A Method of Creation in Perfumery – Jean Carles (1961) – Part 1
This series of articles was published in the 1968 yearbook of Soap, Perfumery & Cosmetics and is available in many libraries across the country.
The apprentice perfumer at the start of his career is like a ship without a rudder. Left to himself, or badly directed, his explorations will be haphazard and he will inevitably waste his creative energy.
The method of trial and error having no attraction for me, I tried from the very beginning of my career to really understand the why and wherefore of this fascinating world into which I had stepped. But miracles are very rare in perfumery. From the outset, a perfumer should be able to tell if a creation has a chance of commercial success.
Perfumery is currently at a crossroads. The number of trained perfumers tends to decrease, since the long apprenticeship required appears to be an insurmountable obstacle for most young people. In the last 35 years, more than 100 students, both French and foreign, have taken courses in perfumery in the company's laboratory in Grasse and have been trained according to the simple method I had originally designed for myself.
Perfumery is an art
Perfumery is an art and not, as many believe, a science. A scientific background is not essential for the perfumer; scientific knowledge can even sometimes hinder the freedom required for perfume creation. The creative perfumer should use fragrant materials as a painter uses colors, giving them the opportunity for maximum development and effect.
The perfumer’s only instrument is his nose. Olfactory training is crucial and should never be neglected or interrupted. Our own perfumers have made it a strict rule to test their knowledge of perfume materials daily, and half an hour is therefore set aside for this exercise.
Olfactory studies
The training of a novice, knowing nothing about perfumery, should start with the olfactory study of all fragrant materials, both natural and synthetic. First, contrasting scents are smelled, then materials belonging to a specific scent "family." The novice will soon realize that the odor of products changes with time, and that the evaporation rate is not the same for all products.
Top, middle and base notes
We classify fragrant materials into three categories according to their volatility. Their tenacity is determined by noting the date and times on smelling strips.
| Top notes Very volatile — lacking tenacity |
Modifiers Medium volatility and tenacity |
Base notes Low volatility — high tenacity |
|---|---|---|
| Amyl acetate | Basil | Methyl Ionone – Ionones |
| Bois de Rose | Terpineol | Absolute Orange flower |
| Linalool | Petitgrain (Paraguay) | Clary sage |
| Phenylethyl acetate | Galbanum | Amyl salicylate |
| Lemon | Verbena | Absolute Jasmin |
| Lavender | Thyme | Benzyl salicylate |
| Bergamot | Geranyl acetate | Cedarwood |
| Orange | Juniper | Aldehyde C16 |
| Coriander | Tansy | Aldehyde C18 |
| Tarragon | Phenylethyl alcohol | Sandalwood |
| Laurel nobilis | Geraniol | Artificial Musk |
| Petitgrain (lemon tree) | Citronellal | Absolute Lavender |
| etc… | Neroli | Absolute Oakmoss |
| Rose Bulgarian | Vetiver and derivatives | |
| Ylang | Patchouli | |
| Geranium | Aldehydes C8 C9 C11 C12 | |
| Absolute Lavender | Cloves | |
| Aldehydes C8 C9 C11 C12 | etc… | |
| Cloves · etc… |
The base notes hold the main characteristic of the perfume for many hours. The modifiers serve to modify the unpleasant top note of the base products. As for the top notes, they provide a pleasant initial impression when the bottle is opened.
Creating a chypre note
I. The “accord” among bases
Absolute Oakmoss is the essential raw material of the chypre note. To find the correct proportion between two products belonging to the series of base notes, a series of accords are prepared, as follows:
| Material | 1 | 2 | 3 | 4 | 5 |
|---|---|---|---|---|---|
| Absolute Oakmoss | 9 | 8 | 7 | 6 | 5 |
| Ambergris 162B | 1 | 2 | 3 | 4 | 5 |
Example selection: 6 Absolute Oakmoss + 4 Ambergris 162B + 1 Musk Ketone
II. Modifiers
To suppress the unpleasant top note of the base, a floral note of medium volatility is chosen:
3 Absolute Rose
1 Absolute Civet, 10% sol.
III. Top note
The top note is added, which will give a pleasant first effect when opening the bottle.
