European Parliament Question re:Allergens in Perfumes

The matter of increasing control of suspected allergens in perfumes is both taking wings (with increased  vigilance on the part of the industry) and starting to face opposition by concerned parties (perfume lovers, raw material growers, manufacturing companies etc). Here is the latest I came across regarding a formal plea to the European Parliament apropos the use of Calabrian bergamot in the fragrance and flavor industry.

via www.thekitchn.com

European Question to the European Parliament
4 January 2013
E-000022-13
Question for written answer to the Commission Rule 117
Cristiana Muscardini (ECR)
Subject: A bergamot-tinged war? Answer(s)

Here we go again, according to some newspaper reports. The lobbies of certain chemical industries are declaring, via the European Union, that between 1 % and 3 % of the European population are 'potentially' allergic to some ingredients found in perfumes. The proposal to reduce the concentration of essential oils from 12 % to 0.01 % would sound the death knell for bergamot and would see this traditional product disappear from Calabria, the only region in the world that is able to produce this citrus fruit, from which the oils that form the base of many perfumes are extracted. One is tempted to say: 'Here we go again!'
There was an attempt, in the past, to stop pizzas from being cooked in wood-fired ovens, for health reasons. There was also an attempt to harm the production of chocolate eggs containing a 'surprise', this time for reasons to do with the safety of children, who could have swallowed the small 'surprise' objects. Now another attempt is being made with a natural production process that is unique in the world and concentrated along a coastal strip, around 80 km long and 10 km wide, in the region of Calabria. That means that 650 farms, 7 000 workers and 1 300 hectares used for plant production are affected, not to mention the numerous perfume houses that use bergamot essence to establish a fragrance's bouquet.
The industry would like to replace this natural product with a synthetic product, which obviously has nothing to do with the Citrus Bergamia Risso citrus fruit, better known as bergamot.

1. Can the Commission confirm whether the news is true?
2. Does it really intend to support the arguments put forward by certain chemical manufacturers, against a natural product that has kept the perfume industry going for centuries without ever being harmful to health?
3. Can it say whether bergamot essence is patented or recognised by the various EU arrangements for recognising protected origin?
4. Does it not believe that the tea industry will also be compromised, given that bergamot peel is used for the aromatic Earl Grey blend?

[Original language of question: Italian]

EN E-000022/2013
Answer given by Commissioner Tonio Borg on behalf of the Commission (14.2.2013)

The Commission would like to clarify, in response to the first question, that an opinion on fragrance allergens in cosmetic products was issued in June 2012 by the Scientific Committee on Consumer Safety (SCCS). This opinion updates the list of fragrance allergens (including natural extracts) relevant to consumers, while confirming that the 26 fragrance allergens already regulated in the Cosmetics Directive[1] are still of concern.

The Commission is currently reflecting on how to implement this opinion so that it contributes to consumer information and safety in the most adequate and proportionate way, while maintaining innovation and the competitiveness of the cosmetics sector. To this end, it is thoroughly assessing the social (in terms of protection of consumers, availability of products and employment) and economic impacts of possible options, taking into account also vigilance data and additional elements of consumer exposure.
As for the third question, Bergamotto di Reggio Calabria Olio essenziale is registered at EU level as a Protected Designation of Origin in the group of essential oils[2].
In relation to the fourth question, the Commission is aware that some food flavourings when used as fragrances in cosmetics may be dermal sensitizers. However, there is generally no concern on allergic reaction via oral exposure. The Commission does not therefore believe that the tea industry risks to be compromised. |

[1]|Council Directive 76/768/EEC of 27 July 1976 on the approximation of the laws of the Member States relating to cosmetic products, OJ L 262, 27.9.1976, p. 169.|

|[2]|Commission Regulation (EC) No 509/2001 of 15 March 2001 supplementing the Annex to Regulation (EC) No 2400/96 on the entry of certain names in the 'Register of protected designations or origin and protected geographical indications' provided for in Council Regulation (EEC) No 2081/92 on the protection of geographical indications and designations of origin for agricultural products and foodstuffs, OJ L 76, 16.3.2001, p. 7.|

You can draw your own conclusions.
For what is worth, here is an interview with Stephen Welter from IFRA (the International Fragrance Association) from July 2012 where he maintains that the premium goal is the ensuring of safety for consumers (and where it transpires that IFRA is the final testing body which receives applications/suggestions on banning things from SCCS and other lobbies).
This is a most interesting excerpt from it, as per Stephen Weller:

"IFRA has in fact delivered some very positive results. Far from banning certain materials, IFRA has in fact been protecting them from potential bans. A material such as oak-moss would have disappeared if it hadn’t been for IFRA. The EU would have abolished it. In fact, thanks to IFRA’s work, many materials are still capable of being utilised as part of the palette of more that 3000 materials which perfumers can employ in their creative art. There are restrictions on the use of some substances but these are justified when balanced with the safe enjoyment of fragrances for all."

