Basic vademecum on perfumery
The essential information we share in this dedicated section is intended for those who wish to begin to gain a more informed understanding of perfumery. To this end, we believe it essential, first and foremost, to clear away the many myths surrounding it, both widespread and unfounded.After reading the following four paragraphs, you will have become a true expert on the subject!
All that remains is to proceed with the "self-sufficient" formulation of your own unique... and unrepeatable perfume.
A small glossary on alcoholic perfumery
As can be seen from the table below, a perfume can contain different quantities of aromatic materials in its formula, and its nuances will always depend on the type of aromatic materials, chosen and harmonized to create distinct olfactory emotions. For example, we recognize combinations of feminine, masculine, warm, dry, fresh, floral, amber, woody, herbaceous, oriental, fruity, camphorated, citrusy, musky, etc. (approximate percentages, min./max.)| Perfume category | Aromatic compounds* | Alcohol |
|---|---|---|
| Perfume extract | 15% / 40% | 85% / 60% |
| Spirit of perfume | 15% / 30% | 85% / 70% |
| Eau de Parfum (Perfume) | 10% / 20% | 90% / 80% |
| Body water (Eau de toilette) | 5% / 15% | 95% / 85% |
| Cologne | 4% / 12% | 96% / 88% |
*NB: By "aromatic compounds" we mean, in a generic sense, a fat-soluble mixture—more or less complex and in any proportion—of essential oils and/or absolute oils and/or perfumery fragrances and/or synthetic aromatic molecules and/or even just one element from this list.
It should also be noted that alcohol is not an essential carrier and/or solubilizer in the formulation of a perfume: it can be replaced, for example, with a vegetable oil (perfumes in ancient times were all presented as ointments), and finally... it is well known that you can easily do without it!Regarding the "head / heart / base" myth, tradition has always held that the effect of a perfume applied to the skin is ideally divided into three "identifiable olfactory phases":
- The top note (also called the capital note): this is the note you notice immediately after applying the perfume to your skin. Since it is crucial for purchasing a perfume, it is generally more intense than the other notes and is imparted by volatile (and therefore fleeting) aromatic substances. For this reason, it's always a good idea to test the perfume on your skin for a few hours to understand its true nature and how it interacts with your skin.
- The heart note : this is what you would perceive in the hours following the fading (until it disappears) of the "top note".
- The base note : this would be the definitive olfactory effect of the perfume, determined by the least volatile and most persistent aromatic elements chosen during the formulation phase (usually the noblest and most expensive part of the preparation).
For all this, a perfume, by its very nature, can never release an olfactively consistent note over time.
Around the myth of the fixer
Who hasn't heard that a good perfume can only last a long time if it also contains a good "fixer"? A beloved legend holds that "fixing" a perfume allows it to last longer, binding its elements alchemically, so to speak.Let's delve into a topic that's almost a "myth" in perfumery, starting a little further back.
The so-called "fixers" originally used in perfumery were nothing other than natural pheromones derived from aromatic substances of animal origin, such as musk or civet: compounds developed by nature to last a long time when exposed to the elements. These compounds, in fact, represent powerful territorial sexual calls that male animals spread throughout their territory to demarcate it from other males and, at the same time, to seduce females of their own species. Thus, perfumers of the past exploited a double advantage: pure sensuality and strong persistence (the latter has always been synonymous with quality in a perfume).
The human sense of smell is easily seduced by these types of scents... but one problem remains: pheromones were "designed" by the animal kingdom to be sprayed on rocks, trees, and leaves, but not on human skin. In the old "handkerchief perfumes" (sprayed equally well on gloves or scarves), they worked very well as animal "fixers," but they are of little use when incorporated into modern perfume formulations intended for our skin: on the neck or wrists, for example, they last much less than a pure and natural essential oil of Patchouli, Vetiver, or Ylang Ylang .
As a highly respected "insider" (Guy Robert, well-known formulator for Christian Dior – quote) acutely observed: "...despite the evidence, the myth of the fixative has persisted to this day, carefully cultivated by fragrance manufacturers... I hate and find the fixative theory stupid..." probably – we would add – also fueled because it still contributes to maintaining a bit of that aura of mystery and secrecy surrounding the art of perfumery.
To be fair, those aromatic ingredients that in themselves have a powerful and tenacious nature have almost always been passed off as "fixatives"; nevertheless, it must also be recognized that in reality some natural oils (such as Agarwood, Benzoin, Frankincense, Oakmoss, Sandalwood, Vetiver and others) have effective fixing properties, which are certainly mild and not decisive, but certainly not solely attributable (and/or reducible) to their intrinsic tenacity.Around the myth of the natural
We truly couldn't have concluded this brief dissertation on perfumery without addressing the quintessential dilemma: who among you perfume enthusiasts has never wondered whether or not a perfume, to be considered "high-quality" and "absolutely harmless," must necessarily be formulated exclusively with natural raw materials?Well, once and for all, scientifically speaking, we would like to convince you that the equations:
- "NATURAL = BENEFICIAL"
- "NATURAL = HARMLESS"
- "NATURAL = QUALITY"
Let's think together: even a child could see how lightning, a mushroom, or the bite of a poisonous animal (...etc.) represent phenomena capable of causing even the instantaneous death of an individual... even if they are all strictly "natural" in origin! Therefore, let's stop - please -... believing in Santa Claus!In the case of perfumery, for example, we would like to point out—for those who aren't already aware—that, even though they are extremely pure and natural, various essential oils (such as mugwort , calamus , savory , mustard , etc.) can be seriously dangerous when used without proper knowledge. Conversely, dozens and dozens of completely artificial—and therefore synthetic—aromatic molecules, besides having truly intriguing olfactory characteristics, are completely harmless to human health (just consider that modern perfumery wouldn't even exist without them!)... But that's not all: another fact not to be overlooked is that of concentration: many substances (regardless of whether they are natural or not) are toxic and/or powerful irritants; in a formula, at the right concentration, or when combined with other ingredients, they can become completely harmless.
Therefore, there is NO reasonable line that can be drawn within the banal emotional categories of natural/biological/artificial/synthetic as a demarcation between " good " and " bad ": in this field (and elsewhere), the distinction between "good" and "bad" is a matter reserved exclusively for professionals in the field who are competent and adequately trained.
To ensure we leave nothing out, let's also clarify that:
- All aromatic raw materials can be of poor or excellent quality regardless of their nature and/or origin.
- Any ingredient intended to come into direct contact with our skin—even if declared harmless and therefore approved by the complex IFRA regulations—can theoretically still trigger a negative reaction (irritation, sensitization, etc.) due to unusual individual allergies.
To start experimenting with some formulations created independently, basic instruments such as measuring devices or accessories such as containers are certainly useful.