4 Sweet Orange · 1 Bergamot
IV. Proportions and final formulation
Top notes (25%) — 4 Sweet Orange · 1 Bergamot
Modifiers (20%) — 3 Absolute Rose · 1 Absolute Civet (10%)
Bases (55%) — 6 Absolute Oakmoss · 4 Ambergris 162B · 1 Musk Ketone
These percentages are largely responsible for the tenacity of the perfume. If the proportion of bases is kept low, the composition will lack tenacity.
V. Expansion of the formula
| Material | A | B Oakmoss dominant |
C Ambergris dominant |
D Vetiver dominant |
|---|---|---|---|---|
| Absolute Oakmoss | 4 | 6 | 3 | 3 |
| Ambergris 162B | 4 | 3 | 6 | 3 |
| Vetiver Bourbon | 4 | 3 | 3 | 6 |
| Musk Ketone | 1 | 1 | 1 | 1 |
Alternative accord combinations:
(a) Absolute Oakmoss · Ambergris 162B · Patchouli
(b) Absolute Oakmoss · Ambergris 162B · Methyl Ionone
(c) Absolute Oakmoss · Patchouli · Vetiver
(d) Absolute Oakmoss · Methyl Ionone · Vetiver, etc.
Variations of the original formula:
Original: Sweet Orange · Bergamot · Absolute Rose · Absolute Civet · Absolute Oakmoss · Ambergris 162B · Musk ketone
1st modification: Sweet Orange · Bergamot · Orange flower absolute · Absolute Oakmoss · Ambergris 162B · Absolute Jasmin · Musk ketone
2nd modification: Bergamot · Laurel nobilis · Angelica seeds · Juniper berries · Muguet · Absolute Oakmoss · Vetiver · Patchouli · Ambergris 162B · Aldehyde C14 · Absolute Jasmin · Musk ketone
3rd modification: Bergamot · Sweet Orange · Absolute Rose · Absolute Oakmoss · Amber liquid · Methyl Ionone · Vetiver · Patchouli · Absolute Jasmin · Musk ketone
4th modification: Bergamot · Lemon · Linalyl acetate · Jasmin 1103 · Geranium African · Orange flower 1103 · Aldehydes C9, C10, C11 · Absolute Oakmoss · Gardenia Invar · Styralyl Acetate · Vetiver · Ambergris 162B · Musk ketone
Auxiliaries to metamorphosis
By adding new products to a formulation, entirely different perfumes can be produced, with the original components remaining unchanged. “Auxiliary products” are products that, when used in small quantities, completely change the character of a composition. Examples: Aldehydes C12 (MNA) and C14, Styralyl acetate, Isobutyl quinoline, Galbanum, Cascarilla.
“Well-balanced” or “characterless”?
The desire to achieve maximum balance in a perfume often results in a subdued, characterless composition. Dominant notes in perfumes should neither be feared nor avoided. These are a perfumer's private secret, and such "flaws" have been responsible for enormous commercial successes.
Sharp contrasts and “fashions”
Modern perfumery requires contrasts and sharply characterized odor values. There is no such thing as fashion in perfumery. Only actual sales success dictates fashion. A good perfumer is one who knows how to create a "bestseller."
This article was written in 1961. Passages referring to women can be read as referring to the consumer in general — both men and women.
Part 2 — Accords with Methyl ionone
After the study of possible accords with all natural products under the heading of base notes is complete, accords with synthetic products can be considered. It is advantageous to start with Methyl Ionone.
Methyl Ionone + natural products: Methyl Ionone · Vetiver · Musk ambrette, etc.
+ defined products: Methyl Ionone · Vetiver · Eugenol · Musk ketone, etc.
+ synthetic products: Methyl Ionone · Absolute Oakmoss · Acetivenol or Vetiveryl acetate · Opoponax 21 · Musk ketone, etc.