The text of the Parliament question can be found on this link.

Related reading on Perfume Shrine: Allergens and Perfume Industry Restrictions, The Bergamot Series

Poached this reference on the Fragrantica boards via member Kitty48

The Ugly Reality of Fragrance Sameness: Insights into Stagnant Practices

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

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

Source: chiccham.blogspot.com via Sandy on Pinterest

How Perfume Marketing Tests Work

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

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

The Ubiquitousness of the Same Raw Materials

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

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

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

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

What I'm Tired of Right Now

Ladies' Home Journal, "I'm Fed Up" (1944) by Irving Nurick

Articles in the general press having to do with olfaction/perfume/the sense of smell titled "Scents and Sensibility". (Or the pun-ier "Sense and Scentsibility") Journalists should dust off something else besides their Jane Austen paperbacks for titles inspiration. (It did become a movie title, apparently. I swear I did't know until I Googled this very title! Thankfully it tanked). It can still remain a perfume boards handle though; that's OK in my books.

"The most primitive sense" should also be excommunicated from smell writing. It predisposes me I'm about to read a guide for bored housewives into regaining their husbands' mojo attention span via cheap tricks. Baudelaire quotes don't, on the other hand, but it's overdone by now.

(Predictably) The oud bandwagon. The "noble rot", the "prized essence", the "most expensive raw material"... it's all a lie! (I've been saying this since 2008) Enough already.

The Perfumery is Art bandwagon on which everyone hops on in the hopes it should pay dividends. It won't , particularly. (And I am ever so pleased I am not the first one to predict so) [btw, special thanks to Patty of Perfume Posse for the pdf linked]

Worrying about which scents IFRA regulations will massacre with their successive reviews each time. Basically it just prolongs the agony. Just kill me now.

Online "experts" on assorted beauty boards that regurgitate half-learned lessons about perfumery (rather than their personal opinions or just solid facts). Open a decent book on the subject, allow a dissenting voice (another's opinion is just as valid as your own), and stop acting like you know it all, like a 15 year old. No one does. Not even perfumers; they're still learning.

Press releases and fragrance advertisements that use any combination of the words "for the confident, sensual woman who celebrates her femininity" (define femininity please!), "grace, confidence and charm", "the link between fragrance, confidence & women." See a pattern? Best of all (just an example of the full idiocy): "This fragrance is for the confident man, one who is not afraid to show who he really is". If he's really not afraid to show who he really is, then why not go au naturel? Why PAY GOOD MONEY for something to show who he is? Is his real self hiding? (And if so, why is it hiding? Isn't he confident enough?) You see my point...

Do you have a rant of your own? I'd love to hear it in the comments. 

Hermes Jour d'Hermes: fragrance review & insights into fragrance creation

Things which are equal to the same thing are equal to each other.
~Euclid

photo by AlberCAN (copyright 2012) for use on PerfumeShrine

By guest writer AlbertCAN

Simple elegance is often the hardest to grasp. The emphasis here, of course, lies in its sophistication: the fusion of ideas being so purposely concised and delicately tailored that the communication becomes deceptively simple. Ideas just float on their own merits, process gone and vanished. For years now, for instance, many have quipped that the great Anna Pavlova probably danced her famous “The Dying Swan” program as party entertainment, but judging by the technical brilliance, intricate grace and athletic poise displayed by prima ballerina Ulyana Lopatkina below I wouldn’t classify it as a simple dance: to even stand on pointe for nearly four minutes while delivering all the nuanced emotions? Not ever for the faint hearted.

I was pondering all these intricacies almost three weeks ago when I was introduced to Jour d'Hermès (2012), the latest feminine fragrance by master perfumer Jean-Claude Ellena, and when I was informed of the project scope I was very surprised by its seemingly effortless premise: a modern soft floral, radiance from dawn to dusk. No emphasis on particular notes. No PR blitz upon the initial launch. Boutique only until Spring 2013. All against the grain.

The name is also deceptively simple, another subtle risk. Jour d'Hermès (pronounced roughly as ‘joor dair-mess’), though perfectly fitting with the brand’s chosen theme for 2012—Gift Of Time, or Le temps devant soi—isn’t the most accessible name for non-francophones and does require a reasonable grasp of the language. The name does, on the other hand, complement the core theme* of Hermès perfectly: the land and the sky. Case in point? The two best-selling scarves: “Brides de Gala” (on the left) on saddlery and “Astrologie” (below right) on the zodiac constellations—of the land and the sky. Olfaction wise, since we already have the masculine Terre d'Hermès (2006) representing the earth, and since Ciel d'Hermès would have been too obvious, here we have Jour d'Hermès representing the other half of the universe—though I should point out that the above-mentioned names are slightly subversive, with la terre being a feminine word in place of a masculine fragrance and le jour being a masculine word in French. One might think little of the seemingly archaic French noun gender categorization, but I should point out that the name “Calèche” was originally chosen in part because it is a feminine word in French—la calèche. Still, I’m ahead of myself: more on that front later.

