A Perfume to Evoke Spring — Part IV | Ep 028

↳ Today's episode consists of Part IV of the segment A PERFUME TO EVOKE SPRING. Parts I, II and III can be found, respectively, in episodes 010, 014 and 018 of this podcast.

↳ To remind those who have listened, or inform those who haven't heard previous episodes:

↳ In this segment, I have been, little by little, conceptualizing and creating an original perfume of my own — a perfume whose formula is intended to be suitable for use on one of those harsh winter days when, with incessant rain, we have to leave the house early in the morning and immediately feel an immense longing for the sunny days of spring — that is: a perfume capable of evoking Spring on a soggy, cold, and grey day.

↳ In Part I, in episode 010, I chose the ingredients I would work with and structured the first accords.

↳ In Part II, in episode 014, I made changes to those same accords that I had conceived in episode 10. And I planned to use the perfume during the following weeks, to test it and be able to evaluate its aromatic performance.

↳ In Part III, in episode 018, I made changes to the accords again and, once more, I planned to use the perfume during the following weeks, to test it and be able to evaluate it.

↳ So, during all this intermediate time, I tested the perfume on myself, throughout the day — and from that, I realized that I had to correct, once again, its FLORAL ACCORD.

↳ The floral part of the composition is very one-dimensional, focusing almost exclusively on YLANG YLANG: And this indeed creates a sensation of a SOLIFLEUR perfume (a perfume where only one flower stands out) — thus going against what I intend, the conceptual principle of my perfume, which is to offer the sense of smell a sensation of a BOUQUET of flowers (a perfume where several flowers intermingle).

↳ The perfume therefore still lacks this very important multi-floral facet — and, moreover, LAVANDIN continues to monopolize the sense of smell, finding itself excessive in the general formula of the perfume.

↳ Otherwise, at least for now, both the MOLECULE ACCORD and the WARM ACCORD will remain unchanged, as it seems to me that they are already in the correct proportions.

↳ Returning to the floral accord:

↳ What I had thought of doing was adding another ingredient — that is, adding another floral ingredient to this accord:

↳ Whether it was NEROLI ESSENTIAL OIL, for example, or another flower, such as JASMINE or ROSE — or even CASSIS BASE, which (despite not being a floral ingredient but a green ingredient) brings countryside landscapes very much to my imagination.

↳ But what happened was that, having acquired new ingredients on the market and studying them in conjunction with other ingredients that I already previously had in my possession (and which I still have some difficulty distinguishing aromatically, thus being a learning process) it occurred to me to combine 3 of these ingredients in a new accord — because it seemed to me that these 3 would rhyme very well with each other.

↳ So, I combined PEA with METHYL PAMPLEMOUSSE and ETHYLENE BRASSYLATE in a ratio of 1 to 2 to 2.

↳ Upon smelling this new accord (as I said, conceived while studying materials) I immediately thought I had found what was missing until then in THE PERFUME TO EVOKE SPRING.

↳ Such a new accord exhibits a strongly floral facet; it reminds one of petals, it reminds one of honey, it is citrusy and simultaneously fruity — and the MUSK envelops all this and gives it meaning.

↳ So, instead of altering the previous (already finished) FLORAL ACCORD, I opted instead to add this fourth accord to the formula — and from now on I designated it as the CITRUS FLORAL ACCORD.

↳ The final formula was, therefore, in the ratio of 6 of the FLORAL ACCORD to 1 of the WARM ACCORD to 2 of the MOLECULE ACCORD to 4 of the CITRUS FLORAL ACCORD.

↳ Over the next few weeks I will test the perfume on my skin, evaluating its aromatic performance — and then I will return here in Part V of this segment, to report my observations and conclusions.

↳ But my reformulations with this perfume were not yet finished: the idea of changing the flower in it was still on my mind.

↳ So, in parallel within the project, I conceived a variant of the perfume — that is: I remade the perfume exactly the same with the exception of the following substitution: I used NEROLI ESSENTIAL OIL instead of YLANG YLANG.

↳ Over the next few weeks I will also test this variant of my perfume, evaluating its aromatic performance — and also in Part V of this segment I will present due observations and conclusions.

↳ What I want to emphasize in this episode is: the importance of studying and learning the materials, as well as the complementary need to explore them over time.

↳ It was this exploration that allowed me to come up with the idea of the CITRUS FLORAL ACCORD, to add it to my PERFUME TO EVOKE SPRING.

↳ In the next episode I will return to the segment 'Perfumes for the home — Creating a room spray' — consisting of the third part of it.

↳ I would like to inform you again that JARILO has launched a free e-book — the complete guide where you can learn all the tricks to enhance the aromatic diffusion of your candles.

I will leave the respective link in the notes for this episode.

↳ Thank you for listening to this episode of the podcast 'All paths lead to aroma'.

If you liked it, don't forget to subscribe — share with friends — leave a comment — or send an email to todososcaminhosvaodaraoaroma@gmail.com.

↳ Tell me, would you like to try this PERFUME TO EVOKE SPRING? And, personally, what scent from your daily life reminds you of Spring? Send me an email to let me know.

↳ See you next time.

Happy olfactory experiences!

[End of transcript]

Listen to the Podcast here

 

 

Offer:

COMPLETE GUIDE: HOW TO ENHANCE THE AROMATIC DIFFUSION OF YOUR CANDLES will teach/reveal to the Reader all the secrets to ensure your candles release maximum aroma.

Click here to receive your guide