each student gets a high level of personal attention.
The Germano Reale is a small country resort in the hills of the Italian Riviera, in the province of Emilia Romagna. Mario Batali, noted Italo-American chef, thinks that this province offers some of the best food in all of Italy. And Venice, Florence and Pisa are all within 3-4 hours by car.

Day One - Introduction to Bespoke Perfumery
Dedicated to the discovery of scents and their meaning, to the ethics and philosophy of perfumery. In the morning, you will experience the animal scents, their story and meaning, understand pheromones and why they belong to perfumery as well as archetype ingedients. In the afternoon, you will discover the perfumer’s tools and learn how to use them. Every student will make a bespoke perfume for someone else.
Day Two – Professional Perfumery
The day is built upon practical exercises. In the morning, you will discover 14 new essences, learn how to smell, to "listen to the soul," to verbalize and categorize smells. In the afternoon, you will compose three perfumes in the manner of a professional perfumer, working from real requests from the market. Day two teaches the criteria and rules for building successful fragrances ranging from ambient fragrances, paper scenting aromas used in olfactory marketing and, of course, wearable personal perfumes.
Optional Day Three - Studen-driven Perfume Discovery (no extra charge)
The perfumer will make himself available for those who wish to delve more deeply into perfumery, clarify what they have learned so far during the course or discuss their personal projects with him.

COST: Course (Two days and optional third day): Euro 570 / US Dollars 748 (plus VAT for European students)

LODGING AND BREAKFAST: § For course participants traveling alone: You will enjoy a double room plus breakfast for the price of a single room – Euro 55 / US Dollars 72 per night
§ For course participants traveling as a pair: If you come accompanied, the cost of the double room plus breakfast for two persons is Euro 85 / US Dollars 111 per night (US Dollars 55.50 per person)

Buffet lunch each day - Euro 15 / US Dollars 20 per person

Dinner each night at La Grepia restaurant Euro 20 / USD 26 per person
Based on information above, your per person daily costs above and beyond the course fee, for lodging and food, are: Euro 90 / USD 118 if you come alone and Euro 72.50 / USD 95 if you are accompanied.

LODGING RESERVATIONS
You may book your stay directly at the Germano Reale or ask us to book for you, once you have subscribed the course. Payment for the first night is required in advance, using Paypal or credit card. The advance is refundable until a week before the date of booking. You may complete your payment upon departure.
COURSE REGISTRATION
As the number of students is limited to ten, please register quickly. Your space will be reserved by advance payment of half the course fee, either by credit card on our bank secure server. You may complete your payment for the course at the end of the formal course on the second day.
LINKS FOR REGISTRATION AND FURTHER INFORMATION
Some good links for course information are here and here, but certainly contact us for help finding the information you seek. Just mail us at profumo@profumo.it, or call us either by phone (0039 0541 86 30 13) or by skype (Profumo.it)

Link to Profumo.it page.

Prada Infusion de Fleur d'Oranger: fragrance review

The newest Prada, Infusion de Fleur d'Oranger is the reflection of a taut body on a shower glass pane in a Moroccan hotel. Is this a good or a bad thing? Like most ambivalent realities in life, it depends on your expectations. I can't say I was too impressed and theoretically I should have, my usual tastes running into the realm of both white flowers and refreshing cologne-type scents for spring and summer. This new contestant is neither.

Infusion de Fleur d’Oranger is a limited edition fragrance and the first in a project of yearly series of "infusions" following the uber-successful Infusion d'Iris (it got a Design Award in 2008 by Wallpaper; you can't get more chi chi than that!). Ephemeral Infusion Collection is therefore a limited editions line consisting of one new fragrance per year derived from Prada’s Exclusive Scent range. Basically Infusion de Fleur d’Oranger is a direct descendant of the Exclusive Scent No. 4 by Prada: Fleur d’Oranger,by the Italian designer, but also a rehashing of the successful elements of the standard and widely available Infusion d'Iris. The same perfumer who worked on the latter as wel as its masculine counterpart Infusion d'Homme has collaborated with Prada once again: Daniela Andrier. She seems to fuse an olfactory fingerprint in all of them as they share common ground.

