Sunday, November 25, 2007


Why is it that if you mix the colors blue and yellow you will get a green color? We know it, but why is it? I can't give a logical explanation for it (maybe someone likes to explain), I only know that it is. I love to read the blog of Octavian 1000 Fragrances, and read the post where he asks a very interesting question. He asks why it is that certain combinations of perfume materials smell a certain way, if there are 'rules' for it and how to control it.

I don't know why some combinations of materials smell a certain way, I just know that it is. If we smell a rose or jasmine we smell a combination of different aromatic chemicals, we recognize the combination of these chemicals as a rose or jasmine scent. If we smell a combination of Benzyl Acetate and Indole, we recognize some sort of jasmine scent, and if we smell a combination of Phenylethyl Alcohol and Geraniol we recognize some sort of rose scent. If I would combine these four materials of the rose and jasmine; Benzyl Acetate, Indole, Phenylethyl Alcohol and Geraniol, and add for example Ionones, such as Methyl Ionone Alpha and Beta Ionone, the result would smell a bit like raspberry. But if I would combine the four materials(Benzyl Acetate, Indole, Phenylethyl Alcohol and Geraniol) with Linalool, Methyl Anthranilate and Linalyl Acetate, the result would smell like orange blossoms. Why this is? I don't know, it's how the combinations are recognized. This is what a perfumer calls 'smelling in patterns', we smell different aromatic materials, but we recognize them as something familiar, because we know the smell of the combination of these chemicals. That's why we can recognize a perfume in an instant, even though it contains hundreds of different chemicals.

If I'm creating a perfume, I don't build it from base towards top notes. I start with a combination of materials, an accord. I don't see the materials as were it single notes, I use them in combination with other materials. I want to know the general impression the perfume will have before I go further. It's not that if you combine fruity, floral, woody and musky notes, the perfume will smell like that; fruity, floral, woody and musky. The combinations of these notes will turn into something complete new, sometimes in a way you didn't expect. That's why I can't build a perfume from base to top notes, how would I know how the combination of these notes would smell like in the end? It would be like I'm creating a perfume, but I have no idea, or control over how it will smell like, I can't 'see' (read smell) the total picture of the perfume if I start from the base and build it up towards the top. I have to find out, beforehand, how the combination of the most important materials of the perfume will smell like.

That's why I'm always 'playing' with materials, I always try to find new accords, nice combinations of materials. I put the materials on scent strips and hold them to my nose, to smell the combination of these materials. The combinations of these materials sometimes smell totally different than expected, a green note can turn into a fruity note, a material that appears as very weak can unexpectedly change the overall picture of the perfume tremendous, a material that appears as very strong on the other hand, can become very weak in combination with other materials, materials which smell like they wouldn't combine together, could become a wonderful combination etc. I know that some combinations smell a certain way because I read about it, but a lot of combinations I have to find out by myself. If I found a nice combination of materials which work real well together, I use these accords as my starting point for a perfume. This gives some control, but it's impossible to know the result of adding more materials. It's an endless way of experimentation's and experience. That's why I love to make perfumes, it always surprises me, I never know the result some combinations will give. Even though I learned and experimented a lot, it is and it will always be a mystery to me. A mystery I love.

Read here more about accords

Sunday, November 18, 2007


I'm reading the book: Fragrance The story of perfume from Cleopatra to Chanel written by Edwin T. Morris, for the second time now. It's a very interesting book which discusses the history of fragrance and fragrance materials. An intersesting part is where he talks about the scent of flowers. We are not the only ones who are attracted to the scent of flowers, insects are attracted to their scent as well. Some flowers mimic the insect pheromones, and some of them the scent of their food sources. The moth for example, is attracted to the white night blooming heavy indolic scented flowers such as jasmine and honeysuckle. Among the white flowers we find the greatest number of aromatic blooms. Second place for the odorous flowers are the reds and pinks. These flowers are favored by the day-flying butterflies. The bees however prefer yellow, lavender and blue flowers.

We humans have our preferences as well. Although there is no standard in our preferences. We all have our own unique scent preferences, mostly created by our scent memorie. If we have a nice memorie of the scent of vanilla, we probibly will like the scent. But if we have had a bad experience while smelling vanilla, we could have created a bad vanilla scent memorie and the scent can be associated with this experience.

That's why it's simply impossible to create a perfume that will be liked by everyone. I sent samples of my perfume Velvet Blossom to people from all over the world to get some feedback. Most people who smelled the perfume said they would leave it like it is, and don't mess with it too much, they liked it. Other people liked it too, but gave me some tips on how to improve it. The tips I received were all so different, here are some:
it would be nice if it smelled a bit greener, another told me to make it smell less greener, again another one told me to make it more spicy with cumin notes, another more ambery, yet another asked me to use more indolic jasmine notes, another to use more woody notes etc etc.

It's difficult to make a decision on what kind of advice to follow. I personally want to make the top notes a bit softer, another option to ad to the others. I decided to try some of the tips and created different batches, and will see if it makes a difference.

Friday, November 09, 2007


I want to share this amazing video with you which I found at YouTube. This woman of 84 years old plays Liebesleid by Fritz Kreisler on the piano. She plays this beatiful piece of music with such a passion and soul, I just had to share it with you. It's beautiful.