modern technology of perfumes

5/22/2018 Modern Technology of Perfumes

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1. Modern Technology Of Perfumes, FlavoursAnd Essential Oils (2nd ...

Modern Technology Of Perfumes, Flavours And Essential Oils (2ndEdition)

Author: NIIR BoardFormat: Paperback

ISBN: 8186623434Code: NI33Pages: 844Price: Rs.975.00 US$100.00

Published: 2004Publisher: National Institute of Industrial ResearchUsually ships within 3days

Since primeval times Flavors and Fragrances has been an element of our life. We have been making it a part of life.

By different means we all utilize perfumery and flavor materials, in our everyday life. Fragrances have a key part in

religious ceremonies as it was considered to possess strengths to cure and protect from evil. We in our routine life

starting from morning till night make different uses of products for personal care and cleanliness which have

perfumes. Even consumables like confectionary contain some type of perfume or flavors. Most fragrance comes

naturally form many plants. This smell is known as aroma which is a Latin word and those flora which have this

aroma are known as aromatic plants. These aromas are extracted from some odoriferous material called essential

oils. There is no dearth of aromatic plants in India. The country is famous for its rich endowment with aromatic plant.In fact the Vedic literature one can find many references of Ayurveda Gandhshastra the science of odor which deals

with the cosmetics and fragrances. The famous aromatic plants in India with medicinal uses are mint, Tulsi etc. The

book tries to give a brief note on the fragrance and essential oils and has been one of the bestseller.

The book contains chapter on Standards on Essential Oils in India, Fragrance and Flavors Industry in India, Process

Flavorings, The Perfumer's Raw Materials: Products of Natural Origin Essential Oils, Terpeneless Oils, The Perfumer's

Raw Materials: Products of Synthetic Origin, Synthetic Ingredients of Food Flavorings, Beverage Flavorings and Their
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Applications, The Perfumer's Raw Materials: Products of Synthetic Origin, Citronella Oil and many more detailed

chapters.

This versatile book takes way out to most realistic formulae on diversified perfumery products, flavors, essential oils

etc. Taken as a whole, the book furnishes complete formulae with processes along with the technical aspect which

are enormously innovative and profoundly utilitarian for new entrepreneurs as well as will act as a source of

motivation to the existing units in quality improvement and cost reduction. Flow diagrams for various methods of

preparation are vivid representations of the process sequence, Sequence. The enclosure section in the book also has

a directory on Sources of raw materials; plant and machinery.

^ Top

Related Books

Herbal Cosmetics Handbook[NI35] by H Panda, Rs.1,500.00, US$150.00

Essential Oils Handbook[NI48] by H. Panda, Rs.975.00, US$100.00

Handbook on Herbal Products (Medicines, Cosmetics, Toiletries, Perfumes) 2 Vols. [NI51] by NIIRBoard, Rs.1,500.00, US$220.00

The Complete Technology Book of Essential Oils (Aromatic Chemicals)Reprint-2011 [NI58] by NIIRBoard, Rs.1,275.00, US$125.00

The Complete Technology Book on Herbal Perfumes & Cosmetics [NI59] by H. Panda, Rs.975.00,US$100.00

Food Colours, Flavours and Additives Technology Handbook[NI94] by NIIR Board, Rs.1,000.00, US$100.00

Food Flavours Technology Handbook[NI113] by NIIR Board, Rs.1,075.00, US$125.00

The Complete Technology Book on Herbal Beauty Products with Formulations and Processes [NI131] by H. Panda, Rs.1,100.00, US$125.00

Herbs & Herbal Products Finder, Directory of Herbs, Herbal Medicines, Cosmetics, Herbal Products,Essential Oils, Perfumes, Pan Masala & Tobacco Products[NI133] by NIIR Board, Rs.1,600.00, US$220.00

Selected Formulary Book on Cosmetics, Drugs, Cleaners, Soaps, Detergents, Dentrices andDepilatories[NI189] by NPCS Board of Consultants & Engineers, Rs.1,500.00, US$150.00

