Olfactive Lecture
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Let the Holidays Begin! Big,Bold Jewels Your Own Shopping the World
D D NOVEMBER/DECEMBER 2013 NOVEMBER/DECEMBER Big, Bold Your Own Shopping ...Let the Jewels Private Caribbean the World Holidays Begin! p236 p66 p148 PERSONALBEST the business of scent A Whiff of Something Real As mass-produced perfumes become the new normal, the origin of a fragrance is more important than ever. TINA GAUDOIN reports from Grasse, the ancient home of perfume and the jasmine fields of Chanel No 5. oseph Mul drives his battered pickup into the dusty, rutted field of Jasminum gran- diflorum shrubs. It is 9 A.M. on a warm, slightly overcast September morning in Pégomas in southern France, about four miles from Grasse, the ancient home of Jperfume. In front of Mul’s truck, which is making easy work of the tough ter- rain, a small army of colorfully dressed pickers, most hailing from Eastern Europe, fans out, backs bent in pursuit of the elusive jasmine bloom that flowers over- night and must be harvested from the three-foot-high bushes before noon. By lunchtime, the petals will have been weighed by Mul, the numbers noted in the ledger (bonuses are paid by the kilo), and the pickers, who have been working since before dawn, will retire for a meal and a nap. Not so for Mul, who will oversee the beginnings of the lengthy distillation technique of turning the blooms into jasmine absolute, the essential oil and vital in- gredient in the world’s most famous and best- selling fragrance: Chanel No 5. All told, it’s a labor-intensive process. One picker takes roughly an hour to harvest one pound of jasmine; 772 pounds are required to make two pounds of concrete—the solution ARCHIVE ! WICKHAM/TRUNK ! MICHAEL !"! LTD ! NAST ! The post–World War II era marked the beginning of mass fragrance, when women wore perfume for more than just special occasions. -
Perfumes Míticos
PERFUMES MÍTICOS A la venta desde octubre de 2012 «Su perfume olía a perfume, igual que los demás perfumes. Pero en ella parecía un olor natural.» (Simone de Beauvoir Los mandarines, 1954) PERFUMES MÍTICOS Marie Bénédicte Gauthier Un exquisito libro con la historia de los perfumes más emblemáticos y un sinfín de sugerencias para elegir una fragancia. Lleno de anécdotas sobre cómo y para quién se creó cada perfume, cómo distinguirlos o quién es o ha sido su imagen. ¿A qué olía Marilín? ¿Qué perfume era el preferido de Robert Reford o de Grace Kelly? ¿cuál fue el primer perfume para hombre y mujer?... Hay perfumes que cuentan historias y que evocan sentimientos y deseos. Muchos de ellos mantienen un vínculo muy afectivo, transmitido de generación en generación, que convocan en ese sentido el recuerdo de las personas queridas. Los perfumes míticos son un condensado de sensibilidad: algunos fueron creados hace más de un siglo pero siguen encerrando una enorme belleza en su diminuto frasco. Hay perfumes que forman parte de la historia del cine, otros “visten” habitualmente a grandes estrellas, los hay que forman parte de los museos de arte, y hay algunos que son famosos principalmente por un envase que está más allá de una “botellita” de diseño más o menos atractivo. Este precioso libro objeto, de cuidado diseño, narra la historia de los perfumes más míticos, además de desvelarnos todos los detalles de sus fórmulas y un sinfín de sugerencias útiles para escoger la esencia que mejor reafirme nuestra propia personalidad. Son setenta perfumes, cada uno con su ficha, en la que se detallan las notas de salida, corazón y fondo del perfume con un lenguaje ameno, además de algunas indicaciones para saber para quién está hecho el perfume y cómo llevarlo. -
Male Fragrances That Evoke a Feral Growl, Full-Blown Tempests Or The
