Indole & Jasmine: Indolic vs. Non-Indolic or Dirty vs.Clean

Say the word jasmine among perfume circles and expect to see the characterisation of indolic being brandished a lot at no time. Expect to see upturned noses with "indolic" mentioned alongside "fecal" in the same breath. Is jasmine a "dirty" word? Who potty-trained it? These thoughts evolved in our mind as we re-examined the troubled relationship of perfume lovers to the perfumery "king of flowers", especially now that the weather is warm and jasmine vines are flowering like mad; and so decided to take things at the top.

Indole is often used as the scapegoat for "stinky" smells, but the truth is somewhat different. Originally indole is a portmanteau of the words "indigo" and "oleum", because the chemical substance named indole was first isolated by treatment of the indigo dye with oleum (oil), thus giving rise to indole chemistry.
Indole is an aromatic heterocyclic organic compound which contains a six-membered benzene ring fused to a five-membered nitrogen-containing pyrrole ring (don't worry if you're not great at chemistry, it will all make sense in a second); thus compounds which contain an "indole ring" (sequence of molecules) are accordingly named "indoles".  

What does this mean? It smells "weird". But not necessarily of feces or poop, contrary to common knowledge! Organic chemistry on the whole isn't averse to naming names quite literally, especially when it comes to foul-smelling components: Hence we have cadaverine (for cadaver smell), putrescine (for the stench of garbage), skatole (from the Greek σκατό, litterally meaning shit), or butyric acid (the smell of rancid butter from the Greek βούτυρο/butter). No, the nomenclature of organic chemistry is pretty much to the point, which would pose serious doubts as to why leave such an appropriate scent out there with no fitting baptism!

The answer is simple: Pure indole, the one which is indeed present in feces and also in small part present in white flowers (such as jasmine, gardenia, tuberose and orange blossom; but also in honeysuckle and lilac, technically non white) doesn't really smell of poop in isolation. The white crystals of indole (mainly derived from coal tar) contribute to the effect, in tandem with other things (surely both feces and flowers contain myriads of molecules) but not in seperation so much. Isolated indole has a musty, weird moth-ball smell that is a little stale, reminiscent of decay, like something has gone off and you can't really pinpoint what it is. In presence of humidity and musky compounds it can become a little much, reminiscent of the ambience of a...toilet. In a way an "Eros & Thanatos" concept.
It's interesting to note that a common derivative is the amino acid tryptophan, calming neurotransmiter serotonin's percursor and an essential amino acid in the human diet. (It's isolated in caseine which is found in dairy products, but also in chocolate, oats, poultry, pumpking seeds, peanuts, spirulina and several others. Makes seeing food in a whole different way!).

But should the smell direct us into seperating white floral and jasmine fragrances into naturally-derived or not? In short, does an indolic scent indicate we're dealing with a fragrance containing natural jasmine? The answer isn't as easy as all that. It's true that natural jasmine essence, as used in the perfume industry, is dark and narcotic, containing about 2.5% of pure indole. This often gives a "full", lush and intimate ~some say naughty~ effect in the finished compound, making the jasmine "sexier" or "animalic" as described by perfume enthusiasts (the naughty effect is more due to paracresol, reminiscent of horses' smell). Try Serge Lutens' A la Nuit, also his Sarrasins (a different treatment of intimate) or Montale Jasmine Full, and you know what I am talking about. Olene by Diptyque is another one which has a dubious intimate ambience (described by someone as "one bad mama jama of a jasmine"), as does the extrait version of Joy by Jean Patou, sublimated in rosy and musky tones as well, and the heart of Bal a Versailles (flanked by naughty civet). Also try Bruno Acampora Jasmin. However you don't necessarily have to tread on jasmine to get copious amounts of indole either: Try a carnation scent as well: Carthusia Fiori di Capri. It can make walking in the park where dog owners routinely walk their dogs a completely novel experience in perception!

Nevertheless, the picking up of a poopy smell can't be a compass into actual composition after all: The natural oil requires the processing of tons of flowers raising the cost to 10,000$ per kilo of essence, while it would be perfectly easy to add seperate indole to synthetic substitutes in order to produce a compound that would be closed in value to 10$ per kilo. The difference in pricing is staggering, which explains why natural jasmine oil is today only used in minute amounts in specific extrait de parfum formulae and only there; the rest is mythos and marketing communication of the brands.