+ bases / specialties: Methyl Ionone · Absolute Orange flowers · Acetivenol · Oeillet 25 · Althenol or Selvione, etc.
Chypre raw material reference table
| Top notes | Modifiers | Base notes |
|---|---|---|
| Sweet Orange | Absolute Rose | Absolute Oakmoss |
| Bergamot | Bulgarian Rose | Patchouli |
| Linalyl acetate | Geranium | Vetiver and derivatives |
| Geranyl acetate | Neroli, Petitgrain | Acetivenol |
| Rhodol acetate | Absolute Civet, 10% sol. | Sandalwood |
| Geraniol | Absolute Orange flowers | Absolute Cistus colorless |
| Linalool | Rhodol | Ambergris 162B |
| Lemon | Rhodinol | Amber Liquid |
| Bois de Rose | Phenyl ethyl alcohol | Methyl Eugenol |
| etc… | Phenyl ethyl acetate | Olibanum |
| Cinnamic alcohol | Orris concrete | |
| Pine, maritime, Sylvester | Ionones, Methyl ionones | |
| Styrax | Clary sage | |
| Coriander | Absolute ambrette | |
| Argeol | Absolute jasmine | |
| Ylangs | Ambrette oil | |
| Cassia · Cinnamon | Musks · etc… | |
| Muguet 133 or Invar | ||
| Jasmin 1103 | ||
| Cloves, Eugenol, Isoeugenol · etc… |
| Auxiliary products | Bases / specialties |
|---|---|
| Caraway | Althenol, Selvone or Corona |
| Galbanum | Bouvardia 198 |
| Costus | Corional |
| Juniper berries | Cuir de Russie 18-167 |
| Laurel noble | Daltonia 1096 |
| Angelica seeds | Tobacco flower |
| Hyssop | Myrisia |
| Aldehydes C9, C10, C11, C12, C14 | Mousse 32, Mousse 1026 |
| Celery · etc… | Mousse Sylvestre · Mousse de Chypre · Mousse Poivree · Pimenal 44 · etc… |
Chypre / fougère / foin / trèfle — essential differences
| Chypre | Fougère | Foin | Trèfle |
|---|---|---|---|
| Bergamot | Bergamot | Bergamot | Bergamot |
| Sweet Orange | Lavender | — | — |
| Rose | Geranium | Geranium | Anisic aldehyde |
| — | — | — | Eugenol |
| Absolute Oakmoss | Absolute Oakmoss | Absolute Oakmoss | Absolute Oakmoss |
| Amber | Vetiver | Patchouli | Amyl salicylate |
| Various musks | Absolute Tonka beans | Amyl salicylate | Musk ambrette |
| — | Coumarin | Coumarin | Patchouli |
| — | — | — | Coumarin |
Accords for fantasy chypres
| Ratio | Material | Ratio | Material |
|---|---|---|---|
| 8 | Absolute Oakmoss | 6 | Absolute Oakmoss |
| 2 | Ambrette seeds concrete | 4 | Absolute Orange flowers |
| 1 | Musk ketone | 1 | Musk ketone |
| 8 | Absolute Oakmoss | 7 | Absolute Oakmoss |
| 2 | Absolute Rose | 3 | Absolute Violet leaves |
| 1 | Musk ketone | 1 | Musk ketone |
| 8/7/6 | Absolute Oakmoss | 6/4 | Absolute Oakmoss |
| 2/3/4 | Patchouli | 4/5 | Vetiver Bourbon |
| 1 | Musk ketone | 1 | Musk ketone or ambrette |
| 9/8/7 | Absolute Oakmoss | 7 | Absolute Oakmoss |
| 1/2/3 | Irisantheme | 3 | Absolute Cistus colorless |
| 1 | Musk ketone | 1 | Musk ketone |
| Proportion | Material | Proportion | Material |
|---|---|---|---|
| 6/3 | Absolute Oakmoss | 6 | Absolute Oakmoss |
| 2/3 | Patchouli | 2 | Patchouli |
