May 31, 2010

The Month of May - Vera

May is the month that the flowers really bloom out in the streets of residential Brooklyn. It seems that roses are the favorites, especially red and white. I have seen many front steps with a old or new rose bush or two, and also pansies in the darker shadowy areas beneath trees and at the foot of the buildings and in pots, with some older varieties of flowers such as lily of the valley, going vigorously strong and barely held back behind the crumbling wrought iron fences. We have tangles of honeysuckle taking hold both as planted and as rampant weeds in the parks, which scent the night air. We have neat and orderly annuals in the window boxes and the planters. We have blooming privet hedges, which are grown tall from age, and all this makes a soft scent margin at the edges of the sidewalks, right next to the chaos of the traffic.

We are also lucky to have many blooming trees lining the side streets, lots of magnolias and cherry trees at the beginning of the month and now the sweet lindens are starting on the last day of May. I keep trying to find a linden tea that will be something like the fragrance, because I love it so much I want to consume the scent, and somehow incorporate the fragrance into myself. I am almost surprised, every year, when this riot of blooming happens, because I've self protectively gone stoic to march through the end of winter. I really don't like to play favorites, or admit I like one kind of weather or season more than another, because they are all beautiful in their own way. But still, I am shocked at how much is in bloom this year, and how refreshing it is. I think over the time I've lived here, people have planted a lot more, and taken care of the trees very carefully, and it's really showing results this year.

Roxana of Illuminated Perfumes has celebrated the entire month of May as a holiday this year, and has created a forum through her site for postings about May flowers every day this month, each by a different writer. She has made a new solid perfume, Vera, dominantly of lavender and white sage, which because of these herbal components is stimulating and pure, gentle and soft. This perfume is in solid form, held within the wax medium made by her new bee friends in their hive, it holds very close to the skin, and would be lovely for the humidity and thick air of the coming hot summer in the city. Bright while mild, with a tang of herbal sharpness, it cuts through the heaviness of heat tiredness and heavy air. It's has the cleanliness of lavender and the subtle mentholated quality of white sage. I am taking a page from Mandy Aftel's book of tricks, and rubbing Vera into my temples, and a little onto the ends of my hair, because such refined hand-made organic and natural materials are so precious, and gentle, and beneficial. On my face it envelops me in a mild cloud of scent, and I claim such beauty for myself, first and most of all.
Here are some other impressions of Vera solid perfume:

Tom at Perfume Posse
Portland Examiner
The Windsphere Witch

A list of notes:
Fragrance family: HERBAL, FOUGERE
Notes: California & French Lavender, Sage, Bay, Citrus, Wood, Resin, Bees Honeycomb, Hay, Oakmoss and hand infused Lavender from an organic farm in Ojai. There are over forty pure essences in this complex lavender perfume.

Visit Roxana's site for more information about the making of and inspiration for Vera, and soothing visual poetry and lore about natural perfume materials and bees...

Photos by me, Lucy Raubertas
Another posting about Roxana Illuminated Perfumes: Rosa and Sierra

Perfume and Sensitivities

I am concerned about recent negative news about perfume and the movement to ban its use. The question whether perfume is toxic or not, or if so, how toxic, keeps rearing its head. A certain percentage of the population feels life would be better for them without perfume, and feels they have a legitimate request when they say they want perfume banned in the workplace, or in public spaces. I often feel they must be talking about a lot of the perfumes that are very commercial and made with materials that irritate even me. Issues of quality do matter, in perfume especially, just as they do in every other material thing to do with the body. Just as there is junk food and wine and great food and wine, perfume has a similar range, and everything in between. Similar also in what it does for your body and mind, how much you will truly enjoy it and how you can develop a taste for the subtleties and quality. Mass market anything can be pretty tough on a delicate system, though obviously many derive great enjoyment from these products, since their market is indeed massive.

Obviously, certain hand-made all natural perfumes are completely non-toxic, such as Aftelier, Roxana Illuminated Perfumes, or Anya’s Garden. Other achingly beautiful perfumes that are made by the famously great French perfumers such as Ellena, Duchaufour and Ropion for L’Artisan and Frederic Malle and Hermes and others most certainly must contain chemicals that would not be approved of by those who want to live an all-organic lifestyle. However, as we know, there is a vast difference between these artist's perfumes and mass market ones. The mass market perfume is often made to appeal to the very young, and so made as inexpensively as possible, or for the promotion of celebrity figures. In celebrity perfumes I think the resources are sometimes devoted mostly to the celebrity and their promotion rather than the quality of the fragrance, and therefore could be very heavy on the cheapest and possibly irritating ingredients.