A WHIFF OF DANGER Male fragrances that evoke a feral growl, full-blown tempests or the swaggering brio of ancient Rome are a bullseye for those who embrace their masculinity, says Lucia van der Post. Photograph by Omer Knaz he first scent I ever truly fell in love with was Schiaparelli’s Shocking, made by the great Jean Carles, and I came across it because my father wore it. I still remember the shock of pleasure when that first light floral note hit me, then the sense of surprise as the herbs, sandalwood and honey began to emerge, and finally it became sexier and more earthy as the oakmoss and what I now know Tto be civet took over. I remember, too, old-fashioned child that I was, that I thought it strange that my markedly heterosexual father wore a scent that seemed so voluptuous and so clearly aimed at women. Today, nobody would think anything of it. Speak to connoisseurs of perfume and as one they reject the notion of male and female scents. As Roja Dove, éminence grise of the perfume world, puts it: “For years floral notes were associated with feminine perfumes and – since men were considered strutting, predatory things – woody, mossy, earthy materials were linked with masculine ones, but the boundaries nowadays have become much more blurred. A rose, after all, has neither a penis nor a vagina – a rose on a man is a masculine rose, a rose on a woman is a feminine rose.” Violet, a note that one would have thought was largely feminine, was much beloved by Italian dandies in the late 19th and early 20th centuries, and it was an overdose of violet that made Geoffrey Beene’s Grey Flannel (£45 for 60ml EDT, to which much-respected perfume scholar Luca Turin awards five stars, calling it “a masterpiece”) such a success when it was launched in Clockwise from far left: 1975. -
Representations of the Olfactory Concept in Advertising: a Case Study
Argumentum. Journal of the Seminar of Discursive Logic, Argumentation Theory and Rhetoric 16 (1): 80-93, 2018 Brînduşa-Mariana AMALANCEI “Vasile Alecsandri” University of Bacău (Romania) Representations of the Olfactory Concept in Advertising: A Case Study Abstract: The analysis of a perfume advertising image can be done from multiple perspectives, the endeavors to provide possible reading paths and interpretations being among the most diverse in the literature. Whether it is to meet the consumers’ psychological desires, to relate to fashion trends, or to create a rare scent, perfume advertising is a real challenge, which often needs to be answered just by juxtaposing an image and the product name. Our paper highlights the way in which the correlation between the visual and olfactory forms of perfumes is attempted, through product name, vial, characters, context and text (Julien 1997). Because in many advertisements the perfume is replacing the character, we chose as a case study an advertising image that we consider illustrating in this respect, that of the new olfactory creation of Chanel, Gabrielle, which appeared in September 2017. We have to mention that the launch of this product has been marked by the appearance of homage articles in glossy magazines, which contributes, through the information provided, to a better understanding of the message the advertisement transmits. Keywords: image, visual identity, olfactory concept, olfactory memory, brand name, perfume name, perfume bottle, advertising context 1. Fragrances ‒ Vectors of Communication Considered a privileged way of communication, perfumes are an identity mark (Vettraino-Soulard 1992, 106). We can often hear in advertisements about perfumes for strong women, perfumes that suit active women, perfumes for romantic women, etc. -
Perfumes to Pout About Fragrance Isn’T the Only Cosmetic That Leaves an Impression, Says Victoria Frolova
Perfumes to pout about Fragrance isn’t the only cosmetic that leaves an impression, says Victoria Frolova. Illustration by Maxwell Burnstein don’t remember the colour of my first lipstick, but I recall its scent. I was passing through the local department store in Chicago, aged 15, when an array of shiny, black tubes at the Chanel counter drew my attention. They promised the glamour and sophistication that I desperately craved. I was making Iswatches of the different tones of pinks and reds on the back of my hand when, suddenly, I became aware of the fragrance of roses. The wave that swept over me was so intense that my eyes welled with tears. The scent reminded me of my great-grandmother, Asya, who adored rose essence; its sweetness enveloped her and always