| 2/3 | Absolute Orange flowers | 2 | Absolute Jasmin |
| 1 | Musk ketone | 1 | Musk ketone |
| 6/3 | Absolute Oakmoss | 3 | Absolute Oakmoss |
| 2/3 | Absolute Rose | 3 | Vetiver |
| 2/3 | Patchouli | 3 | Absolute Jasmin |
| 1 | Musk ketone | 1 | Musk ketone |
| 3 | Absolute Oakmoss | 6 | Absolute Oakmoss |
| 3 | Vetiver | 2 | Vetiver |
| 3 | Absolute Orange flowers | 3 | Absolute Rose |
| 1 | Musk ketone | 1 | Musk ketone |
| 3 | Absolute Oakmoss | 3 | Absolute Oakmoss |
| 3 | Vetiver | 3 | Sandalwood |
| 3 | Ambrette seeds concrete | 3 | Absolute Orange flowers |
| 1 | Musk ketone | 1 | Musk ketone |
| 3 | Absolute Oakmoss | 3 | Absolute Oakmoss |
| 3 | Absolute Jasmin | 3 | Irisantheme |
| 3 | Irisantheme | 3 | Absolute Orange flowers |
| 1 | Musk ketone | 1 | Musk ketone |
| 3 | Absolute Oakmoss | 3 | Absolute Oakmoss |
| 3 | Irisantheme | 3 | Irisantheme |
| 3 | Absolute Rose | 3 | Eugenol |
| 1 | Musk ketone | 1 | Musk ketone |
| 3 | Absolute Oakmoss | 3 | Absolute Oakmoss |
| 3 | Absolute Jasmin | 3 | Eugenol |
| 3 | Irisantheme | 3 | Absolute Jasmin |
| 1 | Musk ketone | 1 | Musk ketone |
| Proportion | Material | Proportion | Material |
|---|---|---|---|
| 3 | Absolute Oakmoss | 3 | Absolute Oakmoss |
| 3 | Patchouli | 3 | Patchouli |
| 3 | Vetiver | 3 | Vetiver |
| 3 | Absolute Jasmin | 3 | Absolute Rose |
| 1 | Musk ketone | 1 | Musk ketone |
| 3 | Absolute Oakmoss | 3 | Absolute Oakmoss |
| 3 | Vetiver | 3 | Patchouli |
| 3 | Sandalwood | 3 | Sandalwood |
| 3 | Absolute Orange flowers | 3 | Absolute Jasmin |
| 1 | Musk ketone | 1 | Musk ketone |
| 3 | Absolute Oakmoss | 3 | Absolute Oakmoss |
| 3 | Irisantheme | 3 | Irisantheme |
| 3 | Vetiver | 3 | Patchouli |
| 3 | Absolute Orange flowers | 3 | Absolute Jasmin |
| 1 | Musk ketone | 1 | Musk ketone |
| 3 | Absolute Oakmoss | 6 | Absolute Oakmoss |
| 3 | Patchouli | 2 | Absolute Cistus colorless |
| 3 | Eugenol | 2 | Irisantheme |
| 3 | Absolute Rose | 2 | Vetiver |
| 1 | Musk ketone | 1 | Musk ketone |
| 3 | Absolute Oakmoss | 3 | Absolute Oakmoss |
| 3 | Vetiver | 3 | Absolute Orange flowers |
| 3 | Absolute Jasmin | 3 | Patchouli |
| 3 | Absolute Cistus colorless | 3 | Vetiver |
| 1 | Musk ketone or ambrette | 1 | Musk ketone or ambrette |
Room spray test
The perfume is sprayed for 5–7 seconds in the middle of a room. The room is closed and the experimenter returns after 2–3 minutes. The true full-bodied scent of the perfume is obtained in this way. The smelling strip should only be used for the evaluation of raw materials.
Perfumes and sales appeal
Perfumes are not chosen, they are adopted. The main reasons for a consumer to change their mind are: (1) having only smelled the top notes by opening the bottle, (2) not taking into account the skin scent, (3) recognizing the full character of the perfume by smelling it on someone else.
