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Section: Fragrance > Fine Fragrance

Organosilicon Fragrances

Novel and interesting investigations in the field of the chemistry of odor have been recently described by Wrobel and Warmagat. In their search for new fragrances and for a better understanding of the relationship between the molecular structure and the olfactory propeties of compounds, the authors turned their attention to silicon. The principal approach was to introduce the silicon atom into the osmophoric center of odoriferous materials. A number of compounds have been prepared and evaluated. This article briefly summarizes the synthesis and olfactory characteristics obtained.

Chypre

So much for the past of the Chypre family, now what can we expect for the future? It seems that the creative perfumer has overlooked the general Chypre family, with the exception of a few green approaches, during the last decade. Since we have witnessed the renaissance of the Floral blends and the renewal of the Oriental popularity we can foresee that the next type the trade is going to revive will most probably be the Chypre.

Words Versus Odours How Perfumers Communicate

Odour profiles as an easy method of odour comparison, based on mean results of odour evaluation by a team of perfumers, was the best way of classification of the products.

New Perfume Materials

New perfume materials from France, Japan, and the United States were presented during the International Perfumery Congress in Portugal in February, 1986. The material descriptions are included in this report.

Perfumery Techniques in Evolution—Ill

Now I would like to discuss our profession. I want to insist once again that new chemicals and essential oils have always opened up the flood gates of innovation and creativity; nowadays more than ever the perfumer can no longer continue to say that everything can he done just with talent, spontaneity, sensibility and creativity.

Quality in a Perfume

The sooner the perfumer starts using all the other disciplines available, including and especially those of the manufacturer, the more success and the more quality will be put into each creation. So going back to the original preposition of the perfume and quality, the answer lies in the two words--total involvement.

A Primer on Perfuming Polymers

This primer will attempt to cover, as painlessly as possible, some basic polymer physics and volubility theory and then show how this knowledge can be applied in general and for a specific example

Fragrance: Creativity and the Job

Jeen-Claude Ellena has headed a group of perfumers that have been known for a philosophy of perfumery based on two principles 1. The number of materials that e perfumer can know well end use effectively is limited somewhere in the range of 400. 2. The most effective way to practice perfumery is as a group where a composition is openly discussed with a team as a way of developing the most effective and economical fragrance formula. In this article he explains this philosophy.

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Lily of the Valley (Muguet) in Perfumery

Present aromatic research concentrates mostly on analyzing head space constituents of the flower oils. Perhaps new residual components of the lily of the valley would help to better reproduce the elusive odor of lily of the valley.

New Synthetic Odoriferous Compounds

New compounds possessing interesting odoriferous properties can be prepared by employing comparatively simple procedures and may be applied in perfume compositions. 4-Phenyl-1,3-dioxan is the common starting compound used in the synthesis of all eighteen new synthetic odoriferous compounds.

Creative Contribution of Natural Substances in Present Day Perfumery

Because nature makes such good use of the chemical substances it produces, and because nature shows the path to follow, why then should not perfumers do so as well to the limit of their capabilities? In the realm of technology there are many disciplines that derive both their knowledge and their know-how from nature, and perfumery is one of these disciplines.

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Fine Fragrance: Art or Business

Perfume has always been part of our environment, of our well-being, and will become more and more a sort of defense against the surrounding materialistic world. A touch of fantasy, an element of dream, of escape at “arms reach’’-or should we say “at flagon’s reach.”

Company Training of Perfumers —Part 1

The system presented in this series of articles is nothing revolutionary. It was developed as a three and a half year period of basic perfumery training including individual selection for creative work, control laboratories and other fragrance evacuation groups. The method was developed by our staff based on experience, published training sytsems of known training centers and literature studies of books and papers written by famous perfumers.

The Time Machine of Dreams

Interface Systems for Sight, Sound and Smell

Company Training of Perfumers—Part II

In the first part of this series, we described methods of selecting suitable candidates for perfumery training and how to test their abilities. This part is devoted to the preliminary training and testing of the trainee

The Creative Edge

There is a great discrepancy between what we know about the creative process, and our ability to use this knowledge to gain a creative edge. First, I would like to look at the ideal conditions that foster creativity in the individual. Then, I will focus on how I try to gain a creative edge in the real world.

Oakmoss and Treemoss in China

Oakmoss products including concretes, absolutes and resinoids have long been used extensively in perfumery. They form important parts of the notes in fougére, chypre or "moss" perfumes, and they are general ingredients in colognes, crêpe de Chines, forest notes, new mown hay, pine fragrances, lavender bouquets, Oriental, fancy or modern bases, etc. Oak moss products can lend body and naturalness, rich pleasant undertones and high fixative value in numerous types of floral fragrances as well.

Aroma Chemicals and Citrus Oils

Natural citrus oils cannot be reconstituted (substituted) by compounding aroma chemicals for three reasons: (1) Citrus oils are complex mixtures, up to 300 chemicals of which many are unknown. (2) If they are known, many are not commercially available. (3) Individual constituents with asymmetric carbon atoms, mostly are optically active, A lot of aroma chemicals are not. On the other hand, aroma chemicals with citrusy odors deserve their own place for compounds in functional perfumery, mainly for stability reasons.

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