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Monday, 15 October 2012

IFRA UK Fragrance Forum

This year, for the second time ever, IFRA UK (formerly known as the British Fragrance Association) is hosting a Fragrance Forum at the Royal Society in Carlton House Terrace, London on Thursday 18th October 2012.  I'm proud to say that Pell Wall Perfumes will be one of the sponsors of the event.

The theme for the event is 'From Flower to Shower' and it promises to be fascinating - here are some details from the IFRA press release:

The occasion will provide an opportunity to meet those from the fragrance industry including perfumers, scientists, customers and academics as well as senior personnel from other trade associations


Lisa Hipgrave, director of IFRA United Kingdom, said: “The 2012 IFRA UK Fragrance Forum is entitled ‘From Flower to Shower’ as we intend to explore the entire creative process of fragrance creation. 
“We held the first event of its kind last year and it was so over-subscribed that we decided to expand the capacity of the 2012 Fragrance Forum enabling more non-Members to obtain tickets. We now plan to stage this Fragrance Forum annually. The occasion offers not only a fascinating set of presentations but also a unique networking opportunity for delegates and speakers. It will bring together those involved in every aspect of fragrance research, creation and application”. 
And here is some more information from the Perfumer & Flavorist magazine:
Jenny Tillotson, a senior research fellow at the University of Arts London (Central Saint Martin’s) and the University of Cambridge, is scheduled to talk about her vision of: "From Flower To Shower To Empower: the Fragrant Future," which includes information about wearable technology, pioneered by a technique she calls, "Scentsory Design." 
Will Andrews, who works as a fragrance scientist within the fragrance design team at P&G’s Innovation Center, is scheduled to discuss, “Communicating scent through ‘Holistic Design,’” including successfully communicating a fragrance by connecting the story inside and outside the bottle.
Robin Clery of Givaudan plans to speak about a technique known as ‘headspace analysis’ in which allows one to capture the most elusive scents from nature and make them available for perfumery.
“Smell is a potent wizard” is the message of Tim Jacob, a professor at he School of Biosciences at Cardiff University. He will detail how scent is a response that includes emotions, memory and the endocrine system.
In addition the IFRA UK Fragrance Forum will feature an anthology of poems inspired by fragrance, called Penning Perfumes, which was organized by Odette Toilette of Scratch + Sniff and poet Claire Trévien.
You can get further details by downloading the IFRA UK Summer Newsletter or this summary from the University of Arts, London.

Tuesday, 2 October 2012

Blackberry Fair, Whitchurch, Saturday 6th October

This Saturday, 6th October Pell Wall Perfumes will be at the Blackberry Fair in Whitchurch.  It's a fun, family, community-based event centred around the Civic Centre and Market Hall and spilling over into the High Street, which will be closed to traffic for the occasion.

If you are anywhere nearby - and Whitchurch is easy to find from Stoke-on-Trent, Crewe, Chester and Wrexham as well as from the south along the A41 to Telford - do come along for a great family day out.

Pell Wall Perfumes will be in the Market Hall not far from the stage and the circus . . .

This is me at our stand at the Shrewsbury Flower Show 

Monday, 1 October 2012

The 26 Ingredients

Whether you look at the labels on fragrances you buy or make fragrances yourself and hope to sell them, an understanding of what is on the label and why can be useful.

Below I'm listing a lot of materials that you may see on a label.  Don't make the mistake of assuming that because these are listed they are the things that make up the fragrance though: they are a tiny subset of the materials used in manufacturing fragrances (there are between three and four thousand materials in regular use) but just 26 of them have to be declared on the label if the product is for sale in the EU.

Image from Wikimedia Commons
The following list is a useful reference, it often comes up in the context of discussion about the IFRA rules, and indeed is often laid at their door: wrongly as it has nothing to do with them at all. It is the list of items required by the EU Cosmetics Directive to be listed on the label of any fragrance that contains more than 0.001% (the threshold is 0.01% of the finished product for wash-off products such as shower gel). This regulation was incorporated into UK law as part of the 2008 Cosmetics Regulations, Schedule 4 and as such has been in force for some years.