But not all jasmine fragrances need to be indolic either. Try the non-indolic Armani Sensi and Sensi White Notes. Also get a feel for Jasmine White Moss by E.Lauder or Voile de Jasmine by Bulgari. Nothing "dirty" about them whatsoever!
To construct a light, virginal jasmine without indole, the perfumer has several synthetic options (assuming they're not involved in the masochistic effort of taking the natural and getting it fractioned in order to remove the indole). Hedione in copious amounts is the first choice, as it reproduces a greener, dewier version in contrast to the natural jasmine absolute. It's combination (in elevated ratio within the "jasmine base" thus created) with benzyl acetate, benzyl salicylate (for diffusion and tenacity), alpha amyl cinnamaldehyde and linalool produces the desired effect. These jasmine fragrances are easy to wear, lighter in feel, less heady and do not pose the problem of reminding people of impolite (even if necessary) human functions.
The choice between heaven and hell, as they say, is yours!

 If you haven't caught on the Perfumery Definitions series till now, please visit:

• Definition: Lactonic, Creamy, Milky, Butyric
• Definition: Powdery & Dry in Fragrances
• Definition: Resinous & Balsamic
• Definition: Soapy in Fragrances
• Definition: Phenolic, Terpenic, Camphorous
• Definition: Which Material Produces Which Note/Effect?

Related reading on Perfume Shrine: The Jasmine Series, Raw Aroma Materials of Perfumery

photos by Horst P.Horst in collaboration with Dali and Lisa with Harp.

Romancing the Scent 2

Is jasmine and powder seductive? In continuation of our previous post concerning itself with how a perfumer defines a romantic scent fit for seduction, Perfume Shrine today focuses on how Chris Sheldrake envisions such a fragrance. His comment appeared in the February 08 edition of Allure magazine.

Christopher Sheldrake, the nose rensponsible for almost the entire Serge Lutens line (with the exception of Iris Silver Mist by Maurice Roucel) and currently head of Research and Development at parfums Chanel, mentions that:

"in our industry, "bedroom smell" means the sensuality of jasmine, a powdery, musky soft entity - something that makes the wearer comfortable - and with a comfortable smell that pleases. It means not too violet or too rose or too animalic or too mossy."

He then goes on to suggest a romantic fragrance, naming Beautiful by Estée Lauder

"It has a powdery note and a fruitiness: a slightly jammy strawberry scent that as a perfumer I can appreciate."

Contrary to the infamous Alan Hirsch MD (of Smell and Taste Treatment and Research center in Chicago) study which states that men are aroused by the combined aroma of lavender with pumkin pie which facilitates penile blood flow, Sheldrake proposes a different combo: jasmine with a powdered musk.
For the record, the other arousing smells in the Hirsch study were doughnuts and black liquorice; or doughnuts and cola. (see more on the Hirsch study here).This had me rolling with laughter picturing cops in American movies eating doughnuts by the trackload. But I digress...

So, jasmine. A favourite flower for me, personally, and inexitricably linked to my childhood and growing up memories. The fascinating, presque suprenant facet of natural jasmine lies in its potent aroma of indole, a compound that is inherent in white florals and which we discussed on our orange blossom sexy scents post. Obviously, the familiarity of a smell so integrated to human existence as the fecal one breeds some form of recognition, if only very distant and not clearly perceived as such. The humanity beneath a fleshy smelling flower is therefore one of the aspects that account for jasmine's reputation as an erotogenic scent.

