Homage Rendered: 10 Years of Terre d'Hermes

Virgil said in his Georgics, referring to agricultural labors, "Tempus fugit", i.e. time flies. And it does fly and the older I get, the more I realize I can't really keep up. But I do keep up with perfume anniversaries, because, well, my inclination for perfume archiving bodes well with both the passion and the job. I was counting the years behind some of the best perfumes around and one of them has just feted its 10th birthday.

Without further ado, I present you with Terre d'Hermes, one of the best-selling masculine fragrances in Europe, which is commemorating the anniversary with two special 2016 edition for the Eau de Toilette and the Parfum Extrait. Please read the homage on Fragrantica on this link.

Ormonde Jayne Montabaco: fragrance review

Possibly the most "masculine" leaning of the otherwise aimed at both sexes new collection The Four Corners of the Earth, it being a fougere, Montabaco by Ormonde Jayne is a perfume to capture the essence of Latin America: leather, suede, wood and tobacco leaf repeated over and over again creating a suggestive sensuality and Latino temperament. Basically what the typical westerner dreams of smelling at Havana or any such exotic port of call. Does it deliver a poker hand worthy of a gambler the repute of Jack Weil? I say it does, though in a cleaned up fashion, just like Redford is a cleaned up version of a seedy gambler in the first place.

via pinterest

The floral presence of magnolia, jasmine and rose are meant to soften the toughness of those unashamedly seductive, classic masculine codes for "macho." You can almost see the beautiful face of a Latin analogue of Tyrone Power behind the smoky rings of the tobacco. In our day and age, this is the only acceptable way to get your tobacco fix (mon tabac, get it?), but what a great way it is, eh?
The aromatics in Montabaco are fusing into the woody-fern ambience, giving it an odd freshness. Last but not least, thanks to the unerring fondness of perfumer Geza Schoen for Iso E Super, a woody-hazy-musky component in the base of many of his compositions, Montabaco (an Iso-E Super beast if there's one) radiates friendly vibes in a radius of building blocks and lasts extremely well, even it is noticed more by those coming into contact with you than yourself on you at all times.

Notes for Ormonde Jayne Montabaco:
top : air note, orange absolute, bergamot, juniper, clary sage,cardamom.
heart : magnolia, hedione, rose, violet, tea notes.
base : tobacco leaf, iso e, suede, sandalwood, moss, tonka, ambergris.

Available exclusively at the Ormonde Jayne London boutiques.

Biehl Parfumkunstwerke GS03: fragrance review

GS03 for Biehl Parfumkunstwerke is the acronym for perfumer Geza Schoen's third composition he signs with his initials for the quirky and arty niche brand hailing from Hamburg, Germany by way of New York and more ways than one stands as the distilled signature of his mature work passed down in flying colors. Everything is there: the copious amounts of Iso-E Super (a synthetic material he is famous for using in his work), the airy modern feeling like ambient music, the legibility and at once the wearability of the composition by man, woman or animal (well, I made the last one up, but you know what I mean). The scent gains in warmth and sensuality as the body heats up, the hallmark of a good "skin scent". Like plexi-glass bricks letting sunlight traverse through them, it only looks artificial first time around; familiarity gets it ingrained fast.

photo of Geza Schoen provided for PerfumeShrine use

For Geza, a molecular wizard who questions the very nature of fine fragrance, scent works like an invisible mantle, at once enhancing the wearer's "super powers," the way Superman's cape allows him to reach his flying potential, and creating an enigma as to their definite source (May we recall here his infamous Molecule 01, "an agreeable ambient presence which plays peek-a-boo with my nose" as Katie Puckrik said). Schoen doesn't like the modern approach of mass fragrance anyway: "Fragrance these days is all about naked women on the beach, naked women on the sofa, naked women in the arms of naked men—it’s so boring", he states in no uncertain terms.