ContentsHide

1. Standards on Essential Oils in India

Standardisation of Essential Oils

Standard for Essential Oils

Material Specifications for Essential Oils

Summary

Conclusion

2. Fragrance and Flavour Industry in India

Industry Growth in India

Production of Aroma Chemicals
http://www.niir.org/books/book/modern-technology-perfumes-flavours-essential-oils-2nd-edition-niir-board/isbn-8186623434/zb,,21,a,0,0,a/index.html#tophttp://www.niir.org/books/book/herbal-cosmetics-handbook/isbn-8178330806/zb,,23,a,0,0,a/index.htmlhttp://www.niir.org/books/book/herbal-cosmetics-handbook/isbn-8178330806/zb,,23,a,0,0,a/index.htmlhttp://www.niir.org/books/book/essential-oils-handbook/isbn-818662371X/zb,,30,a,0,0,a/index.htmlhttp://www.niir.org/books/book/essential-oils-handbook/isbn-818662371X/zb,,30,a,0,0,a/index.htmlhttp://www.niir.org/books/book/handbook-on-herbal-products-medicines-cosmetics-toiletries-perfumes-2-vols/isbn-8186623485/zb,,33,a,0,0,a/index.htmlhttp://www.niir.org/books/book/handbook-on-herbal-products-medicines-cosmetics-toiletries-perfumes-2-vols/isbn-8186623485/zb,,33,a,0,0,a/index.htmlhttp://www.niir.org/books/book/complete-technology-book-essential-oils-aromatic-chemicals-reprint-2011/isbn-9788178330662/zb,,3a,a,0,0,a/index.htmlhttp://www.niir.org/books/book/complete-technology-book-essential-oils-aromatic-chemicals-reprint-2011/isbn-9788178330662/zb,,3a,a,0,0,a/index.htmlhttp://www.niir.org/books/book/complete-technology-book-on-herbal-perfumes-cosmetics/isbn-8186623620/zb,,3b,a,0,0,a/index.htmlhttp://www.niir.org/books/book/complete-technology-book-on-herbal-perfumes-cosmetics/isbn-8186623620/zb,,3b,a,0,0,a/index.htmlhttp://www.niir.org/books/book/food-colours-flavours-additives-technology-handbook/isbn-8186623760/zb,,5e,a,0,0,a/index.htmlhttp://www.niir.org/books/book/food-colours-flavours-additives-technology-handbook/isbn-8186623760/zb,,5e,a,0,0,a/index.htmlhttp://www.niir.org/books/book/food-flavours-technology-handbook/isbn-818662385X/zb,,71,a,0,0,a/index.htmlhttp://www.niir.org/books/book/food-flavours-technology-handbook/isbn-818662385X/zb,,71,a,0,0,a/index.htmlhttp://www.niir.org/books/book/complete-technology-book-on-herbal-beauty-products-with-formulations-processes/isbn-8178330210/zb,,83,a,0,0,a/index.htmlhttp://www.niir.org/books/book/complete-technology-book-on-herbal-beauty-products-with-formulations-processes/isbn-8178330210/zb,,83,a,0,0,a/index.htmlhttp://www.niir.org/books/book/herbs-herbal-products-finder-directory-herbs-herbal-medicines-cosmetics-herbal-products-essential-oils-perfumes-pan-masala-tobacco-products/isbn-8186623671/zb,,85,a,0,0,a/index.htmlhttp://www.niir.org/books/book/herbs-herbal-products-finder-directory-herbs-herbal-medicines-cosmetics-herbal-products-essential-oils-perfumes-pan-masala-tobacco-products/isbn-8186623671/zb,,85,a,0,0,a/index.htmlhttp://www.niir.org/books/book/herbs-herbal-products-finder-directory-herbs-herbal-medicines-cosmetics-herbal-products-essential-oils-perfumes-pan-masala-tobacco-products/isbn-8186623671/zb,,85,a,0,0,a/index.htmlhttp://www.niir.org/books/book/herbs-herbal-products-finder-directory-herbs-herbal-medicines-cosmetics-herbal-products-essential-oils-perfumes-pan-masala-tobacco-products/isbn-8186623671/zb,,85,a,0,0,a/index.htmlhttp://www.niir.org/books/book/herbs-herbal-products-finder-directory-herbs-herbal-medicines-cosmetics-herbal-products-essential-oils-perfumes-pan-masala-tobacco-products/isbn-8186623671/zb,,85,a,0,0,a/index.htmlhttp://www.niir.org/books/book/selected-formulary-book-on-cosmetics-drugs-cleaners-soaps-detergents-dentrices-depilatories/isbn-9788190439800/zb,,11c,a,0,0,a/index.htmlhttp://www.niir.org/books/book/selected-formulary-book-on-cosmetics-drugs-cleaners-soaps-detergents-dentrices-depilatories/isbn-9788190439800/zb,,11c,a,0,0,a/index.htmlhttp://www.niir.org/books/book/selected-formulary-book-on-cosmetics-drugs-cleaners-soaps-detergents-dentrices-depilatories/isbn-9788190439800/zb,,11c,a,0,0,a/index.htmlhttp://www.niir.org/books/book/selected-formulary-book-on-cosmetics-drugs-cleaners-soaps-detergents-dentrices-depilatories/isbn-9788190439800/zb,,11c,a,0,0,a/index.htmlhttp://www.niir.org/books/book/selected-formulary-book-on-cosmetics-drugs-cleaners-soaps-detergents-dentrices-depilatories/isbn-9788190439800/zb,,11c,a,0,0,a/index.htmlhttp://www.niir.org/books/book/selected-formulary-book-on-cosmetics-drugs-cleaners-soaps-detergents-dentrices-depilatories/isbn-9788190439800/zb,,11c,a,0,0,a/index.htmlhttp://www.niir.org/books/book/selected-formulary-book-on-cosmetics-drugs-cleaners-soaps-detergents-dentrices-depilatories/isbn-9788190439800/zb,,11c,a,0,0,a/index.htmlhttp://www.niir.org/books/book/herbs-herbal-products-finder-directory-herbs-herbal-medicines-cosmetics-herbal-products-essential-oils-perfumes-pan-masala-tobacco-products/isbn-8186623671/zb,,85,a,0,0,a/index.htmlhttp://www.niir.org/books/book/herbs-herbal-products-finder-directory-herbs-herbal-medicines-cosmetics-herbal-products-essential-oils-perfumes-pan-masala-tobacco-products/isbn-8186623671/zb,,85,a,0,0,a/index.htmlhttp://www.niir.org/books/book/complete-technology-book-on-herbal-beauty-products-with-formulations-processes/isbn-8178330210/zb,,83,a,0,0,a/index.htmlhttp://www.niir.org/books/book/food-flavours-technology-handbook/isbn-818662385X/zb,,71,a,0,0,a/index.htmlhttp://www.niir.org/books/book/food-colours-flavours-additives-technology-handbook/isbn-8186623760/zb,,5e,a,0,0,a/index.htmlhttp://www.niir.org/books/book/complete-technology-book-on-herbal-perfumes-cosmetics/isbn-8186623620/zb,,3b,a,0,0,a/index.htmlhttp://www.niir.org/books/book/complete-technology-book-essential-oils-aromatic-chemicals-reprint-2011/isbn-9788178330662/zb,,3a,a,0,0,a/index.htmlhttp://www.niir.org/books/book/handbook-on-herbal-products-medicines-cosmetics-toiletries-perfumes-2-vols/isbn-8186623485/zb,,33,a,0,0,a/index.htmlhttp://www.niir.org/books/book/essential-oils-handbook/isbn-818662371X/zb,,30,a,0,0,a/index.htmlhttp://www.niir.org/books/book/herbal-cosmetics-handbook/isbn-8178330806/zb,,23,a,0,0,a/index.htmlhttp://www.niir.org/books/book/modern-technology-perfumes-flavours-essential-oils-2nd-edition-niir-board/isbn-8186623434/zb,,21,a,0,0,a/index.html#top


