The science, mystery of perfume

Press, 13 June 1984, Page 14

The science, mystery of perfume

In vogue

Paula Ryan

Protected by crystal or glass, shrouded by stylised labels and textured surfaces, the secret ingredients of perfume are a continued and deliberate mystery. What finally ends up in a bottle has taken years of judgment and preparation. This is one reason why perfume is expensive. Perfumery is an art as well as a science. The master perfumier is known as a “nose,” because although he may be mostly chemist, he can discern if a perfume will be successful or not. The end result depends on the touch of a particular perfumier and the women who wear the perfume. Just as no two “noses” are alike, it is widely recognised that perfumes react differently op different skins.

As a rule, the higher the price of perfume, the more expensive its raw materials and the more effective the aroma. Enormous quantities of the natural source are required to produce a fraction of concentrated oil. To obtain Vz a kilogram of concentrated jasmine oil, about 2VzM flowers are needed.

There is only one way to select a perfume — with authority, tenacity, and leisure. You have to sniff, to sample, and to sniff again. It is a matter of trial and error, with eventual success. Some women find two — a fresh scent for day and a more brilliant one for evening. Others use several, choosing the one that strikes the right note at the right time.

The best test is to spray a cologne on your left and another on your right wrist. Sniff it right away to get the impression of the top notes, but don’t make a

decision for about an hour. Within that time it will have reached the final drying out stage, when the top note has given way to the main body of the perfume. Another point: it has been shown that your sense of smell is least acute in the morning and early afternoon, so it is better to test later in the day.

What affects fragrance? The chemistry of the

skin can change a perfume. For example, a woman with fair skin will get better results from a delicate fragrance than a woman with darker skin because of her type of sebum (oily substances). Perfume lasts longer on an oily skin, but tends to become sweeter. Toilet water and cologne contain the same fragrances as perfume, in a diluted form. They are less expensive and less lasting.

If you smoke you lessen the effectivenss of fragrance because the smell of tobacco pervades body and clothing and because nicotine is apt to alter the chemistry of the skin. Perfume is sensitive, and if subjected even to a minor odour deviation, the end result will be different. Climate, diet changes, and medication intake all affect the smell. The best way is to emphasise the pulse points from the toes up. These

warm spots bring out the true notes of perfume. Sptos for dabbing are ankles, behind knees, between thighs, bosom, throat, back of neck, wrists and crook of elbow. Behind the ears is not such a good place as the oil secretions there are often different from the rest of the body.

Do not use perfume as an antidote for sweat — the chemical reaction is distasteful.

A good perfume lasts from four to six hours. Once a bottle of perfume has been opened, it is uneconomical not to use it. Slow evaporation results in a less perfect, less balanced perfume. Keep in a cool and dark place, because perfume oxidises when exposed to heat and light. Finally, keep perfume away from pearls. Contact with pearls will ruin the lustre of natural or cultured pearls. Perfume houses suggest that buyers think “a great deal” about packaging and devote much research to the development of new bottles.

Rene Lalique, a master glass blower, was the first to comprehend the “individuality” of perfume. He began his work as a result of perfume ordered by Francois Coty, and he continued for 40 years. Lalique introduced an idea, which is still accepted today, that a bottle should conform to the perfume that it contains. Among his numerous creations in the 1920 s were “Je Reviens,” by Worth, an opaque bottle of starstudde glass, and “L’ dair du temps” by Nina Ricci, in which two doves were

sculpted as lovers on the stopper. Then came art deco, when sober materials and simple forms reigned. The “black ball” of “Arpege’' by Lanvin is a classic example. Then Coco Chanel designed the classic bottle, “Chanel No. 5." which Marilyn Monroe claimed "was all she wore to bed.”

As a result of Lalique however, perfume became symbolic of women, travel and dreams. He was the master and his house of crystal still creates timeless perfume bottles like the new "Mollinard de Mollinard,” a square bottle with glazed figurines.

Pierre Dinard, a great admirer of Lalique, went on to create each collectable jewels as Yves Saint Laurent’s “Opium” and Balmain’s “Ivoine,” and. more recently, Georgis Armani’s “Armani."

Alain de Mourgues adored the reflective powers of glass and created a bottle cut and designed in the manner of a diamond to play on light for Gianni Versace. But no bottle or designer label carries as much power as the product within it.