However there are many people who have trouble with jasmine: they find it too clotted, too dense, too sweet, too feral. Would its magic work on them as well? I do wonder. Perfumers use a wide variety of molecules in perfumes, natural or synthesized: jasmine absolute, jasmone, dihydrojasmone (less expensive than the former), methyl jasmonate, hedione, 2-heptylcyclopentanone... Sometimes the deciding factor on which to choose in a composition is the correlation betweem price and tonnage. Subtle differences account for a different perception among individuals who might respond with more pleasure to one than to another.
Musk is too complicated a matter to tackle in this short post, but it will be discussed shortly. Suffice to say that it is the par excellence essence prized since ancient times for its almost aphoridisiac abilities. The myriads of nuances in synthesized musks in the fragrance industry only attest to that effect: if there weren't a big demand, there wouldn't be as much industriousness in producing them. And some of them do smell kind of powdery: white musks, egyptian and "clean" musks especially.
Notice the reccurence of the powder element that was -arguably- so controversial in Sophia Grojsman's quote? Interestingly, baby powder does feature in the Hirsch study as arousing women! (men, please don't take this too seriously)

It is perhaps even more intriguing to note what Sheldrake denounces as appealing: an abundance of violet (green or candied? he doesn't specify), of rose (too old fashioned or pot-pouri-ish?), of animalic notes (too much stable-and-farm associations instead of basic instinct?) and of moss (too dirty/earthy or too musty-smelling? Again a definition would come handy).

And then what does dear Christopher do? He goes on to nominate Beautiful as a suggested romantic fragrance. A fragrance that has a tale made up about its name (per Lauder friends proclaimed it was "beautiful" upon smelling the mods when she was "creating" it) as it has had no less than five(!) perfumers working on it at International Flavors and Fragrances, as Chandler Burr reveals in his latest book.
A fragrance that supposedly has been composed of more than 200 ingredients, which to me doesn't smell of jasmine and powdery musks. A scent that has been reformulated to ill effect and which according to Susan Irvine is

"Extravagant, creamy, romantic and sweet. Ideal on a country and wester singer".

Is this your ideal of romantically appealing? I am really looking forward to your comments.


Top pic from eu zeen mag. Pic courtesy of Société Française des Parfumeurs, C.Sheldrake on the far left

Jasmine Series: part 2 ~the role of jasmine in perfumery

As we examined previously, jasmine is an integral part of most fine perfumes’ bouquet and the varieties used render their own specific variables to the end result. 
But why is jasmine so prized over other natural or synthetic essences? And why is it a staple of perfumery as contrasted with what the great perfumer Jean Carles termed “accessory notes”? Finally: can it be replicated?

To quote master Edmond Roudnitska in his essay The Art of Perfumery: “It is the natural product par excellence”.
There isn’t a composition that does not benefit from its inclusion as it marries well with all the other essences: it blends with everything and lends a heart-achingly beautiful tinge to everything it touches. 


Jasmine as a note and component in fragrance composition
Jasmine is a middle note in perfume composition, meaning it evolves in the heart stages of development on the skin which makes it tenacious enough to anchor top notes and swift them to its own trail, yet fresh enough to not outstay its welcome leaving behind its fragrant remnants subtly. Middle notes impart warmth and fullness to blends and they embody passion. It is no coincidence that they are called “heart notes”. They bridge the distance between deep, somber base notes and sharper, fleeting top notes.
To make this more scientifically correct we revert to Septimus Piesse’s system of olfactory octaves, on which W.A. Poucher elaborated in 1923, giving each note a specific “pitch” on the olfactory scale from 1 to 100. In this system 1-15 are top notes, while 16-69 are middle notes and 70 to 100 are bottom notes. Of course several ingredients share perhaps the same number in the scale. It so happens that jasmine absolute is marked as 43 in this system, along with tuberose and rose.
In evaluating the various unusual combinations between notes, jasmine has a particularly successful effect to the following notes: roman chamomile, coriander, geranium (which has a rosy dry out to it), spearmint, and of course rose and bergamot with latter which it forms the most classic accord of most grand feminine perfumes of history.

Jasmine absolute is rendered through this process nowadays:

“Flowers are placed on racks in a hermetically sealed container. A liquid solvent, usually hexane, is circulated over the flowers to dissolve the essential oils. This produces a solid waxy paste called a “concrete”. The concrete is then repeatedly treated with pure alcohol (ethanol) which dissolves the wax and yields the highly aromatic liquid known as an absolute. This method is also used for extracting resins and balsams and for rendering the animal essences, such as civet, musk ambergris and castoreum”

(source: Mandy Aftel, Essence and Alchemy)

Absolutes are more lasting and concentrated than simple essential oils and have a highly intense and fine odour profile. Therefore they are the most expensive perfumery ingredients.
In jasmine the concrete is also very useful, a solid reddish-orange wax, mellow in tone that can be used for adding smoothness and florancy to many blends.