The fragrance is yet another intricacy in disguise: Jour d'Hermès opens with quite a tart grapefruit element (quelle surprise) followed immediately by a soft verdancy—all against a floral murmur. Long-time readers of Ellena’s olfactive works would also notice a fruity syntax to the mix, though purposely kept non-specific with a soft sensual mango bias as the fragrance wears on. (The master perfumer has mentioned his partiality to the scent of mango in his book “Journal d'un parfumeur”.) Then in comes the radiance and the scent deftly draws out a delicate array of flowers: sweet pea and gardenia most prominently, although I have also observed a quote of the translucence lifted from Vanille Galante (2009), the lilting orange blossom in Iris Ukiyoe (2010). Further, if one can excuse my impertinence: with the help of the IFRA-sanctioned ingredient label—and my humble training in perfumery—I can also deduce the following floral elements: lily of the valley, modern hybrid rose, tuberose, ylang ylang, jasmine—although these elements are utilized in such a quasi-deconstructed manner that Ellena the magician here only shows an whiff of the ideas. It’s a dawn-kissed, dewy garland—not a Floriade by any stretch of the imagination. The overall structure of the fragrance is kept clean and tailored; the diffusion pattern is built with a purpose; sillage modern, sensual and very long-lasting.

The contradiction of this maximizing minimalism is worth pondering here. This is a luminous floral built under and only under the aegis of our time: three decades ago this idea of floral barraging would have been a Maupassant Realism, as testified in “First” (1976) by Van Cleef & Apels, another Ellena creation; a mere decade ago J’Adore (1999) by Christian Dior with its coquettish charm fronted by the saccharine champaca and violet. Jour d'Hermès is unapologetically floral at heart but decidedly anti-FlowerBomb.

Which begs the question: how does Jean-Claude Ellena manage such sustained flurry of floralcy in flight without all the burdensome cliché of heft often associated with the genre? Without the help of gas chromatography (out of the respect of the master perfumer, really) I would offer a possible hypothesis after a careful examination of his interviews and writings.

I have already mentioned the use of sweet pea, which Ellena has devoted a spirited entry in his “Journal d'un parfumeur” (2011). My English translation of the passage in question offers a glimpse to his art.

                                                                                                       Cabris, Wednesday April 14, 2010
Sweet peas, when in bouquet, remind me of ruffled flamenco dresses. The flower has graceful petals and has the appearance of organdie. They do not have a determined smell, but a scent that hesitates between rose, orange blossom and Sweet William, with its touch of vanilla. I threw in seven components that seem necessary to sketch the smell. One, two, three attempts to balance the proportions, to which I added a carnation note to the fourth test to correct myself again. The fifth test seems appropriate. I have a sketch of smell with which I can start a perfume.

SWEET PEA (FIFTH DRAFT)
phenylethyl alcohol               200
Paradisone ®                      180
hydroxycitronellal                 50
Rhodinal                           30
acetyl isoeugenol                  15
orange blossom (abs colorless)     15
cis-3 hexenol                       5
phenylacetic aldehyde 50%           5
______________________________________
                                   500

Diluted at 5% in perfumery alcohol at 85°.

While it’s not certain whether Ellena adopted the exact sweet pea accord above for his latest feminine fragrance the olfactory essay is of interest. The accord is emblematic due to its hologramatic nature: the nuance of the gentle flora is evident, yet within there’s also a radiant magnolia (Paradisone), a splash of lily of the valley (hydroxycitronellal), a boutonnière of carnation (acetyl isoeugenol), a blade of fresh luminous verdancy (cis-3 hexenol) and a whiff of tartness (Rhodinal) for good measure—not to mention the orange blossom absolute and the frilly rosy touch from phenylethyl alcohol. As an avid gardener who has harvested his share of sweet peas I must say Ellena is shockingly spot-on with so few ingredients.

Within the same book Ellena’s thoughts on gardenia is even more sparse. Again my English translation:

Gardénia

aldehyde C-18 prunolide
styrallyl acetate
methyl anthranilate

For the scent of gardenia I prefer that of Chanel because it does not smell like the flower but happiness. The odour of gardenia is a drama between jasmine and tuberose.