For GS03 the concept was a totally modernized, galvanized Cologne, not a rehash. The classic of old, the Eau de Cologne formula (citrusy effervescence with herbal-aromatic accents and a very faint musk in the base) stands for the contentment of cleanliness, since it is routinely splashed on after a bath, but also of exhilaration and total body & mind detoxing; a simple message printed in thick, header bold: spray it on and just feel good about yourself! With a history of more than 3 centuries on its back it also risks coming across as "granny-ish" or maudlin. To avoid that Schoen and art director Thorsten Biehl worked on incorporating contemporary elements and a modern structure. The result reads as unisex, because there are no traditionally very feminine, dainty, pretty-pretty notes, nor heavily burly chest-thumping and gravelly-voiced masculine ones.

pic of Geza Schoen & Thorsten Biehl at work, provided for PerfumeShrine use

The top note of Biehl Parfumkunstwerke GS03 fragrance is as clear as a church bell pealing on a mountain top in the Alps, but at the same time quite soft and soapy-smelling, comprised of a pink pepper note (allied to what can only come across as sweet lemon to my nose) which reveals a less sharp than citrus, slightly fruity-rosy scent carried far by the scent of the alcohol carrier. The rejuvenating scent of juniper gives an herbal accent that recalls the bracing feel of downing a good gin. The lemony touch just aids in bringing forth the herbal aspects of juniper berries. The trick of juniper is clever; it has provided that contented, in-the-know smile I recall from wearing Angeliques sous la Pluie (Jean Claude Ellena for Editions de Parfums Frédéric Malle) and Juniper Sling (Olivier Cresp for Penhaligon's). The gin & tonic combination is as perennially pleasing as a button-down oxford shirt in white; it just works in any situation, on any wearer. It's also effortless, even if you're using Hendrick's. It seems to me that there is also a bitterish artemisia hint in GS03, a tickling of the sinuses which aids the pungent freshness (and some hedione); it would serve as both a contrast and a modifier, rendering the juniper fresher and the rest fruitier by contrast. The anchoring elements consist of the potent musky, cedar-like hum (Iso-E Super) which we have come to associate with Geza Schoen, with an added layer of castoreum, just enough to give interest.

pic of Geza Schoen & Thorsten Biehl provided for PerfumeShrine use

The projection of Biehl GS03 is mild: I catch whiffs now and then and if I lean over the spots I sprayed it's most definitely there, but it doesn't come across as "you're wearing perfume!" (Come to think of it, should anything?)

GS03 is available from the Biehl site, at Scent Bar and on Luckyscent.

Yves Saint Laurent Saharienne: fragrance review

If damning with faint praise is the modus operandi of the considerate critic, then I could say that the feminine fragrance Saharienne by Yves Saint Laurent is an inoffensive summer scent for days when you're bored to think of perfuming yourself. That wouldn't be right, though. Saharienne evokes so much fashion mythology with its name that expectations would naturally soar. Unfortunately, for a house with such clout in its history and at least two controversial scents in its archives (Opium and M7), plus many beautiful ones (YSL Paris, In Love Again, Rive Gauche, Y), Saharienne underwhelms.

A fresh "nothing" for summer that, while not unpleasant by any means, falls short of the stature of a true Saint Laurent fragrance. The promised "exotic journey in the wilderness" is just a stroll down the perfumery hall of an anonymous department store in Peoria.

When Saint Yves, fashion's true saint, introduced the saharienne "safari jacket" in the 1968, he envisioned a garment that would recall the best of colonial imperialism, in terms of stylishness that is, without succumbing to the demeaning elements herein.

The sharp, belted, pocketed jacket was compact and practical, but with an air of savagery as well, as though the wearer could brave sandstorms that would obscure the skies in torpedos of seemingly red particles attacking one's every cranial cavity.
The beloved garment of the white colonialist (Yves was of Algerian descent after all) looked ever so sexy on the leggy Veruschka (the aristocrat model Veruschka von Lehndorff, pictured here); cinched waist and  tight laces over bronzed breasts that were unencumbered by bridling bras. Saint Laurent's fashions made women look powerful, yet feminine! The Saharienne jacket (or the safari jacket) was no exception to that rule. Apart from a fashion milestone (no designer has been immune to its charms in the following 40 years), it also signaled a feminist one:
"By 1970, with the acceptance of trouser suits, the Western woman's silhouette accommodated bifurcation for the first time. Yves Saint Laurent, a designer extremely sensitive to social trends, responded to the May student uprisings in 1968 by creating a line of women's tailored trouser suits. Based on the "African" theme, he created a "Safari" suit for his spring/summer 1968 collection, transforming the functional hunting outfit into townwear for women". [source: The Metropolitan Museum of Art ]

The muted bergamot "cologne" idea (taking a sharp, astringent, tangy flavour and blunting its edge with loads of Iso-E Super in modern perfumery speak) is not remarkably original; not does it serve any purpose as a stand-alone-trick beyond the blah. It's shampoo writ large. Nothing wrong with this, coming from a brand like Clean or Bath & Body Works, but there is some disappointment in the notion pervading Yves Saint Laurent. I detect no significant spice, just a flou idea of woodiness and "clean" musky backdrop.
If you're looking for a sparkling woody-faceted bergamot with great lasting power for that refreshing, insouciant grace of summer wear, when you don't want to look like you're trying too hard, grab Terre d'Hermes instead.