As an aside, for those bent on acquiring some of the best jasmine absolutes and concretes, the following address is recommended:

Coimbatore Flavors and Fragrances
5/82 Palanigoundenpudur
K.Vadamadurai Post
Coimatore 641017
India

You can also contact aqua-oleum which is an aromatherapy site for essential oils, available in small quantities, run by a renowned aromatherapist.

Headiness, Indoles, Living Matter and other stuff on Jasmine
Jasmine’s inclusion in the white floral category of fragrances especially is almost self-evident. Tuberose, ylang-ylang, gardenia (synthetic, because the flower does not yield a satisfactory oil for perfumery) and orange blossom marry with jasmine to produce intensely narcotic and exotic perfumes that capitalize on the sultry image of those blossoms and make our head spin.
The magic of this headiness is indol/indole, referenced also in our Orange Blossom Series, a matter that is also found in human feces and which according to Paul Jellineck “reminiscent of decay and feces, lends orange blossom, jasmine, tuberose, lilac and other blossoms that putrid-sweet, sultry intoxicating nuance that has led to the sum of these flowers and of their extracts as delicate aphrodisiacs, today as in the past”. This is the reason why many people find jasmine animalic and difficult to stomach in large quantities in their perfumes, as they perceive a dirty note to it that repels them. In isolation, indole smells moth-ball-ish, camphor-like rather than poopy. 
A notable example is the majestic A la nuit by Serge Lutens for Palais Royal de Shiseido, in which all the aspects of natural jasmine from bud to rot are displayed like the faceted profile of a precious gem. A jasmine for die-hard jasminophiles. The use of many different kinds of jasmine from Egypt, Morocco, and India are all contributing to giving it richness beyond that of a simple soliflore, intensified by clove, honey and benzoin.
It is interesting to note that indole cannot be synthesized successfully, as the synergistic effect of different constituents is lost. In similar attempts at the lab an unpleasant dominant fecal tone surfaces which makes it very hard to manipulate in an artistic composition. In nature there are minute amounts of materials that despite their exceedingly low percentage in the total of an essence they play a decisive role in the character of the entire complex.

In this regard we may also turn our attention to the most intriguing fact that natural essences, among them jasmine absolute, do photograph in Kirlian Photography, denoting possession of life essence or life force. Semyon Kirlian was a Russian electrical technician who in 1939 discovered a technique of taking pictures by means of electricity. His technique has been widely known as the photography of auras: the life energy that surrounds all living matter. The method uses a photographic paper or film atop a metal plate whereupon the object is placed. A high voltage current is then applied which records the energy field appearing as a bright halo around the object. Living flowers have brighter auras while as they deteriorate and rot the halo diminishes. It is intriguing to note that essential oils do photograph using the Kirlian method with different results according to the description of the olfactory profile of each: sharp, bright, heavy or soft and so on. So the claim of Roudnitska that jasmine is a natural per excellence which we quoted at the beginning of this article makes great sense. And it also bodes with Robert Tisserand’s dictum that natural essences “have a life force, an additional impulse which can only be found in living things”.
Jean Garnero, a Grasse chemist has this to add:

“Despite all the crises, all the economic challenges, all the competition from synthetic products, the perfume of jasmine flower remains one of the essential elements and sometimes the main pillar in the structure of the greatest perfumes”.

French & specifically Grasse Jasmine: Which Perfumes Contain it?
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), India, 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, Jean Patou (who includes Grasse jasmine in Joy and 1000) and till a decade ago approximately this was also the case for Guerlain as well (who used Grasse jasmine in their classics, such as Mitsouko, L'Heure Bleue, Apres l'Ondee, and Shalimar extraits de parfum), but not anymore.