left a rich sillage in her wake. Even her lipstick smelled of roses. When Asya wasn’t around, I furtively sniffed her rouge compact, its fragrance evoking her soft cheeks and melodious laughter. The make-up worn by the women in my family, the lotions they swept onto their skin and the shampoo they lathered into their hair always intrigued me – but nothing more so than lipstick, with its captivating aroma. All those years later at the beauty counter, I was reminded so vividly of my late great-grandmother and her lipstick that I felt her presence. Still reeling, I handed over my entire allowance and left the store without a penny to my name, but with a beautiful, powerful accessory. I don’t believe I ever wore it. -
Le Chypre, Un Parfum Au Cours Des Ages, Cahier Des Alpes –Maritimes N°8 1910’S
Saturday April, 7th - h. 12.30 pm « » With Bruno Hervé OSMOTHEQUE Perfumer and Osmocurator L’Osmothèque - A few figures 4000 PERFUMES IN THE COLLECTION 800 DiSCONTINUED PERFUMES 200 PERFUMES RE-CREATED BASED ON ORIGINAL FORMULAS 27 YEARS OLD INSTITUTION 100 000 VISITORS SINCE IT’S CREATION 5 000 VISITORS EACH YEAR 1500 RARE OR DISCONTUNUED RAW MATERIALS 12 OSMOCURATORS – PERFUMERS INVOLVED 2 SUBSIDIARIES: AU MIP GRASSE / NEW YORK The origin of Chypre Iconic Fragance XVII th – Early XVIII th centuries « La poudre de Chypre » The word “Chypre” or “Cypre” designates an oak tree in Old French. Chypre powder, which has given its name to the Chypre family in perfumery, is made mostly from the moss that lives as a parasite on oak trees. Oak moss is always mixed with bits of bark torn off when moss is harvested, so its smell mingles with the scent of the tannin, a fragrant green component of the oak wood. Long ago fashionable people used Chypre powder to powder their skin or their wig. It was also used in making potpourri, “sachets” and baskets of fragrances. The chypre family The Chypre Family The differents notes: - Bergamot Chypre - Rose - Jasmin Fruity Chypre - Cistus – Labdanum - Oak’s Moss Floral Aldehydic - Patchouli Chypre Leather Chypre Aromatic Chypre Green Chypre Floral Chypre The first Chypres (before 1917) Eau de Chypre Cyprisine Chypre de Paris Guerlain Guerlain Guerlain 1850 1894 1909 Chypre de Tentation Chypre Roger & Gallet Lubin 1893 1898 • Eau de Chypre (Guerlain, near 1850) • Poudre de Riz Chypre (Florida, near 1900) • Chypre -
Free Agent | BEAUTY INC
@ g-s-, ffi After a hishlv public breaku reed, marketer Lagrice Rahmd ^Bfffinair"bi.f,iii"thdis back in"thd driverbdriver's seats-eai witffirwi lateqtJenture, Bond No. 9. Wood Photographs by David Turner Scorched earth: Love her or loathe her, fewwould argue serve her ultradiscerning target market. is that it gives that Laurice Rahmd has left a trail of it in her wake. "The simple definition of a niche brand Idealistic, famously blunt and possessed of a fiery temper' the consumer choices-as many as possible," Rahmd says NoHo the fragrance industry veteran freely admits to having over a cup of tea at Bond's 3,000-square-foot us' but even with accrued a few enemies over the course ofher storied 30- flagship. "People do buy a wardrobe with have one for yeat career. 30,40 or even 50 fragrances, you still won't But here's the catch: Her admirers are legion' And with everyone. So the more the better." what her her latest venture-the Manhattan-centric Bond No.9 Of equal importance to Rahmd is determining brand-even Rahm6's detractors have to concede she's customers dorlt want. "We always hear consumers say,'I does knocked one clear out of Central Park. In fact, from just hate to be attacked by spritzers,'yet everybody still it' and the about any vantage point-the $6 million volume, the It's because the industry hasn't found another way, 'If multiple FiFiAward nominations or the aggressive growth competition is so great that there's this feeling of I don t plan-the three-year-old brand looks like a certifiable hit. -
Poison in Pink