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Natural Raw Materials

3. Role of Trace Ingredients in Natural Perfumes

Introduction

Methods of Extraction of Natural Perfumes

Analysis of Natural Perfumes

Synthesis of Natural Perfume

Role of components in Citrus Oils & Mint Oils

Trace Components and threshold values

Conclusion

4. Essential Oils

Introduction

The Production of Essential Oils

Further Processing of Essential Oils

The uses of Essential Oils

The Composition of Essential Oils

5. Synthetic Ingredients of Food Flavourings

General aspects

Synthetic Flavour Ingredients

Synthetic Flavour Ingredients and the future

6. Beverage Flaourings and Their Applications

Introduction

Categories of Beverages

Types of flavouring for Beverages

Methods of extraction solubelization & Concentration of Flavouring

7. Flavours

Flours from Ingredients

Flavours Developed During Processing

Selection of Flavourings

8. Dairy FlavouringsIntroduction

Development of Flavour in Dairy Products

Instrumental Analysis


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9. Process Flavourings

Introduction

Research into Beef Flavour

Creating a Process Flavouring

Applications of Process Flavourings

The Safety Question

Process Flavouring in the Future

10. Historical & Biographical

11. The Perfumer's Raw Materials: Products of Natural Origin

Introduction, Concretes & Absolutes

Concrete Oils

Absolute Oils

Essential Oils derived from distillation

Essential Oils obtained by expression

Isolated etc. from Essential Oils

Natural Odorants as Tinctures

Balsams & Raisins


Essential Oils, Terpeneless Oils


Tinctures, Raisins, Balsams

Tinctures

Infusions

Absolutes

14. The Perfumer's Raw Materials: Products of Synthetic Origin

Rose Odorants

Jasmine OdorantsOrange Flavour and Neroli Odorants

Muguet Odorants

Green Ootes

Fruity Notes

Woody Notes

Empyreumatic Notes

The Salicylates


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Animal Ootes

Accetates

The Fatty Alcohols, Aldehydes and Acetates

Anisates

Anthranilates

Benzoates

Butyrates

Caproates

Cinnamates

Formates

Phenylacetates

Propionates

Tiglates

Valerates

15. Formulary Section: Flower Perfumes

Rose Jasmine

Orange Flower & Neroli

Violet

Acacia

Broom

Carnation

Cyclamen

Fougere (Ferm)

Gardenia

Hawdthorn

Heliotrope

Honeysuckle

Hyacinth

Iris

LilacLilly of the Valley

Linden

Magnolia

Mignonette (Reseda)

Mimosa

Narcissus

Nardo


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New-Mown-Hay

Nicotiana

Opopanax

Orchid

Pansy

Peony

Phlox

Stocks

Sweet Pea

Syringa (Philadelphus)

Treele (Clover)

Tuberose

Verbena

Wall Flower

Wisteria

Ylang Ylang

16. Formulary Section: Sophisticated or Fantasy Perfumes

Flower Bouquets Perfumes

Aldehydic Perfumes

Chypre Types

Oriental Perfumes

Green Perfumes

Dominent Note Types

The Ampergris Notes

Manufacturing Process

Alcoholic Strengths

Control

17. Colognes: Eaux de Toilette: Perfumes for Men

Eau - de - Cologne

Toilet Waters

Modifies Colognes

Perfume for Men

18. Packaging and Marketing

The Importance of Presentation

Packaging in the Past

The Impact of Aerosols

Giving a Perfume Identity

Who Makes the Decision

Perfume and World of Fashion


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National Preferences

Question of Colour

19. The Production of Natural Perfumes

The Perfume in the Plant

Production

Statistics

20. Odour Classification and Fixation

Top Note

Middle Note

Basic

Duration of Evaporation Table

21. Monographs on Flower Perfumes

Acacia

Carnation

Cassie

Chypre

Cyclamen

Fern Gardenia

Hawthorn

Heliotrope

Honeysuckle

Hyacinth

Jasmine

Lilac

Lily

Magnolia

Mimosa

Narcissus

New Mown Hay

Orange Blossom

Orchids

ResedaRose

Sweet Pea

Trefle

Tuberose

Violet

Wall Flower


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22. Menthol Oils

Introduction

Property & Structure

Uses & Application

Market Survey

Material & Methods


Cost Estimation

23. Essential Oil from Flowers and Leaves

Introduction

Properties of Essential Oils

Uses

Market Survey

Essential Oils in India & Trade


Cost Estimation

24. Essential for Biscuit Confectionery

Introduction

Compounding

Uses & Applications

Market Survey

Formulations of Non-Alcoholic Flavour

Cost Estimation

25. Jasmine and Lily Flower Oil

Introduction

Properties

Composition

Uses

Market Survey


Cost Estimation

26. Extraction of Jasmine Essence

Introduction

Properties

Uses

Market Survey


Cost Estimation


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27. Extraction of Oil (Cardamom, Jeera, Ajowan, Genger Oil)