Notes for Saharienne by Yves Saint Laurent:
Top: lemon, Italian bergamot and mandarin
Heart: white flower petals, orange leaf, galbanum, black currant bud.
Base: pink pepper, ginger.

Twin Peaks: Hermes Poivre Samarcande & Marc Jacobs Bang reviews

In the secrecy-laced world of perfumery it's not unusual to have the same idea colonise several brands. Sometimes it happens through the same "nose" (perfumer), such as Anne Flipo for Rykiel Woman and Barbara Bui Le Parfum or Maurice Roucel working for Musc Ravageur as well as L de Lempicka). Other times, because it's the direction dictated by a new material such as the ubiquitousness of oud (Rose Oud by Kilian, Oud Leather by Dior) or Ambroxan lately (Another 13 and Baie Rose 26, Not a Perfume by Juliette Has a Gun). Or it's a new technique; take the novel method of maceration of iris root for only a few weeks instead of three years resulting in a pleiad of niche iris scents 3-4 years ago. Added to that is also the reason of marketing: A new sector opened by a pioneer is exploited by other brands later on, even by home fragrances and functional products (this is called "trickle down" in industry speak). The point of Twin Peaks series on Perfume Shrine is exactly that: to pinpoint fragrances that are smell-alikes and delineate the reasons and hows of their resemblances.
Which brings us nicely to Poivre Samarcande by the exclusive boutique line of Hermès and Bang by Marc Jacobs which circulates in the department store circuit. Smell the two though and you can see there are less of six degrees of seperation between them.

Poivre Samarcande came at a time when Jean Claude Ellena was busy populating the -at the time- novel concept of boutique exclusive fragrances, the Hermessences (The original quartet which was sold in 2005 included also Rose Ikebana, Ambre Narguilé and Vétiver Tonka). It must have felt especially validating to have everyone follow, from Chanel down to Cartier and Dior La Collection and produce "exclusive" collections in a niche manner of presentation and concept (focus on raw materials, identical bottles, limited distribution, star perfumer working for them). Poivre Samarkande was in many ways a pioneer because it was incorporated into Jean Claude's experimentation with Iso E Super started with Déclaration, which he overdosed in the Hermès scent in order to boost the effect of an airy pepper accord, which although spicy is transliterated like a wood thanks to the boost of cedar, oak and patchouli notes. In actuality it's the Iso E Super which underpins the spices, making them shine and feel cool and silky, projecting in a linear manner. The unisex effect alongside its peculiar feel good, feel non-perfumey character has made it a soaring success. It was only natural the great idea would be perpetuated. Enter Marc Jacobs.


Bang is Marc Jacob's latest foray into perfume, coming out in July 2010. His line of scents is well thought out, but without presenting much of an excitement to the hearts of dedicated niche perfumery consumers. The scents simply read as a tad too "safe" to present the much coveted challenge we seek. However, their execution is usually very good, from the bright and happy Daisy to the snuggly but light powder of Amber Splash. Bang is no different: It takes its central leitmotif from someplace else, but the result isn't a total bore, probably because the original idea was an intelligent one to begin with and someone was wise enough not to muck with it too much. Bang was created for a “contemporary guy, who, even if he isn’t young, has a younger spirit.” Jacobs created the name first and development of the composition in cooperation with Coty followed. “I wanted to do something that I would love” said Jacobs. “I particularly like spice notes, especially pepper, so that became a starting place.”
Bang was art-directed by the revered veteran Ann Gottlieb who requested such notes as black, white and pink pepper, alongside masculine woody notes (Iso E Super and ambrox for you), while the base includes elemi resin (in itself having a peppery aroma), benzoin (a sweeter resin), vetiver, "white moss" (a patented IFF accord that was introduced in Jasmine White Moss in Estée Lauder's Private Collection line) and patchouli. The scent has a vibe of a metrosexual preening in front of a black-tiled bathroom mirror, so I would most enjoy smelling it on someone unexpected. Preferably a woman.