There is strong evidence that perfume chemicals are not actually allergens, but can act as physical irritants (along with many other things) to the respiratory system of sensitized individuals who have chronic conditions such as asthma and emphysema. Fragrances do not cause asthma or emphysema, but sometimes from the rhetoric of the anti-perfume lobby, you might think so. I am also beginning to think that as with noise, or heavy traffic, or unfamiliar sensations, certain individuals are more reactive to any sensory stimulus, especially if they get stressed or anxious and are in a state of heightened alert. It could be that chemicals in perfume are the least of their worries, as compared to car exhaust, oil spills, food additives, plastics, pesticides, and water pollution.

I personally would never want to cause anyone else distress through perfume. Obviously the whole purpose is then defeated. Fine perfume is very dear and precious because of the materials and artistry of the composition, and its purpose is to increase beauty, certainly not to increase stress.

I have family members who are sinusitis sufferers and asthmatic, so I am well aware of such sensitivities, and possibilities of desensitization from respiratory conditions. I myself find I can’t do more than a limited amount of trying different perfumes in the course of a few hours, or I will get a migraine and even lose my sense of smell temporarily. I know that my smell sensitivity and discernment changes dramatically from day to day, though scent for me is always a powerful mood elevator. The sheer beauty and evocation of sense memory afforded by beautiful perfumes has proved to be the most seductive of its qualities for me. Too much of anything will bother your system, even if you're healthy, such as food or alcohol or driving too fast or staying up too late too often. Too much perfume around can be bothersome, but I feel it is enough to ask people to be reasonable and not to overdo.

I began my interest in perfume by reading Mandy Aftel’s Essence and Alchemy and through her info getting raw materials to try on my own, as based on the recommendations in the back of her book, from direct suppliers. Through the perfume blogs and Sniffapalooza and generous perfumistas (especially Chayaruchama, the patron saint of perfume generosity) over time, I was exposed to many of the greats of the vintage perfumes and the classic European perfume houses, and the refined artists of L’Artisan, Goutal and Guerlain and many, many others. I was bowled over by their exquisite quality and evocative artistry, and thereby came to accept chemicals in fine fragrance as part of the process, and as necessary for the expanded palette and particular scent qualities they impart. I know as one who has done painting and printmaking and photography, that many mediums require the use of toxic chemicals that you would certainly not want to drink, but that you can indeed produce something utilizing certain chemical means that after stabilization and completion will not be harmful to the consumer.

At the same time, there is the good example of Christopher Brosius of CB I Hate Perfume. He has a deep knowledge of man made musk molecules, and other chemical ingredients. He is making very modern and beautiful perfumes available at a relatively affordable price, partly because of the incorporation of such man-made scent molecules along with natural elements. If you know what you are doing, and care, you can make things that don't irritate people, even using such chemicals, to expand the range of effects available. The water carrier instead of alcohol gives it a gentler evaporation and a more wholesome immediate effect on initial application. CB writes on their site how he has personally been very irritated by certain musk molecules, emanating from perfumed students in his yoga class, and so became very understanding of the problems people have with perfume when it is not made with care to address these kinds of issues. I also think that the agent of evaporation, such as the alcohol in perfume, or the liquid in diffusers, or the smoke of incense has an effect and can be irritating in themselves. Those types of perfumes can be better used at home or among friends who are not suffering from respiratory illness.

There are many ways that scent can be worn in public or at work without it registering excessively on others, unless they get closer than a foot or so away. In my experience, once the top most evaporative notes have burnt off, the mid and base notes hold much closer to the body, and there isn't a problem. To be on the safe side you can apply about an hour ahead of time.

The true naturals are very subtle and don’t throw far, and I know Mandy Aftel herself wears them on her face, because they are for her rather than anyone else, and because they are so expensive and subtle and fugitive. Perfumes that are not all naturals have different throw boundaries, which can be learned, and can be worn in smaller amounts, or applied an hour ahead to work past the top notes, or as perfumed soaps or lotions that cling to the skin very closely.