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2017 Poison in Pink Sydney V. Cook University of Montana, Missoula Follow this and additional works at: https://scholarworks.umt.edu/etd Part of the Business Law, Public Responsibility, and Ethics Commons, Environmental Health Commons, Environmental Policy Commons, Environmental Public Health Commons, Environmental Studies Commons, Health Policy Commons, Inequality and Stratification Commons, Nonfiction Commons, Other Life Sciences Commons, Other Pharmacology, Toxicology and Environmental Health Commons, Other Public Health Commons, Public Policy Commons, Social Policy Commons, Toxicology Commons, Women's Health Commons, Women's Studies Commons, and the Work, Economy and Organizations Commons Let us know how access to this document benefits ou.y Recommended Citation Cook, Sydney V., "Poison in Pink" (2017). Graduate Student Theses, Dissertations, & Professional Papers. 11047. https://scholarworks.umt.edu/etd/11047 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. POISON IN PINK By SYDNEY VIOLET COOK Bachelor of Arts, Biology, Coe College, Cedar Rapids, Iowa, U.S.A, 2012 Thesis presented in partial fulfillment -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE GEOGRAPHIES OF KNOWLEDGE IN THE INTERNATIONAL FRAGRANCE INDUSTRY A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By BODO KUBARTZ Norman, Oklahoma 2009 GEOGRAPHIES OF KNOWLEDGE IN THE INTERNATIONAL FRAGRANCE INDUSTRY A DISSERTATION APPROVED FOR THE DEPARTMENT OF GEOGRAPHY BY ___________________________ Dr. Fred Shelley, Co-Chair ___________________________ Dr. Bret Wallach, Co-Chair ___________________________ Dr. Robert Cox ___________________________ Dr. Karl Offen ___________________________ Dr. Darren Purcell ___________________________ Dr. Laurel Smith ___________________________ Dr. Andrew Wood © Copyright by BODO KUBARTZ 2009 All Rights Reserved. ACKNOWLEDGEMENTS The ‘discovery of the world’ has been a stereotypical focus of human geography. However, the research helped me to discover a new world for myself. The fragrance industry delineates a rich landscape of sensorial stimulations. I appreciated not only the experience of smelling perfumes in different environments and the ‘look behind the scenes’ but the diversity of approaches to perfumery in this artistic industry. Therefore, my first ‘thank you’ goes to the industry experts that spend their precious time with me and opened their doors for me in France, Germany, and the United States. Thank you very much for introducing me to a world that you experience, develop, and change every day. Second, a dissertation is a long journey. This one has seen different companions until it came into being. It developed quite a bit over time. My friends in the United States and in Germany contributed through their critique, mental support, active interest, questions, guidance, and feedback. Thus, the second ‘thank you’ goes to all companions. -
Serendipity Est Transcrit Comme « Le Don De Faire Des Trouvailles »
DE LA SÉRENDIPITÉ Libres sciences Pek van Andel Danièle Bourcier DE LA SÉRENDIPITÉ DANS LA SCIENCE, LA TECHNIQUE, L’ART ET LE DROIT Leçons de l’inattendu L’’AC T MEM LIBRES SCIENCES COLLECTION Libres sciences Les livres de la collection sont sous licenses Creative Commons dirigée par Danièle Bourcier éditée par Annette Colliot-Thélène & Henri Poncet Les auteurs remercient toutes les personnes et institutions qui ont soutenu leur étude, en particulier : - le NIAS (Netherlands Institute for Advanced Sudies in Social Sciences), vrai lieu de sérendipité institutionalisée et de liberté académique; - la Faculté des Sciences Médicales de l’Université de Groningue, et son photographe scientifique Dick Huizinga; ainsi que Jan Worst, chirurgien de l’œil, qui, avec P. v. Andel, a inventé une cornée artificielle (“bouchon de champagne”) déjà implantée 3000 fois au Daljit Singh Eye Hospital à Amritsar (Inde). - le CNRS: le Centre de recherche en Sciences administratives et politiques à Paris et le Centre Marc Bloch à Berlin, où les dernières étapes de ce livre ont été élaborées; - Estelle Lambert, Conservateur au Service d’Histoire de la Médecine, Bibliothèque interuniversitaire de médecine (BIUM), Université de Paris IV. [email protected] [email protected] L’ACT MEM, 2009 www.fr.creativecommons.org Préface La sérendipité est un mot qui n’est pas toujours facile à mémoriser et à prononcer. De plus, il ne figure pas – encore – dans les dictionnaires français. Et pourtant, l’expérience montre qu’il plaît beaucoup. Chaque fois que j’en ai expliqué le sens, mes interlocuteurs se sont montrés très intéressés, quitte à me téléphoner quelques jours plus tard pour que je leur reprécise l’orthographe du mot, car ils avaient trouvé une situation qui relevait de cette notion. -