Compared to the natural scent the gardenia accord above does not have the notorious mushroom lilt simply because of the absence of the tiglates. (The stryrallyl acetate, itself smelling like tart rhubarb, may have also given Jour d'Hermès the verdant tinge.) Yet what does the master perfumer meant when referring to “a drama between jasmine and tuberose”? Let’s break down the individual accords from the master perfumer:

Jasmine
benzyl acetate
Hedione
clove bud oil
indole
methyl anthranilate

Tuberose
aldehyde C-18 prunolide
methyl anthranilate
phenylethyl alcohol
benzyl salicylate

Thus elements from both are appearing in the gardenia accord, although our Elena Vosnaki has also made the following observation: "Methyl anthranilate (orange flower and ylang-ylang in low concentration, grape in high concentration) also produces very popular Schiff's Bases for a variety of floral effects, when added to aldehydes. No surprise in its being featured so much!"

Based on the info above I can deduce that Jour d'Hermès doesn't have the notes listed in part because the ‘notes’ are all connected together: sweet pea into magnolia, magnolia helping the orange blossom, orange blossom into tuberose, tuberose into gardenia. And certainly the Paradisone is known to create a radiant effect, as per both perfumer Arcadi Boix Camps and master perfumer Alberto Morillas. Under this manner Ellena, though clasping onto his aesthetics firmly, is to me also taking a page out of the notebook from old master perfumers of the 20th century such as Francis Fabron, despite obviously going after vastly different olfactory effects: very short but self-contained formulas with each 'note' sharing a set of chemicals so the elements are tightly woven as possible.

After all, what’s the point of naming all the notes in Jour d'Hermès when all the ingredients are synced to perform as one, in calibrated harmony?

I have mentioned that Jour d'Hermès is quite long-lasting, and much to my intrigue it works very well as a unisex fragrance. The use of the pricey muscone, itself a creamy modern musk, does help coaxing flowers to a more prolonged bloom...

(Hidden in the drydown I do very much suspect the use of honey absolute in conjunction with the musk, since the diffusion is such positively radiant. Oakmoss extract is also used, not at the forefront of the story by any stretch of the imagination but enough for me to see maybe classified by others as a modern chypre floral.)

...To test my hypothesis I ended up wearing Jour d'Hermès for two days straight, and on my skin it’s becomes a soft unisex fragrance. And given that Terre d'Hermès can work on the right woman perhaps the gender confusion among the two French nouns (le jour, la terre) isn’t so random after all: Ellena does believe the freedom in fragrance categorization among genders—perhaps the names are a reflection of that belief as well, that fragrance shouldn’t be gender assigned but completely up to the taste of the individual. And given the marketing scope of the latest offering I have good reasons to believe that the ray of light is being granted in the name of personal freedom, freedom in the name of simple elegance.

Hermès Jour d’Hermès is available in 50 and 85 ml Eau de Parfum, and in a 125 ml refill. It’s available now exclusively in Hermès boutiques and will go into wider distribution early next year.

*Editor (Elena's) Note: Jour d’Hermès was presented to the world in late November 2012 in Delphi, Greece (as seen here), the default spot of LIGHT worship. The god of the oracle, Apollo, has  no doubt shed a ray of sunshine on the perfumer and his works. It remains to be seen whether -to borrow a Nietzsche reference- the next fragrance, tackling the Dionysian this time, will be Nuit d’Hermès and presented in Arcadia. I'm throwing this to the mix as an idea to the Hellenophile people at  Hermès!

Photo, from top: Jour d'Hermès and “Journal d'un parfumeur”, photo taken/copyright by AlbertCAN; Uliana Lopatkina in “The Dying Swan”, photo via Tumblr; “Brides de Gala” scarf by Hermès; “Astrologie” scarf by Hermès; cover of “Journal d'un parfumeur” by Jean-Claude Ellena; Jour d'Hermès illustration via Hermes.com

"You never stop learning in this craft" IFRA video The Story of Fragrances

In IFRANA's (IFRA North America) documentary "The Story of Fragrances," experts from the fragrance industry reveal how artistry and passion combine with science and technology to create the world's most innovative fragrances and best-selling perfumes.

Perfume-Makers Fear EU Legal Blow to the Industry Due to New Restrictions

"(These ingredients are) the spine of about 90 percent of fine fragrances," said Pierre Sivac, Chairman of the International Fragrance Association (IFRA), whose members include America's International Flavors & Fragrances and Switzerland's Givaudan. [source thanks to T.Sanchez]

Perfume-makers fear EU legal blow to the industry and the fear of restrictions is increasing:“All citizens are entitled to the same protection,” SCCS Working Group chairman Ian White, said. It recommended restricting the concentration of 12 substances – including citral, found in lemon and tangerine oils; coumarin, found in tropical tonka beans; and eugenol, found in rose oil – to 0.01 per cent of the finished product. And it proposed an outright ban on tree moss and oak moss, which provides distinctive woody base notes in Chanel’s No.5 and Dior’s Miss Dior."

“It is essential to preserve Europe’s olfactory cultural heritage,” LVMH said in an e-mailed statement, stressing nonetheless the well-being of consumers was a “major concern”.