Limitations of the "panel" test
Panel tests, just like the smelling strip, should only be used for the evaluation of raw materials. The only reliable guide is vaporization.
Chapter 3 — Modifiers, top notes, and colognes
Research on modifiers
Modifiers should not change the main character of the perfume; they should not exceed 20–25% of the total weight of the composition.
Example 1 — Top note: Bergamot · Modifiers: Geranium from Grasse · Ylang Nossi-Be extra · Aldehyde C12 MNA · Base: Lilac 183 · Muguet 113 · Aldehyde C14 · Absolute Jasmine · Musk ambrette
Example 2 — Top note: Bergamot · Modifiers: Absolute Rose · Ylang Nossi-Be extra · Muguet Invar · Base: Althenol or Selvone · Acetivenol · Sandalwood extra · Absolute Jasmine · Musk ambrette
Synthetic perfume combinations: (a) Jasmin 1103 · Fleur d'Oranger 1103 (b) Oeillet 25 · Rose d'Orient 2644 (c) Jasmin 1103 · Muguet Invar (d) Muguet Invar · Rose de Mai 68 (e) Fleur d'Oranger 1103 · Muguet 113 (f) Jasmin 1103 · Lilac 183
Research on top notes
Highly volatile products generally have a pleasant note and are practically always compatible with each other. Disastrous combinations are practically impossible.
| Proportion | Material | Proportion | Material |
|---|---|---|---|
| 6 | Lemon | 6 | Sweet Orange |
| 4 | Lavender | 4 | Petitgrain fr. Paraguay |
| 8 | Sweet Orange | 8 | Sweet Orange |
| 2 | Marjoram | 2 | Tarragon |
| 6 | Lavender | 4/6 | Lavender |
| 4 | Petitgrain fr. Paraguay | 6/4 | Tangerine |
| 5/6 | Sweet Orange | 6/7 | Coriander |
| 5/4 | Lavender | 4/3 | Sweet Orange |
| 8/5 | Bergamot | 7/2 | Hyssop |
| 2/5 | Sweet Fennel | 3/8 | Coriander |
| 7/3/4 | Hyssop | 8/7/3 | Juniper berries |
| 3/7/6 | Verbena | 2/3/7 | Bay |
| 6/4/1 | Bois de Rose | 9/4/3 | Bergamot |
| 4/6/9 | Juniper berries | 1/6/7 | Tarragon |
| 8/7/6/4 | Lavender | 8/7/4/2 | Basil |
| 2/3/4/6 | Bergamot | 2/3/6/8 | Verbena |
| 6/5/4/3 | Coriander | 4/5/6/7 | Tangerine |
| Proportion | Material | Proportion | Material |
|---|---|---|---|
| 2 | Lavender | 6 | Lemon |
| 2 | Sweet Orange | 3 | Lavender |
| 4 | Bergamot | 3 | Bergamot |
| 3 | Lavender | 6 | Tangerine |
| 3 | Bergamot | 3 | Petitgrain fr. Paraguay |
| 3 | Lemon | 3 | Lemon |
| 3 | Bergamot | 3 | Lemon |
| 3 | Basil | 3 | Bergamot |
| 3 | Bois de Rose | 3 | Coriander |
| 3/6/3/3 | Bergamot | 3/6/3/3 | Bergamot |
| 3/3/6/3 | Basil | 3/3/6/3 | Basil |
| 3/3/3/6 | Bois de Rose | 3/3/3/6 | Coriander |
| 3/6/3/3 | Bergamot | 3/6/3/3 | Bergamot |
| 3/3/6/3 | Basil | 3/3/6/3 | Basil |
| 3/3/3/6 | Geranium | 3/3/3/6 | Neroli |
| Proportion | Material | Proportion | Material |
|---|---|---|---|
| 2 | Lemon | 2 | Bergamot |
| 2 | Neroli | 2 | Lemon |
| 6 | Bergamot | 6 | Sweet Orange |
| 2 | Verbena | 2 | Tangerine |
| 6 | Lavender | 2 | Lemon |
| 2 | Petitgrain fr. Paraguay | 2 | Neroli |
| 2 | Bois de Rose | 6 | Bergamot |
| 2 | Sweet Orange | 2 | Verbena |
| 2 | Bergamot | 3/6 | Lavender |
| 6 | Verbena | 3/2 | Bergamot |
| 2 | Lemon | 3/2 | Sweet Orange |
| 2 | Lavender | 3/2 | Geranium |
Eaux de Cologne
Traditional Eaux de Cologne are toilet preparations, which must have a scent lacking in persistence in the main. Modifiers and base notes may be added, but always in moderation.