As a result of this requirement many brands required re-formulation of fragrances in order to avoid the need to put these things on the label, particularly those with long, difficult chemical names, which seem to lead certain groups of consumers to assume something is poisonous (obviously nonsense, but the power of fear is substantial).

Many of these ingredients also have IFRA restrictions on their usage, details of which are on the IFRA rules blog post.

Anyway here is the full list of what is often referred to as 'the 26 ingredients' using the nomenclature required by the EU even though in some cases that differs from usual practice even in the chemical industry, still more the fragrance industry.

Notice that the majority of these appear in nature as components of essential oils, absolutes and other extracts from plants.  I've marked with an asterisk * those that are not known in nature -  I'm not saying they don't occur in nature, just that if they do, we have not found them yet. Also notice that no animal derived ingredients are included:

Amyl cinnamal (CAS No 122-40-7)

Benzyl alcohol (CAS No 100-51-6)

Cinnamyl alcohol (CAS No 104-54-1)

Citral (CAS No 5392-40-5)

Eugenol (CAS No 97-53-0)

Hydroxy-citronellal (CAS No 107-75-5)*

Isoeugenol (CAS No 97-54-1)

Amyl cinnamyl alcohol (CAS No 101-85-9)

Benzyl salicylate (CAS No 118-58-1)

Cinnamal (CAS No 104-55-2)

Coumarin (CAS No 91-64-5)

Geraniol (CAS No 106-24-1)

Hydroxy-methylpentylcyclohexenecarboxaldehyde (CAS No 31906-04-4)*[almost universally known as Lyral]

Anisyl alcohol (CAS No 105-13-5)

Benzyl cinnamate (CAS No 103-41-3)

Farnesol (CAS No 4602-84-0)

2-(4-tert-Butylbenzyl) propionaldehyde (CAS No 80-54-6)* [commonly known as Lillial]

Linalool (CAS No 78-70-6)

Benzyl benzoate (CAS No 120-51-4)

Citronellol (CAS No 106-22-9)

Hexylcinnam-aldehyde (CAS No 101-86-0)

d-Limonene (CAS No 5989-27-5)

Methyl heptin carbonate (CAS No 111-12-6)*

3-Methyl-4-(2,6,6-tri-methyl-2-cyclohexen-1-yl)-3-buten-2-one (CAS No 127-51-5)* [commonly known as gamma methyl ionone]

Oak moss extract (CAS No 90028-68-5)

Tree moss extract (CAS No 90028-67-4)

Thursday, 20 September 2012

Jean-Claude Ellena and Louis XIV

I'm linking here to a fascinating interview with Jean-Claude Ellena: one of my heroes of the perfumery world.  I don't quite share his minimalist ethic, though I'm in awe of much of his work.  The interview is two pages long and well worth the read.

Picture from Spiegel Online International 
The interview was conducted for and appeared in German in issue 37/2012 (September 10, 2012) of DER SPIEGEL.

A taster:
SPIEGEL: But what distinguishes a good perfume from a bad one? The quality of the basic ingredients?

Ellena: Not necessarily. Sometimes I achieve a better result with ingredients of mediocre quality rather than with exquisite ones.

You can read the full text of the article in English on Spiegel Online International.  If you're wondering where Louis XIV fits in, you'll need to read the article . . .




Tuesday, 11 September 2012

A fun advertisement from years gone by.  I wonder if current advertising will seem so strange in 50 years time?

Much of the information conveyed in the 'infomercial' is still valid today, though few ingredients are still grown in Grasse.  It's the presentation and the exclusive focus on women as users of fragrance that seems out of step with the modern world.

I can't quite imagine anyone making a film this long to advertise anything anymore either.


Saturday, 1 September 2012

Starting Equipment

I've written elsewhere on this blog about what materials I recommend to start with and I've also talked about the single largest investment for most starting perfumers, which is good scales.

What I have not covered is all the other things you are going to need in order to be able to experiment effectively with blending and mixing fragrances.