What's more important is this: Any new laws curtailing the use of natural scents would also impact fragrance-producers such as Givaudan and Firmenich as well as Germany’s Symrise, Japan’s Takasago and Robertet in France’s scents-producing town of Grasse. Basically all the bulk buyers of raw materials, making the growers and developers of the banned essences obsolete and irrelevant in the market game.

Industry sources say they expected regulatory proposals by January 2014. However, the Commission declined to comment on a time frame for possible legislation. Trade associations including IFRA and Cosmetics Europe, whose members are perfume and cosmetics companies such as LVMH, are aiming to submit a joint industry proposal to the Commission by the end of 2012.

Of course it needs to be pointed out that the classic Miss Dior is nowhere to be found (at least on the mainstream circuit, it's still visible on the official site under Miss Dior L'Originale tag) in favor of the re-named Miss Dior Cherie (which circulates as simply Miss Dior now, so a marketing decision sounded the death knoll rather than the formula itself) and Chanel No.5 has been changed as well through the years.

Chanel No.5: Precious Ingredients Lore

At the heart of Chanel No.5 marketing lies the lore of prized perfumery materials. Fragrant jasmine from Grasse, real ambergris as precious as gold, the choisest foundations on which to build a masterpiece... It can be argued that the significance -and indeed definition- of a masterpiece doesn't rely on the materials it is made of necessarily, but on the way it is made and the intellectual/emotional message it conveys. Yet, as with anything, a closer examination of any legend brings on its own interesting revelations.

Let's start with the ambergris part. Let's start with a diversion. Have you ever wondered: Why have top U.S. perfume houses either stopped using ambergris as an ingredient or stopped talking about it?

 “It’s illegal to possess ambergris in any form, for any reason,” says Michael Payne at the National Marine Fisheries Service, a U.S. federal agency in Silver Spring, Md., regarding the Endangered Species Act of 1973. Even picking up a stray lump from the beach is prohibited, according to Payne. However, there isn’t a lot of precedent for prosecution. “I know we’ve issued warning letters,” he says. “It was probably a very long time ago. It hasn’t been since 1990.” European companies don't have such a risk-taking hindrance in the way, so the lore  continues  unfazed.

Tilar Mazzeo, the author of The Secret of Chanel No. 5: The Intimate History of the World’s Most Famous Perfume, says that “historically Chanel No. 5 certainly did use ambergris.” The original formula leaked in the 1930s, she says, and “the copies I have seen include ambergris or ambrein—the essential scent element of ambergris—as an ingredient.” Not so, says Philip Kraft, a German chemist who creates scents for Givaudan (GIVN:VX), a Swiss manufacturer of fragrances. “There never was any ambergris in Chanel No. 5,” he says. “Not in the formula from 1921, nor in the one of today.” A representative from Chanel declined to comment. [source]

Ambrein smells like ambergris, true, but actually comes from purified labdanum!

Jasmine is also a semi-accurate affair at best in what concerns the communication of Chanel No.5. You will often hear brandished the term "French jasmine" as a denoting of superior quality. Grasse after all has been made famous thanks to its natural products, jasmine out of which is most notorious. The cultivation of the jasminum grandiflorum variety came from the Arab trade route. The Grasse jasmine is sweeter than most and more refined than the bulk of commercial jasmine essence that comes from Egypt (more than 3/4 of the total production comes from this area), Morocco and India (where jasminum sambac is the traditional product). Due to extreme costs to obtain this precious extract only a few companies have been able to use Grasse jasmine in their perfumes. This traditionally included Chanel (who use Grasse jasmine in their extrait de parfum of No.5 and the rest of their jasmine-listing extrait de parfum fragrances) and who have bought their own fields of jasmine and tuberose in the region of Grasse, France since a long while. French jasmine is at the heart of all marketing stories of Chanel. Yet the perfumery restrictions imposed (and condoned by many major companies, Chanel included, in the RIFM organisation) in 2009 specify such a low ratio of jasmine grandiflorum allowed (0.7% under the 43rd amendment of IFRA) that it must mean we're being had on...

Robert Piguet's Bandit to be Reformulated (Again)

The Robert Piguet company is compelled to revise the formulation of one of their beloved classics by perfumer Germaine Cellier, the bracing ‘Bandit’ perfume due to compliance with the latest regulations on allergens/irritants in the fragrance industry.

                                           

According to Basenotes: The current formulation was praised by Luca Turin and Tanya Sanchez in their perfume guide, but with changing regulation the company says it needs to address the issue: “The IFRA regulations on oakmoss make things so difficult for that perfume” says [Joe] Garces [CEO of Fashion Fragrances & Cosmetics] “If you keep changing and keep tweaking things you could end up with a different thing. I don’t want to spoil it so I’ve asked [perfumer] Aurelian [Guichard] to look at the whole thing again, to go back to the very original formula and take it from there.”