| Top notes | Modifiers | Base notes |
|---|---|---|
| Bois de Rose | Basil | Clary sage |
| Linalool | Petitgrain, ex Bergamot-tree | Ionones |
| Tangerine | Petitgrain, fr. Paraguay | Methyl ionones |
| Bitter Orange | Petitgrain, ex Lemon-tree | Orris concrete |
| Citron | Petitgrain, ex Tangerine tree | Sandalwood |
| Lemon | Verbena | Cinnamon |
| Lavenders | Petitgrain bigarade | Cassia |
| Bergamot | Tansy | Nerolin crystals |
| Lavandin | Petitgrain fr. Grasse | Yara-Yara |
| Coriander | Geraniums, African and Bourbon | Benzyl salicylate |
| Sweet Orange | Hyssop | Resinoid No.1 Benzoin |
| Sweet fennel | Lemongrass | Resinoid No.1 Balsam Tolu |
| Bitter fennel | Cloves Bourbon | Resinoid No.1 Balsam Peru |
| Citral | Pine | Bromstyrol |
| Tarragon | Wild Thyme | Methyl naphthyl ketone |
| Lime | Neroli bigarade petals | Artificial Musks |
| Marjoram | Isoeugenol · Methyl cinnamate | Coumarin · Vanillin |
| Linalyl acetate | Ylang-Ylang | Absolute Tonka Beans |
| Terpinyl acetate · et al. | Rosemary · Bay · Thyme | Vetiveryl acetate · Vetiver |
| Absolute Orange Flowers · Phenylethyl alcohol · et al. | Acetivenol · Absolute Cistus · Olibanum · et al. |
| Proportion | Material | Proportion | Material |
|---|---|---|---|
| 7 | Bergamot | 9 | Bergamot |
| 3 | Lemon | 1 | Lavender |
| 7 | Bergamot | 6 | Bergamot |
| 3 | Neroli bigarade petals | 4 | Petitgrain fr. Grasse |
| 9 | Bergamot | 9 | Bergamot |
| 1 | Wild Thyme | 1 | Argeol |
| 4 | Lemon | 9 | Sweet Orange |
| 6 | Bois de Rose | 1 | Neroli bigarade petals |
| 9 | Neroli bigarade petals | 4/7 | Bergamot |
| 1 | Verbena | 6/3 | Verbena |
| 5/9 | Lemon | ||
| 5/1 | Sweet Orange | et al. | |
| Proportion | Material | Proportion | Material |
|---|---|---|---|
| 6 | Bergamot | 6 | Lemon |
| 3 | Sweet Orange | 3 | Sweet Orange |
| 3 | Lavender | 3 | Petitgrain fr. France |
| 6 | Lemon | 6 | Lemon |
| 3 | Lavender | 3 | Tangerine |
| 3 | Sweet Orange | 3 | Petitgrain fr. Grasse |
| 6/3/3 | Bergamot | et al. | |
| 3/6/3 | Lemon | ||
| 3/3/6 | Sweet Orange | ||
| Proportion | Material | Proportion | Material |
|---|---|---|---|
| 6 | Lemon | 6 | Lemon |
| 2 | Lavender | 2 | Petitgrain fr. Grasse |
| 2 | Bergamot | 2 | Bergamot |
| 2 | Neroli bigarade petals | 2 | Bois de Rose |
| 2 | Petitgrain fr. Grasse | 3 | Bergamot |
| 6 | Geranium African | 3 | Lavender |
| 2 | Bois de Rose | 3 | Sweet Orange |
| 2 | Verbena | 3 | Geranium African |
| 2/6/2/2 | Bergamot | 2/2/6/2 | Bergamot |
| 2/2/6/2 | Lemon | 2/2/2/6 | Lemon |
| 2/2/2/6 | Sweet Orange | 6/2/2/2 | Lavender |
| 6/2/2/2 | Bois de Rose | et al. | |
| (a) Basic | (b) + Lavender | (c) + Verbena | (d) + Geranium |