Infusion de Fleur d'Oranger is a combination of orange blossom, neroli, mandarin oil, jasmine and tuberose – a heady floral by the notes supposedly (one might even expect an sub-lieutenant Fleurs d'Oranger by Lutens, although no relation), yet it makes for a surprisingly sheer, uplifting smell, reminiscent of Infusion d'Iris in several segments, especially as it dries down. The domineering impression upon first spraying is one of sharp neroli*, the distilled essence from the flowers of citrus aurantium or bigaradier (bitter orange blossom), the tree which flanks the sidewalks of the city I leave and which right about now is in full bloom ~the white blossoms intoxicating the air with the most heavenly, serene scent imaginable. The slightly bitter petitgrain* note also surfaces, providing a little austerity. The fragrance cedes to a lathery almost aldehydic ambience quite soon, losing the distinctive sharp and uplifting quality of its mandarin and neroli start which promised a refreshing spring cologne (citrus essences and neroli have the tradition of Eau de Cologne behind them). The jasmine takes on a fruity and honeyed turn (sambac variety) which conspires with the soapy-shampoo character into a muted motif that doesn't jump off the paper, contrary to the striking design on the packaging with its juxtaposition of pink garlands of blooms and orange fruits onto the dark and light green background that echoes the Infusion d'Iris and d'Homme boxes. The clean musks drydown reminds me also of the newest Essence by Narciso Rodriguez, although not as "white-tee" in feel, as well as Penhaligon's Castile, an abstract soapy orange blossom. But if you want a "clean" fragrance Essence is better constructed and much more lasting; if you want a soapy one Castile is quite sufficient; if you just want a nice bubble-bath hologram to get you through every evetuality and get you compliments Infusion d'Iris is certainly your best best and it's plenty. Last, but not least, if you want a realistic orange blossom fragrance L'artisan's Fleur d'Oranger is the golden standard and Jo Malone has a very good one in her Orange Blossom cologne (if a bit fleeting). Prada is thus left a bit in the middle of the road and I don't know what to think: her exclusive Fleur d'Oranger no4 was more like it.
Dane calls it "a perfume for those who don't like perfume" and I foresee the masses of those who fall into that category will buy it like hot cakes. For another view, please read I smell therefore I am.

Notes for Prada Infusion de Fleur d'Oranger: neroli*, mandarin, jasmine, orange blossom absolute*, tuberose, and Serendoline (sic, per Neiman Marcus' site ~but that's a typo perpetuated into infinity; in fact it is Serenolide, a synthetic musk by Givaudan, which accounts for the "clean" base)


The bottle reprises the very chic design of the previous successes imparting homogenuity in the line (and smidge of niche look!). Devout followers of Prada’s runway shows may recognize the black, green and pink floral print on the box from the autumn/winter 2003 RTW runway. Although the visually impessive site of Prada has lovely presentations for their other fragrances, the newest one hasn't made it there yet. But it will, any day now. While you're at it, I highly recommend the Fondatione Prada sub-site.

Available in three sizes for 4 months (starting March) only: 1.7 oz, 3.4 oz, and 6.75 oz retailing for $74, $100 and $135 in the U.S., respectively. There’s also a Hydrating Body Lotion and a Perfumed Bath and Shower Gel.

*Neroli and Orange blossom absolute are both derived from the blossoms of the same tree: bigaradier/Seville Orange/bitter orange/citrus aurantium. Neroli is sharper and greener, a little astrigent and very uplifting, a steam distillation product of the blossoms, while Orange blossom absolute is extacted with volatile solvents rendering a rounder, a bit indolic scent that's richer and more feminine overall. Petitgrain comes from the distillation of the leaves and twigs of the same tree and is a little more bitter than either, a usual component in masculine colognes.

Related reading on Perfume Shrine: Orange Blossom Series, Prada Infusion d'Iris and Infusion d'Homme

Pic of bottle via Spoiled Pretty blog, photo of woman taking shower courtesy of bfraz/flickr ~some right reserved.

Win an Olfactorium!

Cinquième Sens, the Parisian olfactory training organisation that has already organised training seminars in New York City since they opened a branch in September 2008, would like to celebrate spring offering you a free compact Perfumer Palette (Olfactorium)!
To get it, join Cinquième Sens for the next Introduction to the Techniques of Perfumery and the Language of Scents, aimed at both professionals and perfume enthusiasts. The programme includes history of fragrances, an introduction to brands and the sense of smell, training on the materials (naturals and synthetics), the extraction methods and the concentrations as well as the language for describing scent.

When : April 28th and 29th, 2009 from 9am to 5pm
Where: 274 Madison Avenue, Suite 1804 New York NY 10016

After the training, your will receive a spring gift: An Olfactorium (Compact version of the perfumer pallete) with 48 raw materials and fragrance compounds!
Contact Cinquième Sens New York at (212) 686-4123