First of all, as I've already recommended in the post on blending, I think it's best when you’re starting out to keep most materials ready diluted in ethanol, and do your blending with those.  That automatically means that you are going to need at least one empty bottle for every different material you buy - probably more - I buy mine in bulk from a bottle manufacturer, but if you can’t meet the minimum order quantities they need we also sell them through the Pell Wall shop in the Accessories for Perfumery category.  I use glass bottles in either amber or cobalt blue or green, to protect the contents from the light. Another option we use a lot at Pell Wall is aluminium: it’s important to use lacquered bottles as some ingredients can react with the aluminium itself, but this is a good way to keep them totally protected from the light.  Again we sell these bottles individually and buy them in bulk.



I find there are some materials that I use so often, or that are such a fiddle to dilute, that it's worth having bigger bottles on hand to save doing a new dilution too often, so I'd suggest you buy a few 100g and 200g bottles as well.

At Pell Wall we offer a comprehensive Perfume-Lab-In-A-Box accessories kit that includes most of the things you’ll need to get started.



To keep all those bottles accessible you'll need something to help organise them.  The traditional perfumers' organ is quite an investment but I found these simple steps, designed to organise containers in kitchen cupboards a cheap and effective way to arrange a reasonable number of bottles.

I like to be able to see what I'm blending when I'm working on a new accord though, so I prefer to do that in a clear container.  To save on wastage of expensive materials I do first cut blends in small beakers or flasks and store them in clear bottles so I can see how the blend is maturing and whether it’s clouded, crystallised or changed colour.

For the actual moving of material from stock bottle to blend, what I prefer is glass pipettes. These are intended to be disposable, so you might prefer to use plastic disposables instead.  On the other hand I find the plastic kind are also a bit less easy to be accurate with and glass is easy to recycle everywhere (I put them directly into a clear glass bottle so that the whole thing can go in the recycling with no risk of anyone coming into contact with the sharp ends).  It is possible to re-use the glass ones if you take out the cotton-wool plug and wash them thoroughly, but it does not work to do that with the plastic ones as the scents tend to impregnate the polyethylene they are made from.

Whichever type you use, on no account use the same pipette in two or more different materials or you will cross contaminate and end up with mixtures in every bottle: quite useless.

Once I have a blend near-right I prefer to make it up in a larger amount for more testing and for that I find standard laboratory conical flasks ideal.  Flasks are also great for making up dilutions of sticky resins or solids that take a bit of swirling to get into solution.

Some things will need more than just a bit of a swirl to dissolve: for those some glass stirring rods are useful, or for the more difficult things an automatic stirrer is a great boon.  There are several types of these, but I recommend buying a small, fairly inexpensive one to start with, which works by using a magnetised stirrer, coated in glass or PTFE that you put in the liquid and a motor that you sit the container on that rotates another magnet, thus turning the one in the container.  Some materials take a long time to dissolve and you can leave these running for a couple of days if necessary.

That reminds me of another thing you'll need, which is some spatulas for measuring out solids ready to dissolve.  I find the spoon type handy for wider mouthed jars, but the narrow sort essential for getting into those little bottles that very expensive materials and samples come in.

Another vital thing to buy is blotters or smelling strips as you need these both for training yourself to recognise and deconstruct smells and for testing your blends.  There are lots of different ones on the market but the are so useful I think it's well worth buying plenty.

I also keep some measuring cylinders, and accurate measuring pipettes (plus filler devices) for those occasions when you need to measure something out by volume - if you are working routinely in weight these are not essential.  I also have Simax bottles in various sizes for keeping larger dilutions and stock in - I like these because they are strong and easy to pour from and will clean up without leaving traces of scent.

Finally you need a workspace with a surface that won't be damaged by spills of aggressive liquids (melamine, glass and granite are all good).

Friday, 31 August 2012

Images of Saturn

It's a bit naughty to do two off-topic posts in a row, but I couldn't resist this video made with compilations of shots from the Cassini probe.





And just to add some colour, here's a beautiful picture from the same source:

Saturn, its rings and largest moon Titan

I found these in this article on The Atlantic.