Introduction

Ajowan (Bishops Week)

Cardamom

Cumin

Ginger

Orangepeel Oil

Process of Manufacture

Cost Estimation

28. Extraction of Essential Oil & Packing

Introduction

Ajowan

Cardamom

Cumin

Ginger

Orangepeel Oil

Market Potential


Cost Estimation

29. Eucalyptus Oil

Introduction

Properties

Uses & Applications

Market Survey


Cost Estimation

30. Lemon Gass Oil

IntroductionUses and Properties

Market Survey


Cost Estimation

31. Ginger Oil

Introduction


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Uses and Applications

Market Survey


Cost Estimation

32. Aromatic Perfumery Compounds

Introduction

Properties & Uses

Market Position


Cost Estimation

33. Agarbatti Perfumery Compounds

Introduction

Market Survey

Process of manufacture

Cost Estimation

34. Nilgiri Oil

Introduction

Properties Uses & Application

Market Survey


Cost Estimation

35. Citronella Oil

Introduction

Properties

Uses & Applications

Market Survey


Cost Estimation

Supplier of Plant & Machineries

Raw Material Suppliers

1. Standards on Essential Oils in India

Standardisation of Essential Oils

Standard for Essential Oils

Material Specifications for Essential Oils

Summary

Conclusion


11/65

2. Fragrance and Flavour Industry in India

Industry Growth in India

Production of Aroma Chemicals

Natural Raw Materials

3. Role of Trace Ingredients in Natural Perfumes

Introduction

Methods of Extraction of Natural Perfumes

Analysis of Natural Perfumes

Synthesis of Natural Perfume

Role of components in Citrus Oils & Mint Oils

Trace Components and threshold values

Conclusion

4. Essential Oils

Introduction

The Production of Essential Oils

Further Processing of Essential Oils

The uses of Essential Oils

The Composition of Essential Oils

5. Synthetic Ingredients of Food Flavourings

General aspects

Synthetic Flavour Ingredients

Synthetic Flavour Ingredients and the future

6. Beverage Flaourings and Their Applications

Introduction

Categories of Beverages

Types of flavouring for Beverages

Methods of extraction solubelization & Concentration of Flavouring

7. Flavours

Flours from IngredientsFlavours Developed During Processing

Selection of Flavourings

8. Dairy Flavourings

Introduction

Development of Flavour in Dairy Products

Instrumental Analysis


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9. Process Flavourings

Introduction

Research into Beef Flavour

Creating a Process Flavouring

Applications of Process Flavourings

The Safety Question

Process Flavouring in the Future

10. Historical & Biographical


Introduction, Concretes & Absolutes

Concrete Oils

Absolute Oils

Essential Oils derived from distillation

Essential Oils obtained by expression

Isolated etc. from Essential Oils

Natural Odorants as Tinctures

Balsams & Raisins


Essential Oils, Terpeneless Oils


Tinctures, Raisins, Balsams

Tinctures

Infusions

Absolutes

14. The Perfumer's Raw Materials: Products of Synthetic Origin

Rose Odorants

Jasmine Odorants

Orange Flavour and Neroli Odorants

Muguet Odorants

Green Ootes

Fruity Notes


13/65

Woody Notes

Empyreumatic Notes

The Salicylates

Animal Ootes

Accetates

The Fatty Alcohols, Aldehydes and Acetates

Anisates

Anthranilates

Benzoates

Butyrates

Caproates

Cinnamates

Formates

Phenylacetates

Propionates

Tiglates

Valerates

15. Formulary Section: Flower Perfumes

Rose Jasmine

Orange Flower & Neroli

Violet

Acacia

Broom

Carnation

Cyclamen

Fougere (Ferm)