I find it alarming that through marketing and advertising, people are convinced that products that are very inexpensive such as BPAL or Body Shop are all naturals and therefore superior in some way to other perfumes. I would make a bet that there aren't any real naturals in BPAL at all, and if there are any in Body Shop they would be in an infinitesimally microscopic amount. If there were, they'd have to cost much much much more than they do. People also don't realize that in order for a product to be non scented, a lot of chemicals have been added in order to block the scent of the ingredients, whatever they may be, good or bad, from your nose. Everything has a scent, even water. The sense of smell also alerts to danger, so it's not safe to try to live an anosmic life, either.

Essential oils can be nice, but these are single notes and not compositions or perfumes, and a very different thing, more in the line of aromatherapy, if you know what you are doing. I recall that Ropion used head space technology to get the dominant single note of the tuberose for Carnal Flower, but then tweaked it to take out the cloying aspect, and intensified other aspects to get more green freshness, which is the work of an artist with a feel for his materials and the result is beyond nature, new, subtle and of intoxicating beauty.

I think it is important to answer people's concerns about perfume, and work more consistently and harder to counter a lot of the misinformation and distortion, because most people don't have much experience with the different kinds of perfume being made today, and tend to believe what they read if it is cloaked in concerns for safety.

There's also been research to show that certain scents, such as vanilla, whether in natural or artificial form, cause a decrease of stress chemical levels in the body, and are soothing and mood elevating. I would expect the same could be said for many perfume elements, such as lavender, rose, jasmine, neroli, vetiver, labdanum, frankincense, and so many others. At this time, the lindens are on the verge of blooming and pouring out their fragrance into the Brooklyn streets, and it's one of the joys of life. I know it must bother some people, but I would not want to have trees cut down because they may cause allergies to flare.

Perfume is a very ancient art, and it would be a great loss to try to remove it from the modern world, especially now that it is turning into a true art form and a means of expression for so many talented individuals.

Peace sign above from freelayouticons.

May 6, 2010

Nenufar and Pyxis - Scents of Time

Perfume can act as a vehicle for time travel into the deep past. Through perfume I can experience the particular sensibilities of people in other cultures and times, as much as through architecture or art or clothing or furniture, since style is carried through them all and so too through the sense of what people considered most appealing in perfume. The standards of beauty and value change focus so widely over the centuries. There are records of recipes and surprisingly even samples left from the ancient world of various cultures, from which it has been possible to recreate the scents used in other times, or use them to inspire modern interpretations. Two scents produced by Scents of Time are representatives of the great ancient and perfume-mad cultures of Egypt (Nenufar) and Pompeii (Pyxis) and can be sampled or obtained from Aqua de Luna online.

I’ve always been partial to ancient Egyptian art, and would like to see more Egyptian style incorporated into my life, so I am happy that Nenufar, is gently light and transparent and can be used in our modern humid hot summers. I expected an intense, heavy type of perfume to represent ancient Egypt, but Nenufar is built around the blue lotus flower, as a transparent green sweetness. The flower was a cultural icon in ancient Egypt, depicted everywhere in its art in delightful ways. Everyone seems to be smelling or wearing the lotus, from the animals to the people of all classes and functions, as do the gods. I found it touching that blue lotuses were found strewn over the body of the young Tutankhamen when his pyramid was first opened. David Pybus of Scents of Time speculates Cleopatra may have used its intoxicating properties and scent in her seduction of the powerful Mark Antony and Caesar.

It grew wild abundantly at that time on the Nile, and possessed well-known and thoroughly exploited intoxicating properties. The flowers were steeped in wine and caused euphoric states and visions. It was also beneficial in that it is like a more powerful version of gingko, increasing blood flow to the brain, and said to be aphrodisiac for both men and women.

Pybus worked with the perfumer Monserrat Moline of Givaudan on the concept of the blue lotus flower as an anchor, using headspace technology to help create the exact scent of the blue lotus. Personally I have never smelled it in nature, so it is not a scent I can readily recognize, but I know that the actual blue lotus is much like a water lily that floats on the surface of the water, with a glowing yellow center, and from this it seems to smell much the way it looks.

It is light and sheer, indeed hinting of the aquatic, with floral sweetness overlaid on nutmeg and a clean light musk. The notes are listed as green watery accord, nutmeg, angelica, lily of the valley, floral accord, sandalwood, musks, orris, heliotrope, almond, and patchouli.