Replicating jasmine in perfumes

Ylang ylang, whose name means Flower of flowers, is generally termed “poor man’s jasmine” because its odour profile is not distanced from that of jasmine and indeed it has been used in many perfumes to back up the tonalities of jasmine, as it is so much less expensive yet still very beautiful: suave, sweet, persistent, creamy.
It makes a very pronounced appearance in such perfumes as the rich ambery orientals Obsession and Moschino original, Samsara ~ backing up the big beat of the jasmine-sandalwood accord, Tabu, Loulou, Organza, surprisingly Aromatics Elixir beneath all the mossy earthy elements, Kenzo Jungle, Escada by Margaretha Ley, Amarige, Giorgio, Quelques Fleurs by Houbigant, 24 Faubourg (in conjunction with jasmine sambac), and of course Chanel no.5 and Bois des Iles.
Ylang Ylang also has several grades of quality, first, second and third renderings of the oil, much like the production of jasmine tea that we described on our previous article.

Hedione or dihydrojasmonate, as previously mentioned, is an aromachemical that is often used in composition in substitution for jasmine absolute, but also for the sake of its own fresh and green tonality.
It lacks the clotted cream density of natural jasmine, recalling much more the living vine and for that reason it is considered a beautiful material that offers quite a bit in the production of fine perfumes. Perfumer Lyn Harris, of the brand Miller Harris and also the independent nose behind many well-known creations not credited to her name calls it “transparent jasmine” and attributes to it the capacity to give fizz to citrus notes much “like champagne”. (see? it’s not only aldehydes which do that!)

First used in the classic men’s cologne Eau Sauvage, composed by Edmond Roudnitska in 1966, it had been isolated from jasmine absolute and went on to revolutionize men’s scents with the inclusion of a green floral note. It was so successful that many women went on to adopt it as their own personal fragrance leading the house of Dior to the subsequent introduction of Diorella in 1972, composed by the same legendary nose, blending the green floral with hints of peach, honeysuckle, rose and cyclamen in addition to the herbal citrusy notes of the masculine counterpart, all anchored by a base of cool vetiver, patchouli and oakmoss, lending a mysterious, aloof and twilit air to women who went for it.
Ten years after its introduction to perfumery, in 1976, it was the turn of Jean Claude Ellena to coax hedione in a composition that exploited its fresh and lively character to great aplomb in the production of First by jewelry house Van Cleef & Arpels (the name derived from the fact that it was their first fragrant offering, but also the first scent to come out of a jeweler too ~subsequently many followed in its tracks with notable success). In it, Ellena used 10 times the concentration of hedione used in Eau Sauvage, married to natural jasmine as well as rose de mai (rosa centifollia, which is also a crystalline variety), narcissus, orris, ylang ylang and a hint of carnation with the flying trapeze of aldehydes on top and the plush of vetiver, amber and vanilla at the bottom which accounted for a luminous and luxurious floral.

Hedione also makes a memorable appearance in many other perfumes, such as the classic Chamade by Guerlain (introduced in 1969), Chanel no.19 (1970) and Must by Cartier (1981) and in many of the modern airy fragrances such as CKone, Blush by Marc Jacobs, the shared scent Paco by Paco Rabanne or the bombastic Angel by Thierry Mugler, in which it is used as a fresh top note along with helional.


Next part will focus on other aspects of the jasmine quest.

Artwork by Godward "The new perfume" courtesy of allposters.com
Perfume ad for Eau Sauvage from 2001 courtesy of psine.net

Orange Blossom week: part 2 - sexy aromas

What is it that links orange blossom to sexy aromas? Many of the interpretations of this note in perfumery take advantage of the naturally lush and sexual aroma of the blossoms and in our investigation of this subject we have come up against many interesting tidbits of information that might help elucidate why and how.