Gardenia

Hawdthorn

Heliotrope

HoneysuckleHyacinth

Iris

Lilac

Lilly of the Valley

Linden

Magnolia

Mignonette (Reseda)


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Mimosa

Narcissus

Nardo

New-Mown-Hay

Nicotiana

Opopanax

Orchid

Pansy

Peony

Phlox

Stocks

Sweet Pea

Syringa (Philadelphus)

Treele (Clover)

Tuberose

Verbena

Wall Flower

Wisteria

Ylang Ylang

16. Formulary Section: Sophisticated or Fantasy Perfumes

Flower Bouquets Perfumes

Aldehydic Perfumes

Chypre Types

Oriental Perfumes

Green Perfumes

Dominent Note Types

The Ampergris Notes


Alcoholic Strengths

Control

17. Colognes: Eaux de Toilette: Perfumes for Men

Eau - de - Cologne

Toilet WatersModifies Colognes

Perfume for Men

18. Packaging and Marketing

The Importance of Presentation

Packaging in the Past

The Impact of Aerosols


15/65

Giving a Perfume Identity

Who Makes the Decision

Perfume and World of Fashion

National Preferences

Question of Colour

19. The Production of Natural Perfumes

The Perfume in the Plant

Production

Statistics

20. Odour Classification and Fixation

Top Note

Middle Note

Basic

Duration of Evaporation Table

21. Monographs on Flower Perfumes

Acacia

Carnation

Cassie

Chypre

Cyclamen

Fern Gardenia

Hawthorn

Heliotrope

Honeysuckle

Hyacinth

Jasmine

Lilac

Lily

Magnolia

Mimosa

Narcissus

New Mown HayOrange Blossom

Orchids

Reseda

Rose

Sweet Pea

Trefle

Tuberose


16/65

Violet

Wall Flower

22. Menthol Oils

Introduction

Property & Structure

Uses & Application

Market Survey

Material & Methods


Cost Estimation

23. Essential Oil from Flowers and Leaves

Introduction

Properties of Essential Oils

Uses

Market Survey

Essential Oils in India & Trade


Cost Estimation

24. Essential for Biscuit Confectionery

Introduction

Compounding

Uses & Applications

Market Survey

Formulations of Non-Alcoholic Flavour

Cost Estimation

25. Jasmine and Lily Flower Oil

Introduction

Properties

Composition

Uses

Market SurveyManufacturing Process

Cost Estimation

26. Extraction of Jasmine Essence

Introduction

Properties

Uses


17/65

Market Survey


Cost Estimation

27. Extraction of Oil (Cardamom, Jeera, Ajowan, Genger Oil)

Introduction

Ajowan (Bishops Week)

Cardamom

Cumin

Ginger

Orangepeel Oil


Cost Estimation

28. Extraction of Essential Oil & Packing

Introduction

Ajowan

Cardamom

Cumin

Ginger

Orangepeel Oil

Market Potential


Cost Estimation

29. Eucalyptus Oil

Introduction

Properties

Uses & Applications

Market Survey


Cost Estimation

30. Lemon Gass Oil

Introduction

Uses and Properties

Market Survey


Cost Estimation


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31. Ginger Oil

Introduction

Uses and Applications

Market Survey


Cost Estimation

32. Aromatic Perfumery Compounds

Introduction

Properties & Uses

Market Position


Cost Estimation

33. Agarbatti Perfumery Compounds

Introduction

Market Survey

Process of manufacture

Cost Estimation

34. Nilgiri Oil

Introduction

Properties Uses & Application

Market Survey


Cost Estimation

35. Citronella Oil

Introduction

Properties

Uses & Applications

Market Survey


Cost Estimation

Supplier of Plant & Machineries

Raw Material Suppliers

^ Top
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19/65

Sample Chapters

(Following is an extract of the content from the book)

Hide

Formulary Section: Sophisticated or Fantasy Perfumes

Introductory

Sophisticated or fantasy perfumes: in other words, this chapter is devoted to what in France is quite simplycalled 'la Grande Parfumerie'. A difficult task faces us here, in that we must seek to hold the interest of thereader without exposing ourselves to charges of revealing too much or breaching confidences. This is aparticularly delicate situation when currently fashionable perfumes are the subject of discussion.