 Given Guichard's delicate impressionist hand as opposed to the brutal fauvism of Cellier, could this pose a risk on effacing the sharp character of Bandit? Remains to be seen. Let's be hopeful and hope that we can sample for ourselves soon.

Related reading on Perfume Shrine: Bandit by Robert Piguet perfume review & history, Robert Piguet news & reviews

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

Perfumery Material: Cashmeran/ Blonde Woods

Thanks to its pliability, which fits like a glove many diverse compositions of different fragrance families, or thanks to its diffusiveness and tenacity, Cashmeran or blonde woods is a molecule which forms the core of many a modern perfume formula; a synthetic not found in nature but copiously used in products we use every day from soap to shampoo and deodorant.

Chemistry 
The proper name of Cashmeran is 1,2,3,5,6,7-hexahydro-1,2,3,3-pentamethyl-4h-inden-4-one. You might also come across it as "musk indanone" or "indomuscone". Though commonly refered to as "blonde woods" in perfume speak, the reality is that the ingredient Cashmeran (an International Flavors and Fragrances appelation) is actually a musk component with a yellow, trickly texture. Its scent profile takes over a vast sea between woods and ambers, abstract and indefinable. Not currently under the allergens list controled by IFRA it is used in a variety of products. There are som concerns that excessive use of polycyclic musks might do some liver damage, but we're probably talking massive amounts here.

The name Cashmeran derives from its tactile feel which recalls the smoothness and softness of cashmere wool.  Among the first perfumes to use it in a considerable degree were Loulou by Cacharel (1987) and Paco Rabanne Sport (1986).
as is Sexy Graffiti by Escada (2002). Tempting though it may be to imagine that modern best-seller Cashmere Mist by Donna Karan (1994) is full of it, in reality the powdery soft perfume doesn't use it.

Insoluble in water and hydrophobic, Cashmeran is therefore a prime target for use in functional perfumery too, since it won't rinse out: detergents, fabric softener, alcoholic lotions, deodorants, shampoos, you name it... But fine perfumery has profited of its advantages as well.

Scent Profile: Abstract, Musky, Woody, Concrete Hit by Rain
The diffusive, musky-woody scent is reminiscent of concrete (especially the abstract woody scent that concrete gives when hit upon by rain, a cityscape in the rain), also lightly spicy, lightly powdery. Though perfumers sometimes describe it to also have apple and pine facets I admit I haven't detected those myself. It is however used as a powerful floralizer as it aids the expansion and diffusion of floral notes, especially accords of jasmine, as in Thierry Mugler's Alien (it's also used in Womanity) or the lighter Flora Nerolia by Guerlain (where it's married to neroli and frankincense as well). Other cult fragrances to feature it prominently include the discontinued Feu d'Issey and Kenzo's Jungle L'Elephante and Jungle Le Tigre.
In Histoires de Parfums' Tuberose Trilogy, Gislain chose to include the note in the Tubereuse Virginale offering, where blond woods coexist with naturally cohabitating, heady white flowers on a base of patchouli and vanilla. Dans tes Bras by Editions de Parfums Frederic Malle contains a hefty dose of Cashmeran alongside the violet nuances and so does his Une Fleur de Cassie, while Wonderwood by Comme des Garcons, Diptyque's Eau Particuliere, Nasomatto Duro, Byredo La Tulipe and Al Khatt by Xerjoff Shooting Stars collection are a few more niche offerings exploiting Cashmeran's diffusiveness. Perfumer Mathilde Laurent, currently in-house perfumer for Cartier, has a particular fondness for it.

How to Incorporate Cashmeran into Perfumes 
Blending well with other modern ingredients (ambroxan, allyl amyl glycolate, damascones, ethyl maltol...) as well as natural ingredients (frankincense, clary sage, citrus, geraniol, linalool, patchouli, tonka bean, vetiver, etc.), Cashmeran presents a vista of options for the creative perfumer.

It can serve woody or warm musk compositions (see Miami Glow by JLo), formulae resting on rose and saffron, tobacco or oud masculine blends (see Nomaoud by Comptoir Sud Pacifique or Byredo's Accord Oud), even perfumes with jonquil or cassie. It can even aid aqueous olfactory scapes, such as in Armani's Acqua di Gioia Essenza!
Tocca Florence, Tom Ford White Patchouli, Step into Sexy by Avon, Philosophy Love, Blumarine Innamorata, Kylie Minogue Dazzling Darling, Hugo Boss Hugo (in the flask bottle), Anna Sui Night of Fancy, Oriflame Paradise and Burberry Body are a few more of f the fragrances featuring this musk-woody component.

Another one of the advantages of this fairly inexpensive musky component is that it has a medium potency in volume projection, but a long trail that surpasses a full day's length. Being a mild sensitiser, its ratio is currently restricted to no more than 2% of the compound.