The two scents smell quite alike, Bang being a bit sweeter and with more pronounced vetiver and watered down in the lasting power stakes (to the point of annoying), but it's the optical differences which stuck in one's mind: On the one hand a refined and sparse representation of a leather-clad bottle, on the other a slicked-up Marc posing with the (impressively designed) bottle between his bare legs. Take your pick according to your aesthetics and wallet.

Hermes Voyage d'Hermes: fragrance review

Hermès has gained the sense of olfactive consistency that Guerlain once had back in the day thanks to its head perfumer, Jean Claude Ellena. Their latest unisex, Voyage d'Hermès , is a recapitulation, a déjà vu and a voyage not only through the body of work of Jean Claude himself, but of the house of Hermès as an entity! It's as if Voyage is a passport into the world of Hermès: Small little snippets of numerous fragrances hide beneath a hazy cloud of a formula that must have been laborious to construct without falling apart. Yet what has Jean Claude succeeded in doing, at this point in his career, is creating his own syntax and his own vocabulary for communicating which translates as perfectly leggible and intermixable, even in snippets of conversation that all mingle together harmoniously.

In order to appreciate Voyage d'Hermès on whether it succeeds to convey the vision behind it, we need to access the perfumer's technique in rapport with the values dictated by a mass-marketed but still prestigious Hermès fragrance such as Voyage.

Starting by the latter, we're "stumbling" on the mega-success of Terre d'Hermès, a masculine which is -according to the month in question- the first or second best-selling fragrance in France and terribly popular throughout the world as well. Its mineral & airy interpretation of the Mediterranean coast-line, full of fresh breeze, the whisper of citrus groves from afar and vegetal waste rotting on the hard rock, is the transfiguration of an lived-in impression into a scent (aided by a generous helping of IsoE Super, a synthetic which turns the intriguing aromata into a legible abstraction). A new mainstream release would not want to disrupt the commercial success of Terre, but at the same time, it should bring in women too (sharing thus the desirable facets of Terre) and consolidate the past and future of the house into the consience of everyone. In many ways, it feels to me that Hermès was simplifying its historical codes into an Esperanto of signs for everyone. To that degree they have certainly succeeded.

Ellena himself communicated his aim in composing Voyage d'Hermès, not as the desire to create a figurative or programmatic ~to borrow a term from music~ fragrance "but to create abstract art. A play on paradoxes. Complementary elements. No, this perfume would not smell of a kind of wood, a flower, a particular raw material, but of the unknown in all its glory. To express its nuances and unexpected pairings. Familiar, surprising. Energy, comfort. Masculine, feminine. An infectious mixing of genres. A woody fresh, musky fragrance." Ellena's style (and so is Olivia Giacobetti's in a similar vein) is the quiet, yet subtly intricate music for a quartet, rather than the bustle of a Wagnerian symphony with brass horns and full percussion joining. This is an aesthetic choice, not the result of simplistic or unchallenging incompetence. Comparing ~say~ a traditional Guerlain or 1930s Patou to a modern Hermès composed by Ellena would therefore be a futile exercise in omphaloskepsis. One either likes one style or not, but that doesn't mean that the two are poised on the same plane of existence; they're actually poles apart.
In that regard, Ellena in Voyage d'Hermès is reffarming his signature touch and on top of that creates something that cannot be pinpointed into anything familiar in nature; because there are plenty of familiar accents in the formula itself, as we'll see.