The use of perfume as an enhancement and not concealement of genitalia and hormone odours has been in practice till ancient times. It was the knowledgable ancient Egyptian women who used Kyphi rolled in miniscule balls, placed in the vulva. They also used amber mixes and civet. The Hindus also used the smell of female genitalia as a classification point for women, in which no one is left unappareciated. In Shakespeare's times it was common for men and women to offer apples to the object of their affection that had been saturated in the sweat of the armpit. That was meant to be a signification of desire and perhaps an early attempt at judging whether the prospective lover's pheromones would intermingle well with their sensibilities.
In the Memoirs of Casanova, we come across an observation that there is a hidden something in the air of a lover's bedroom that would make it very easy to choose between it and Heaven itself. So much is the infatuation that a beloved's body produces in the soul. And on that note who can forget the infamous epistle of Napoléon to Joséphine when he passionately wrote to her: "Je réviens en trois jours; ne te lave pas!" (I return in three days, don't wash yourself)
Anais Nin and Henry Miller were no strangers to the alchemical nature of the odorata sexualis of a lover that can be enhanced by perfume and Nin's personal choice of Caron's Narcisse Noir (a fragrance rich in orange blossom)and Guerlain's Mitsouko shows an appreciation for blends that enhance a person's natural sexual aroma. Beaudelaire, Flaubert (who kept the mittens of his mistress on a drawer for sniffing purposes), Goethe and Reiner Maria Rilke are also literature figures that occupied themselves with the fragrant nature of seduction.
Even in our more pedestrian times the allure of the erotic has been used to great effect in advertising. From Schocking by Schiaparelli to Ambre Sultan by Lutens to Boudoir by Westwood, many perfumes have claimed to capture in fragrant droplets the odorata sexualis of a woman for seduction purposes. Last olfactory example of this being Tom Ford' attempt at it when he proclaimed that his last fragrance Black Orchid was supposed to smell of a man's crotch. I think not, but hey, you have been warned!

Of course like a plethora of things in life much of the effect of something relies on context. Meaning that leaving youself unwashed would not shill your charms to potential lovers necessarily if some particular smell is not pleasant to them or the sweat is rank. It all has to do with delicate proportion and adjustment. In a fascinating experiment by Paul Jellineck, recounted in Essence and Alchemy, people had been asked to smell versions of well-known frags such as Quelques Fleurs by Houbigant and a traditional eau de Cologne with and without the addition of neroli. In the former case the neroli just mingled with the other floral substances adding a fresh note and balancing them, whereas in the latter it seemed sultry and rich and therefore erotically nuanced. This goes to show that although there is a clear cut path to lust and sexuality, eroticism in perfume as in any other area is complex and subtle, dependent on context and associations that need a delicate hand in placing them there.

So how orange blossom is linked to all these exciting observations? Let me shock you a bit in case you were unaware of the fact. Orange Blossom (as well as jasmine) is filled with the fascinating indole.
According to Encyclopedia Brittanica:

Indole, also called Benzopyrrole, is a heterocyclic organic compound occurring in some flower oils, such as jasmine and orange blossom, in coal tar, and in fecal matter. It is used in perfumery and in making tryptophan, an essential amino acid, and indoleacetic acid (heteroauxin), a hormone that promotes the development of roots in plant cuttings. First isolated in 1866, it has the molecular formula C8H7N.

It is this base ingredient that is so abundant in white florals -among them orange blossom to a moderate degree- that apparently gives a nod to the human aspect of our existence and reminds us of our primeval objects in life: to have sex and procreate. In this context it is no accident that orange blossom is traditionally used in wedding wreaths, as discussed yesterday.
Therefore if a catcall to carnality is your objective, yet you want to go about it more discreetly than resorting to civet (the pungent extract of the anal glands of a species of the Viverridae shaped like a small fox and native to Abysinnia, Java, Borneo, Sumatra and Bengal and farmed in Ethiopia for perfume purposes), orange blossom can be a Heaven sent destined to confine you in the abyss of Hell.

For this purpose there is no better choice than the rich, sultry, lush and totally feminine with a capital F Fleurs d'oranger by Serge Lutens. Luckily a part of the export line, but also available in a beautiful bell jar in the exclusive Palais Royal for Shiseido line of scents, it is the essence of classy sexiness captured in a bottle. Like a woman of mature wiles sitting under an orange grove contemplating serious romance and seduction it is multi-nuanced with precious essences of white jasmine and indian tuberose that enhance the indolic aspect to magnificent proportions, laced with the sprinkle of fiery spice like cumin and nutmeg rolled in tangy citrus peel, all the while exuding aromas of muskiness and floralncy in alrernative overlappings like the tongue of a skillful lover. The inclusion of rose and hibiscus seeds consolidates the velours aspect of a base that never really leaves the skin, reminding you of happy romance even after it is just a distant memory in the farthest corners of your mind.


Next post will tackle another aspect of orange blossom.

Art photography by Spyros Panayiotopoulos, courtesy of eikastikon.gr