It's clear we will be seeing it more and more admitted as such in official perfume press releases in the years to come.

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

Hermes Discontinuing Ambre Narguile in the USA?

The info originated from a newsletter email from a personal shopper on Ebay, who assures that availability of the scent is sustainable in France (and the rest of Europe I surmiss, wherever the Hermessences perfumes are available of course). This does taint the news a bit beyond the 100% certified, but phonecalls to the NYC Hermès boutique seem to confirm there are no bottles left right now. A quick check on the US Hermes site also indicates there's no Ambre Narguilé to be sold, though there is some on other international official pages. This latter evidence isn't conclusive nevertheless, as in the past whenever there was some shortage of supply, there was an occasional dissapearence of something from the pages. But all combined, they do pose a weird situation.

Given that Ambre Narguilé has been a steady best-seller in the Hermessences (especially in America) from day one and that the cut-off of distribution seems regional rather than pandemic for the moment, it does present its own little puzzle: It can't be IFRA ingredients restrictions, as that would mean a global cease on production, not just a localised one (plus it would make sense there would be first a European shortage and only later a US one, not the reverse). It can't be a distribution problem, as Hermès is itself responsible for that and what goes for one would go for all. It can't be low sales, because....well, you know that ain't it.

Plus, a tantalising detail for those who are meticulous: If you go to the US Hermes site and try to fill a gift box with all four travel bottles of Ambre Narguilé, then lo and behold, it lets you do it and the item goes into your shopping basket, no questions asked.

Bottom line: Something smells fishy; I smell a false rumour.

This is how the delicious Ambre Narguilé fragrance is officially described:

"Amber honey with swirls of smoke from the East. Savory, sensual, enveloping.

"Amber, the Western expression of Eastern fragrances, has a warm, enveloping, almost carnal smell. I wanted to imbue this idea of amber with the memory of the East I love where tobacco - blended with the smells of fruit, honey and spices - is smoked in narguilés, or water pipes, and where swirls of smoke diffuse a sweet sense of intoxication. 

Jean-Claude Ellena

Be sure to click on the little icon under the JCE quote on the UK official page to hear the perfumer talk about it and to hear it pronounced properly in French.

For those in the US who are desperate to get their Ambre Narguilé fix, in the meantime, you can appease yourselves with -if not an exact dupe, then a close alternative- Spicebomb by Viktor & Rolf.

Related reading on PerfumeShrine: Hermes news & fragrance reviews

Tableau de Parfums Snapshots "Dark Passage" by A.Tauer: fragrance review & draw

"It was a hot afternoon, and I can still remember the smell of honeysuckle all along that street. How could I have known that murder can sometimes smell like honeysuckle?"
~Double Indemnity, 1944


Dark Passage is a limited edition, g-o-r-g-e-o-u-s perfume by Swiss genius Andy Tauer which doesn't smell of honeysuckle. It does smell of film noirs and danger though like there's no tomorrow. Last time Tauer issued a limited edition it was the legendary Orris. If this hasn't had your ears perked up, I don't know what will. Perhaps that Dark Passage is a dark alleyway of a scent, full of spilled booze, contraband and dangerous women with luring tentacles the size of Barbara Stanwyck's evil quota in classics of the genre. I can only say I was very honoured to be among the extremely few people who got to try this amazing perfume.

Dark Passage is also rebellious; as Tauer says about the creation: "For me this first SNAPSHOT fragrance comes as a relief. Finally, I can do a fragrance that does not need to go through any distribution and sales machinery and EU registration and other investments. It is just here. If you are interested in it: Get it."

Dark Passage is perched on the darkness of natural, dirty, raw patchouli, a note poised between the woody and the camphorous. "Patchouli coeur which means”heart of Patchouli” is basically a patchouli that is rich in patchoulol. I am using a quality that is 66% patchoulol. I use it together with “standard” patchouli.[...]Patchouli coeur is even a bit more on the light, airy, musky side. Yes, there is a musky aspect that is stronger and underlined in Patchouli Coeur. I got mine from Ventos, but the description on Robertet‘s internet site is wonderful. It is in French and thus even more mysterious: “Odeur : le cœur de patchouli présente un aspect olfactif très propre, ambré, terreux, patchoulol, oriental.” Thus, it smells clean, of ambergris, earth, patchoulol, and oriental", clarifies Tauer.

But that's not all, nor is it the whole truth: Dark Passage is a perfume full of patchouli and you can't but like that material to fully enjoy it, but there are other elements to entice and to sway the character. Labdanum I believe, coupled with [no, I was wrong] beeswax musky-animalic notes, giving a sweet, intimate, almost suede aspect; a very prominent cocoa note from natural cocoa absolute, not wrapped in gourmand wiles but rendered bitter, noir, dirty, tobacco-rich...There's also a bit of birch tar, which aids both the bitterness of the chocolate facet and the leathery note, as well as a snippet of vetiver, rendered musty and as black as the night on the swamp where someone is dumping bodies on the hush.