Voyage d'Hermès feels like a composition created on two tiers: The first movement is a flute, oboe and glockenspiel trio, namely the grapefruit-citrus chord he excells at (see Rose Ikebana, Un Jardin sur le Nil, Terre d'Hermès, even Cologne Bigarrade) with a touch of icy artemisia (see Angeliques sous la Pluie with their perfect gin & tonic bitterness) alongside the spicy suaveness of cardamom (diaphanous as in Un Jardin apres la Mousson, yet also a little sweaty as in Déclaration). To that musical line respond clarinets of other spices: some pepper, some ginger. On skin the spices are much more pronounced on the whole, with a small sub-facet (pungent, even a bit leathery) that personally reminds me of Eau d'Hermès.
The second movement is constructed on a basso continuo (the Iso E Super, perceived by many as cedar, alongside an incredibly lasting cluster of musks) with a lightly underlining phrase by a viola, the floral note of hedione (or an analogous material) giving a nod to Dior's Eau Sauvage and an elegant amber-ambergris base recalling Eau de Merveilles. This second movement is most alike Poivre Samarkande from the Hermessences, with its overdose of Iso-E Super. Seeing as Poivre Samarkande is the uncontesatble best-seller in the Hermès boutique in Athens, Greece, ever since the line's introduction, it makes sense that Hermès wanted for a Voyage composition a formula that has already been OK-ed by a warm Mediterranean country: After all, the very term Voyage makes us unconsiously dream of vacations, doesn't it? The two Roudnitska homages (Eau d'Hermès and Eau Sauvage), on the other hand, are unifying two houses and two perfumers into one style uniquely its own.

This clarion call of style, ensured, affirmed, self-reliant, is the fragrance's moot point: It means that if you like previous Jean Claude Ellena fragrances, you will like Voyage d'Hermes. If you don't, there are very little chances that it will change your mind. It also means that if you have all the segmentated make-up-pieces in your perfume collection, you might not be tempted to sort out the Visa and buy the new fragrance. But seeing as this is a mainstream release meant for everyone, not just maniacal collectors, those people will be few and far between.

The bottle design is spectacular: pure Hermès, both classic, inspired by la petite maroquinairie ~and specifically the Evelyne coin purse~ but also subtly modern high-tech too, reminiscent of USB sticks to put in one's computer (formerly known as "travel sticks, because you took them along while travelling, is it any coincidence?) or of a shiny silvery iPod, blasting a daydreaming Debussy tune. The promotional video shows a bird flying towards a horse running in the sea, showing ice, desert and water: an analogy of the segments that the fragrance goes through as well.

Notes for Voyage d'Hermès: citron, bergamot, coriander, ginger, artemisia, cardamom, black pepper, tea, birch, white musk, amber and cedar.

Available in 35ml, 100ml & 150ml bottles, available at major department stores carrying Hermès.
For those registered on the mailing list of Hermès, please use this link to see the promotional video.


Music: "Divertimento for Flute, Oboe and Clarinet" by Malcolm Arnold with Meera Gudipati, flute; Steven Robles, oboe; and James Calix, clarinet.
Print by Nhyen Phan Chanh (1932). Hermes official Voyage d'Hermes ad.

Hermes Terre d'Hermes Parfum: fragrance review

In evaluating how Terre d'Hermès has been a resounding commercial success, but also a firm winner on the top lists of best fragrances on discerning consumers boards such as Basenotes for a couple of years consecutively, it is not difficult to understand its appeal and range of qualities that accounted for its popularity, earning it a newly fledged version named Terre d'Hermès Parfum.

The refreshing overture, the unusual, intellectual, mineral facets in its core and the great radiance of its woody bottom (accounted by IsoE Super, more on which on this article) are the cornerstones on which its reputation has been cemented.

Extrait de Parfum pour Homme is not the most usual concentration when one thinks about masculine fragrances. In fact the American generic term "cologne" for masculine scents is not without some sort of reasoning behind it: It seems that most men are accustomed to resort to splashes of scented eau on their neck after a good, close shave or a shower, and additionally they have been conditioned to believe that a men's fragrance should be light and not really perceptible beyond a certain number of paces. The belief has been a remnant of a patriachal code of conduct of the first half of the 20th century, in which men customarily earned the daily bread, read the newspaper while the wife put the babies to sleep and never wore anything remotely removed from lavender water, hesperidic eaux or aromatic concoctions that didn't leave any doubt to which team they were playing for.
Times have changed, new fathers pay more attention to their families, while some opt out of families in the traditional sense altogether, and the market has had to conform. Companies have realised that there is a new sophistication in the air, what with the emergence of the new metrosexual man, but also with the newly rediscovered ~for the Western world~ pleasure of reaping the benefits of aromatics and essences for the benefit oneself: A new audience that laps up niche offerings and ooohs and aaaahs at Pierre Montale's offerings or Amouage's luxurious attars is ready for a proposition that goes against the grain: Namely not an Eau de Parfum (in itself also a rare phenomenon in the universe of masculine fragrances) but an Extrait de Parfum, aka pure parfum! Thus Guerlain is offering their excellent Habit Rouge Extrait, Ormonde Jayne and Clive Christian are not far behind with their own, but it is Hermès that just launched a new version of their best-selling 2006's Terre d'Hermès in parfum concentration which will reign in terms of awareness and recognisability, I bet.