THE SECTRET of for the First Time, a Couturier Revolu- Cionizes the Insular World of Perfume by Creating in 1921 Her Own Fragrance, the First of Its Kind
THE SECTRET OF For the first time, a couturier revolu- cionizes the insular world of perfume by creating in 1921 her own fragrance, the first of its kind. Coco Chanel seeks, in her own words, “ a woman’s perfume with a woman’s scent.” Her scent should be as important as her style of dress. Coco Chanel calls upon Ernest Beaux, perfumer to the Czars. In search of inspiration, Ernest Beaux ven- tures as far as the Arctic circle, finding his muse in the exhilarating air issuing from the northern lakes under the midnight sun. The couturier encourages him to be ever more audacious, demanding still more jasmine, the most precious of essences. He composes a bouquet of over 80 scents for her. An abstract, mysterious perfume radiaing an extravagance floral richness. For the first time, No5 transforms the alchemy of scent, through Ernest Beauxe’s innovtive use of al- dehydes, synthetic components which exalt perfumes, like lemon which accentuates the taste of strawberry. Aldehydes add layers of complexity, making No5 even more mysteri- ous and impsible to decipher. No5, a code, an identification number, makes the sentimental names for the perfumes of the day seem in- stantly out of date. It receives its name because Mademoiselle chanel prefers the fifth sample Ernes Beaux presents to her. For the first time, a perfume is presented in a simple laboratory flacon. From the United States to japan, the fragrance’s fame spreads, it soon becomes the best-selling perfume in the world. No5 pioneers a new form of advertising in the world of fragrance. -
Parfum, Chimie Et Création Xavier Fernandez, Sylvain Antoniotti, Éric Bussotti Et Marie-Patricia Hurel
Chimie et physico-chimie des matières premières Parfum, chimie et création Xavier Fernandez, Sylvain Antoniotti, Éric Bussotti et Marie-Patricia Hurel Résumé Le parfum est un produit fascinant dont la création associe l’art, des connaissances empiriques et la science. Sa formule est issue du mélange de plusieurs dizaines de composés odorants et extraits naturels (le concentré de parfum) dans de l’éthanol. L’examen de l’histoire du parfum à travers les siècles montre le rôle capital joué par la chimie. L’obtention de solvants organiques purs mais surtout la mise à disposition de composés odorants synthétiques ont complètement bouleversé la parfumerie pour conduire aux parfums modernes, compagnons quotidiens de notre vie. Mots-clés Parfum, odeur, formulation, accord, extraits naturels, synthèse organique. Abstract Perfume, chemistry and creation The perfume is a fascinating material whose creation is guided by art, empirical knowledge and science. Its formula arises from the mixture of dozens of odorant compounds and natural extracts in ethanol. An overview of the history of perfumes across the centuries shows the central role of chemistry. The manufacture of solvents of high purity and the chemical synthesis of key-odorants have dramatically influenced perfumery, leading to modern fragrances, daily companions of our lives. Keywords Perfume, fragrance, formulation, harmony, natural extracts, organic synthesis. e mot parfum tire son origine du latin per fumum d’un concentré de parfum ou jus (15 à 30 %) dans de l’alcool L signifiant « par la fumée », en référence à la première éthylique à 90°. Cependant pour le grand public, le terme méthode connue d’obtention de fragrances subtiles par parfum est plus ambigu puisqu’il fait référence à une odeur combustion de gommes ou de résines (myrrhe, encens) aussi bien qu’à divers produits (parfum, soie de parfum*, eau récoltées sur des arbres de la famille des burseracées [1].