Pyxis is based on perfume found in Pompeii, which was preserved in the ash, found in a perfumer’s atelier which was suddenly buried by the volcano. It is indeed classically Italian, which stands to reason since it was directly inspired from perfume of the classical age in Italy. For me this ideal is primarily about a concentration of classically beautiful natural materials used for personal ornamentation and pleasure. The essence of this aesthetic is the image of a young woman in a green field gracefully strewing flowers, as combining the height of human bodily perfection expressing divinity as grounded in nature. Worshiping the divine by revering nature and beauty.

Pyxis is in the family of mossy Woods, with bright top notes of bergamot, lavender, peppermint, rosemary and basil, with a touch of peach to blend it together. The heart notes are rose and jasmine, which come up strongly in the heat of the sun or skin after exertion, and therefore perfect for a warm climate or season that has periods of morning and evening coolness. The base notes are sandalwood, patchouli, oakmoss, amber and benzoin and the woods give the rose and jasmine that mellow roundness that supports the Mediterranean body consciousness of a human/divine animal nature. The perfumer was Michael Evans.

Perfume being one of the ancient arts, I am glad to have such choices that connect to the past yet that are still eminently wearable today. These two express primal connections to nature and moods that we can still recognize within ourselves. Wearing these can also be an expression of internally incorporated legends from the library of history.

May 2, 2010

Canturi

Many jewelry designers are drawn to making perfumes, and vice versa. I am thinking of Bulgari, JAR, Van Cleef and Arpels, and also a number of independent artisan perfumers such as Serena Franco of Ava Luxe, and Ayala Moriel, and Roxana Villa. The luxury, lore and beauty of the materials and their skillful presentation seem related; they are arts that are like sensual and psychological cousins.

Stefano Canturi has joined the list. He recently opened a New York location on Madison Avenue for his jewelry and launched a perfume that relates to his lifelong affinity to a certain type of modernism. He worked very closely with perfumer Kevin Verspoor basing this perfume, as he has a jewelry collection, on a strong sense of connection to the early modern art movement of Cubism.

Early modernism had a sense of confidence in the future and the energy of invention. Cubist painting translated and distilled the world into abstract forms, simplified depictions of reality that built into complexity because of its desire to show all sides of everything and everyone, simultaneously. This sense of wanting to know and explain everything and experience everything at once relates to our own time, through our desire and ability to research and connect to the full background and information about people, places and things. Cubism showed that the history and possibly even the future of all things show themselves in the present moment, and that it is primarily the attitude and style of a perceptive vision that creates and appreciates personal forms of beauty.

Cubism is associated with a certain disciplined, clean yet still hand-made form of modernism, in its typical colors of gray, pale yellow and taupe, black and white lines and collage, textures and references to real materials like straw and tobacco and wine and coffee, translated in a graphic way. Chypre has that same astringency and clarity, a bracing presence of crushed herbs and grass drying in the seaside sun, and evaporating alcohol coolness.

This oriental woody chypre perfume has warmed up the classical formula of chypre. The composition lists notes of bergamot, mandarin leaves, neroli, rose damascene, night-blooming jasmine, iris, lily of the valley, white pepper, cardamom, patchouli, red cedar, oak moss, amber, musk and vanilla. This extensive list sounds like it would make something dense and complicated but it results in a softened smoothness laid over an astringent chypre that provides the armature holding it all together. So it has a cool warmth, a tart smoothness, a relaxed but upright posture, a number of its sides and facets are revealed at the same time.

Even with the smoothing, calm notes of amber, vanilla, jasmine, musk and rose the scent keeps a chypre’s bracing, serious quality in the dry down, being well grounded by the red cedar, oak moss and the coolness of iris. I find it has the quiet clarity of hot sun evaporating cool water, an ethereal lightness that feels smart (in all senses of the word).

I like to think of it this way, in the heat of these recent summery days the Cubist reference connects to that period of time when the Riviera was still an undiscovered artists’ getaway. These scent notes can bring you back to those summers when the Cubists gathered where the heat of the sun brought out the scents of nature well into the warm night, and heated bare skin was cooled by rising ocean breezes at the cafĂ© tables collecting glasses of strong local wine, while aesthetic debates and drawings were carried on as fluently and naturally as breathing.

Above, Braque painting, Woman with a Guitar, 1913
Canturi perfume bottle based on Stefano Canturi design