Terre d’Hermès Parfum explores a denser “Terre” (earth) than the original eau de toilette which married the skies above with the earth below. An intense concentration surely, yet not just ‘an intense version of Terre d’Hermès’ specifies Jean-Claude Ellena, but rather a rewriting that ‘amplifies the concept, and ‘heightens the contrasts’. Ellena has intensified the mineral-flint facets, and reinforced benzoin’s role resulting in a more bottom-heavy composition which nevertheless isn't far removed from the original. In the opening, shiso’s green, minty accents awaken the citrus tonalities a bit more perceptively. while the increased cedar allied to mossy notes tilt the composition from the aromatic hesperidic to the woody chypre; one of easy elegance. Still the experimentation in parfum strength seems like a studious exercise in concept more than practice, because the original had plenty of tenacity and diffusion already and its depths did not easily lend into a very intricate fugue treatment but more to a graceful and easy-paced minuet.

The spray bottle design is so similar, almost identical (well, slightly squarer) to the original Terre d'Hermès that one might dismiss it and think it's the standard product: At least I did! It was with the greatest surprise that I was gently guided at the boutique towards it, by a most graceful and passionate assistant who nodded his head sagely, insisting it's indeed the parfum. Its geometrical, graceful contours and big size belie its unusual concentration: At 75ml/2.5oz it's a LOT of parfum to last you through several months even if used every day! Tenacity, sillage and evolution on both blotter and skin are excellent, testament to the great technical merit of the reworked composition. Perhaps the only gripe could be the price which is unusually low for a parfum concentration, about half of what is asked for the similar products in the feminine range at Hermès. But I am hypothesizing that the masterplan behind this marketing move was that men are practical creatures when it comes to their grooming products and don't have the madly voracious eye that women have in view of luxury, so a reasonable approach might work better with them. At any rate, at those prices and for such potency and tenacity, it's a bargain; assuming you already like the original Terre d'Hermès of course and would like to complete your collection.

Notes for Terre d'Hermes Parfum:

Top: Orange, shiso, grapefruit, pepper
Heart: Flint, mineral notes, geranium leaves
Base: Woody Notes, oak Moss, vetiver, patchouli, benzoin

Available at boutique Hermès and soon in stores.

Related reading on Perfume Shrine: Interview with master perfumer Jean Claude Ellena

Photo of Jean Cocteau by irving Penn 1950. Pic of bottle via sfilate.it

Iso E Super, its merits, its faults, Geza Schoen and Jean Claude Ellena

The chemistry of fragrances seems like an arcane side-path in the vast avenue of pretty smells. Those who venture there are either chemists, eternal students or people reading perfume boards. On those last ones, Iso E Super is nom du jour due to recent rumours of restricting its use to specific ratios in products (and they're many!) and due to its increasing popularity, some of it attached to the work of master perfumer Jean Claude Ellena who has experimented with its magic properties many a time in the past to glorious effect: Terre d'Hermès, Poivre Samarkande and Déclaration are utilizing lots of it, exploring minimalism: the play of scents note-for-note with no sentimentality attached. Even an entire composition, Molecule 01 by perfumer Geza Schöen of niche brand Escentric Molecules (his Escentric 01 also features it in high ratios along with pink pepper, lime peel, orris and incense) is composed of nothing else but it, diluted in solvent, because the perfumer loved it so! I am hereby reminding you that he is the perfumer who created HSIDEWS for artist Sissel Tolaas and he has collaborated with the London-based niche brand Ormonde Jayne. The theory behind Molecule 01 and IsoE Super was that it would create an appealing effect to those smelling it on the wearer without it being perceived as a "perfume"; the ultimate skin-scent, much like natural ambergris to which it mimics certain aspects would act. Another scent which officially contains it is Maitresse by Agent Provocateur, while the masculine fragrance Fahrenheit by Dior (1988) iincludes a 25% Iso E Super in the compound. In the legendary woody oriental Féminité du Bois by Shiseido, under the maestro Serge Lutens's direction, the material serves as an harmoniser between the plummy effect of the fruits with the violet ionones and the cedarwood bottom notes. Iso E Super is used in so many fragrances today that it would be hard to compile an actual list that would not bore everyone silly! But what the hell is Iso E Super?, you might ask. Let's take matters at the top.