|---|---|---|---|
| Bergamot | Bergamot | Bergamot | Bergamot |
| Lemon | Lemon | Lemon | Lemon |
| Sweet Orange | Sweet Orange | Sweet Orange | Sweet Orange |
| Neroli bigarade or Petitgrain fr. Grasse | Neroli bigarade or Petitgrain fr. Grasse | Neroli bigarade or Petitgrain fr. Grasse | Neroli bigarade or Petitgrain fr. Grasse |
| — | + Lavender | + Lavender + Verbena | + Lavender + Verbena + Geranium African/Bourbon |
Section 4 — Floral notes
When formulating floral type accords, base notes, modifiers, and top notes should be used simultaneously; in other words, a complete perfume formulation should be created right away.
Jasmine type accords
The main components are: Benzyl acetate as a top note, Ylang as a modifier, and Amyl Cinnamic Aldehyde as a base note.
| Proportion | Material 1 | Proportion | Material 2 |
|---|---|---|---|
| 9 8 7 6 5 | Benzyl Acetate | 9 8 7 6 5 | Benzyl Acetate |
| 1 2 3 4 5 | Argeol | 1 2 3 4 5 | Amylcinnamic aldehyde |
| 9 8 7 6 5 | Benzyl Acetate | ||
| 1 2 3 4 5 | Ylang Nossi-Be extra | ||
| Variation 1 | Variation 2 | ||
|---|---|---|---|
| Benzyl Acetate · Ylang Nossi-Be extra · Amylcinnamic aldehyde | Benzyl Acetate · Ylang Nossi-Be extra · Argeol | ||
| Benzyl Acetate · Ylang Nossi-Be extra · Indolene | Benzyl Acetate · Ylang Nossi-Be extra · Benzyl Salicylate | ||
| Variations | |||
|---|---|---|---|
| Var. 1: Benzyl Acetate · Ylang Nossi-Be extra · Amylcinnamic aldehyde · Benzyl Salicylate | |||
| Var. 2: Benzyl Acetate · Linalool · Ylang Nossi-Be extra · Amylcinnamic aldehyde | |||
| Var. 3: Benzyl Acetate · Ylang Nossi-Be extra · Argeol · Amylcinnamic aldehyde |
Tuberose accords
4 Aldehyde C18, 10% sol. · 6 Argeol, 10% sol. · 2 Celery, 1% sol.
2 Aldehyde C18, 10% sol. · 7 Argeol, 10% sol. · 1 Celery, 1% sol.
Celery, upon evaporation, first suggests Tuberose, then Orris. It is considered one of the most remarkable long-lasting base products.
Other floral accords
1 Absolute Violet leaves + 4 Petitgrain fr. Paraguay → Clary Sage
1 Absolute Lavender + 2 Absolute Violet leaves → Cucumber
2 Neroli bigarade petals extra + 2 Absolute Styrax Colorless → Jonquil
2 Absolute Styrax Colorless + 2 Hydroxycitronellol → Lilac type floral note
Constant practice is essential
Can a musician write a symphony without ever having studied solfège, scales, or harmony? Only olfactory studies will open the path to true mastery and, consequently, to success. The sign of success lies there: to be imitated rather than to imitate.
This article was written in 1961. Passages referring to women can be read as referring to the consumer in general—both male and female.