Most importantly: Dark Passage is not bound by IFRA rules!

If you want to compare with something you might have tested already, I can only think of Ayala Moriel's Film Noir, which is another dirty, deeply dark heartless patchouli; that one isn't as cocoa-rich, though as this one.

Packaged in 7ml enamel atomizers and available in limited edition quanities, the Tableau Snapshots are smaller in scale and with a different scope. You can find all about the inspiration, the project (part of Kickstarter to promote the new Brian Pera film "Only Child") and where to buy on this post.

HURRY!! Dark Passage is only available till March 29th!

One small sample available for one lucky reader!
Draw is now closed, winner announced on Home page.

Related reading on Perfume Shrine: The power of "noir" in perfumes (with a film noir titles game included!)

In the interests of disclosure, I was sent a sample by the perfumer. 

Les Nez Turtle Vetiver Front: fragrance review & draw

An anarchic perfume? Why not?

an outlaw perfume
that doesn't recognize any rules or regulations
it hasn't been tested on animals
but one Turtle with his kind consent

Matthew Stoned for Dazed & Confused Oct.2011

Thus is Turtle Vetiver Front, the second installment in the limited edition series that began in 2009 with Turtle Vetiver Exercise No. 1, being introduced to us by Swiss niche line Les Nez, uncompromising in its catering for individuality and art-concepts. The new fragrance is part of the Turtle Salon (if you don't know about it, here's your chance to discover), hence the Turtle referenced, and was composed by ISIPCA teacher and perfumer Isabelle Doyen.

According to the blurb "For Turtle Vetiver Front, the smoky and flinty facets of vetiver are brought to the fore, with carbon paper and freshly printed newspaper effects; an unexpected coconut note softens this austere blend and makes this iteration more easily wearable than the first, while preserving its raw power".

Indeed the new Les Nez fragrance opens intensely, with the swamp-like qualities of vetiver grass oil, which recall vast expanses of muddy waters where crocodiles might lurk, rather than techno-age associations; Creature of the Swamp more than 9 to 5 with its carbon papers, even though there is a hint of inkiness possibly due to quite a bit of oakmoss in the formula and a 3D quality thanks to a drop of natural ambergris. Les Nez doesn't really have to be IFRA compliant, nor is it cost-effective bound. The effect is overall flinty, inky, swampy, even phenolic from a certain angle when sprayed. Almost immediately Turtle Vetiver Front takes on a very discernible fig leaf facet with cedar wood, sweetened with the milky note that is inherent in the fruit's sack: the whiteish, coconutty-laced note we have come to get introduced to from Premier Figuier and really now find in Santal Massoia (Hermès) and Santal Blush by Tom Ford  (as well as in a woody butch iteration in Santal 33 by Le Labo). Coconut has a reputation to scare the horses, as it's been played to death by aroma-care companies that churn it out in devilish cones lurking at the back of Ukranian-driven taxis and overdoses that can turn rotten-sweet in suntan lotions and Pina Colada cocktails, but if those are your associations you need not worry: This is a new development in the industry we will be seeing more of, using coconut lactone to soften woody compositions and with the usual refinement of both Les Nez and Doyen the coconut facet is both subtle and delightful, merely giving a caress. If you liked that element in Santal Massoia, you will most definitely like it here too.

Compared to Turtle Vetiver Exercise 1 (the first edition), the original was rawer, more robust, with a pronounced salty true aspect to the vetiver, iodine-like and sea-reminiscent, with that "briny/marine" tonality in Goutal's Vetiver, also composed by Doyen; unique, delightfully bracing, for hard-core vetiver fans! In Turtle Vetiver Front, the greener and milky elements are that of the shore which solaces the wounded under the shadow of the fig trees, providing a softer turn which would make it very wearable for men and women alike.The inky top notes reminiscent of Lalique's Encre Noire swirl back and forth between rawness and the softness of fig/coconut, producing a lasting vetiver fragrance that will get discussed (and which I personally liked a lot). NB. When stocks run out, the third iteration, Turtle Vetiver Back will challenge us more with an edgier interpretation!

Notes for Les Nez Turtle Vetiver Front: vetiver, coconut lactone (synthetic coconut note), moss and ambergris.

LesNez Turtle Vetiver Front is available in Eau de Parfum, 50ml/1.7oz for $120 on the official Les Nez site. Profits are given to Turtle and there are only 90 splash bottles available. There are also samples available for purchase.

I have a deluxe sample atomiser for one lucky reader.
Please say what you like or not like in vetiver & coconut fragrances in the comments to enter. Draw remains open till Sunday midnight.

Related reading on Perfume Shrine: Vetiver Series, Les Nez fragrances.

In the interests of disclosure, I was sent 2 samples in the mail.