Iso E Super® is the trademark name of aromachemical 7-acetyl, 1,2,3,4,5,6,7,8-octahydro-1,1,6,7-tetramethyl naphthalene and I guess it's pretty obvious why it's called that instead of its long organic chemistry name. According to International Fragrances and Flavors Iso E Super is

"Smooth, woody, amber with unique aspects giving a ''velvet'' like sensation. Used to impart fullness and subtle strength to fragrances. Superb floralizer found in the majority of newer fine fragrances and also useful in soaps. Richer in the desirable gamma isomer than isocyclemone e".

Arborone is the odor active enantiomer of Iso E Super, with its clean woody and pleasing aroma.[1] The uses of Iso-E Super are legion: from bleach and deo sticks to soaps, shampoos, laundry detergents and fine fragrance. Given that its colour is almost transparent to very light yellow it poses no problems in being incorporated in formulae and is also used in the pharmaceutical industry.
Despite the IFF being the company to trademark it, Chinese companies such as Zhejiang Winsun Imp. & Exp. Co., Ltd. do provide it at a concentration of 90% for various uses. Home-made mixes would suggest one part Iso-E Super to 9 parts base, such as dipropylene glycol/perfumer's alcohol (therefore a 10% concentration). Although neat use on skin isn't recommended, minor "accidents" of spillage have not produced anything sinister. Taking in mind that it is quite inexpensive, it is perhaps of interest for apprentices and amateurs alike to experiment themselves at high dilution.

Smelling it in itself one is surprised by how almost non-existent a smell Iso-E Super has; not something one would describe as a smell in so many words, it's unapologetically synthetic and perhaps vaguely cedar-like, slightly sweet. It seems to vanish very quickly and resurface on skin in intervals from time to time very discreetly: The heat of the skin is intergral to its volatilising properly and it seems that any test on paper would not give an accurate perception of its true nature. It is however quite recognisable once you get to sample it and you will have fun detecting it in many major fragrances on the market todat. This subtle "skin-scent" effect is what in perfume-lingo is used to evoke that a fragrance stays close to the skin, not projecting in a wide radius; but also that it has some skin compatibility effect that makes it smell not like a usual perfume. Therefore IsoE Super soon gained the reputation of it acting like a pheromone, that invisible aroma that is supposed to attract same species potential sexual partners and ensures recognition of compatibility between mates. Plainly explained, pheromones act to the vomero nasal organ ensuring that pigs mate with pigs and not rhinoceruses for instance! Much as the matter is exciting and intriguing hower, the scientific community has not been able to conclusively establish validity in the theory of pheromones working in humans so far, although popular mythology is rampant with examples of products aimed to achieve this magical attraction (such as Androstenol, Androstadienone, and Androsterone). In an interview given by perfumer Geza Schöen on the creation of Molecule 01, he intimated:

"When I was introduced to ISO E Super in 1990 I gave it to a friend of mine to wear. We went out to this bar in our hometown and it took only a few minutes until this woman steered straight into our direction to inquire about who smelled so lovely! Since then I knew that this stuff is special indeed. I suggested it to the guy who was in charge of Diesel back then and he said that he felt that this is a bit too much - even for them!" [2]

He's quick to elaborate however that it does not act as a pheromone (that's a misconception if scientifically examined) but that simply it's "not possible not to like it", as no one has ever commented he/she doesn't like its particular smell per se.

Perhaps the most vexing matter to perfume enthusiasts however has been how Iso E Super is one of the 14 chemicals that have been recommended for study by the National Toxicology Program (NTP) with impending restrictions on its use. Ever since as early as 2000 the matter has been in discussion. In a letter by Betty Bridges, RN Fragranced Products Information Network (http://www.fpinva.org/) addressed to Dr. Scott A. Masten, Ph.D. from the Office of Chemical Nomination and Selection, Environmental Toxicology Program of the National Institute of Environmental Health Sciences in 2002 we read the following:

"International Flavors and Fragrance's suggested use levels of Iso E Super is up to 10% of the fragrance formula and is recommended for use in a variety of products (IFF, 2002). Isocyclemone E's (a material with a different ratio of isomers, same CAS# 54464-57-2) suggested use level is up to 30% and is recommended in a variety of applications.(IFF, 2002) [...] Considering Iso E Super's similar structure to AETT and AHTN, two polycyclic musk compounds with known concerns, it is likely that Iso E Super and other chemically similar materials would also bioaccumulate in human tissue, persist in the environment, and have health concerns. There are concerns related to AHTN causing liver toxicity and discoloration. Galaxolide, another polycyclic musk has similarconcerns, but to a lessor degree (SCCNFP, 2000) Chromogenic properties have been associated with neurotoxicity (Sabri, 2002)"

Before publication of the 43rd amendment issued by IFRA it had been rumoured that Iso E Super should be a restricted raw material. This doesn't mean that it is not to be used any more as novices often assume erronesouly. It simply means that it should be incorporated in a formula below a certain level for it to be commerialised (and of course one could do whatever they pleased if they made a do-it-yourself formula at their own labs/homes!). On the other hand another aroma material, Boisvelone (C16H26O) closely related to Iso E Super (but reportedly a little more elegant; I haven't tried it myself while one source[3] reports it as the exact same thing) has disappeared from commercial use. According to one perfumer currently teaching [4] however, a feminine "alcoholic" product (that means an eau de toilette, eau de parfum or extrait de parfum ~generally any product with an alcohol base) there is a limit of approximately 20% of Iso E Super in the final product. Although it might seem like a lot, if you are composing an Eau de Parfum, which means a 15-20% dilution, you're well within limits still even if the entire fragrance consists of Iso E Super. Luckily for all of us, the latest amendement of IFRA can be downloaded here and it seems to make us sigh a sigh of relief for now: Iso E Super is not yet restricted. ** [Please see addition on the bottom for current info on IFRA approved ratio]

Hot on the heels of the sinister rumours was the prevalent concern of perfume lovers whether the fragrances that feature it (with Jean Claude Ellena's most prominently) would suffer from it. It was only the other day that the matter was brought again to the table on this very venue, while discussing Déclaration by Cartier, one of the most influential of Ellena's fragrances. Since the objective of Perfume Shrine is to be very clear in what is only a hypothesis on our part and what is a matter of fact, we took things in our hands to further investigate and the resulting message is even more assuaging, discouraging you from frantic stocking-up of fragrances which you would fear would be unrecognisably altered. The fragrances by Jean Claude Ellena will not be altered or influenced by any -as yet only suggested for the future- restrictions of Iso-E Super ratio as they are already well below the ratio proposed for the restrictions. The information is official and comes from mr. Jean Claude Ellena himself. I hope this article proves useful to you!

Here is a table of Top Ten Fragrances with Regard to Their Content in Iso E Super
No., Fragrance Name (Company, launch year), Iso E Super
[NB. the percentage is in regards to compound, not diluted ready to use product]

1 Molecule 01 (escentric molecules, 2005) 100%
2 Perles de Lalique (Lalique, 2007) 80%
3 Poivre Samarcande (Herme`s, 2004) 71%
4 Escentric 01 (escentric molecules, 2005) 65%
5 Terre d'Hermes (Hermes, 2006) 55%
6 Incense Kyoto (comme des garcons, 2002) 55%
7 Incense Jaisalmer (comme des garcons, 2002) 51%
8 Fierce for Men (Abercrombie & Fitch, 2002) 48%
9 Kenzo Air (Kenzo, 2003) 48%
10 Encre noire (Lalique, 2006) 45%

Ref for table: Schon G. 2008. 'Escentric' molecules. Chemistry & Biodiversity. 5 (6) :1154-8. In June 2008. Verlag Helvetica Chimica Acta AG,Zurich


EDIT TO ADD/AMEND 2011: At the time of writing this was the correct info. As of 2011 however the IFRA industry regulating body has set a maximum dilution limit of 21.4% in the compound. Jean Claude Ellena's scents and the majority of scents using it are relatively safe, as a mere 1% in the formula in enough to provide the qualities it's famed for, but it is the updated info for anyone caring to use it in their own formulae.


References:
[1]Helvetica Chimica Acta, Volume 82, Issue 7, Date: July 7, 1999, Pages: 1016-1024
[2]I heart Berlin.de
[3]Nextbio.com
[4]J'aime le parfum!

Pics from Iheartberlin.de and Hermes.