We shall restrict ourselves to being as objective as possible, but in so doing will offer guides to creation andsome formulae, as examples, to facilitate basic research.

Perfumes of Fantasy (as we may call them for want of a better name) are roughly divisible into sixcategories:

Floral perfumes

Aldehydic perfumes

Chypre types

Oriental types

Green types

Perfumes with a distinguishing dominant note.

These types may and do, of course, overlap. And, independently of the notes that characterise perfumes ineach separate category, the tonality also plays an important part. This may be, in each group, one of three,namely light, medium and heavy.

Before quoting examples of these different groups, we give formulae for certain bases, both of a general andmore specific nature, that can be utilised in a variety of formulae, just as can many of the floral bases alreadydiscussed in the previous chapter. Here is a representative of the very interesting bergamot-vanilla bases:

Bergamot-Vanilla Base

Bergamot oil 100


20/65

Vanillin 5

Aldehyde C.12 (MNA) 10% 1

Aldehyde C.8, 10% 0.3

In the formula that follows the cedrat oil, once a natural product, may be replaced by the now conventionalartificial blend of lemon, bergamot and orange oils.

Aldehydic base A.1

Aldehyde C.8 0.50

Aldehyde C.9 1.25

Aldehyde C.10 2.50

Aldehyde C.11 (undecylenic) 1.25

Aldehyde C.12 (lauric) 2.50

Aldehyde C.22 (MNA) 1.50

Bergamot oil 12.50

Bergamot oil, sesquiterpeneless 6.20

Superorange (Lautier) 50% 10.00

Supercitron (Lauiter) 5% 1.90

Lemon oil 1.25

Cedrat oil 3.75

Neroli A 3.10

Folia (Bertrand frres) 0.60


21/65

Ylang-ylang oil 37.50

Opopanax L.G. (Givaudan) 1.25

Costus absolute 0.60

Musk tincture No.1 2.50

Rose No.2 6.20

Sandalwood oil 3.15

100.0

Aldehydic Base A.2



Aldehyde C.10 0.39

Vanillin 1.95

Coumarin 9.75

Hydroxycitronellal (Laurine, Givaudan) 9.75

Phenylethyl alcohol 14.30

Rose oil, Bulgarian 2.60

Geraniol 100% extra (Frimenich) 6.50

Beta-si Methyl ionone (Raldeine D) 6.50

Benzyl acetate 4.55


22/65

Jasim absolute 3.90

IsoEugenol 6.50

Anisic aldeyde 7.80


Linalool ex bois de rose Brazil 13.00

Sandalwood oil 11.70

Dimethyl phthalate 22.23

130.00

Curacao Base

The 'orange curacao' note is very characteristic and the actual Curacao orange oil virtually unobtainable. Forthat reason the following formula will often prove useful.

Bitter orange oil (Guinea) 37.50

Bitter orange oil, deterpenated 7.45

Anethole 4.65

Citral 3.70

Coriandrol (from Russian coriander oil) 2.70

Aldehyde C.8 2.00

Aldehyde C.9 10% 5.00

Aldehyde C.10 7.00



23/65



100.00

Leather or 'cuir' bases have continued to be popular and widely utilised in perfumery at the time of writing.They are indispensable in certain fashionable perfumes and are particularly of interest in perfumes for men.

Cuir Base C.1

Bergamot oil 1.5

Framboisis (de Laire) 7.5

Coromia (Givaudan) 40.0

Corinal (Firmenich) 14.0

beta-Methyl ionone 4.5

Jasmin No.2 2.4

Mandarin oil 1.5

Cedrol 12.0

Lilac No.2 9.0

Musk ketone 1.8

Musk ambrette 1.8

Neroli B 0.9

Coriandrol 0.3

Cedrate oil 0.8


24/65

Vanillin 1.5


100.0

Cuir Base 2

Alliantone (Givaudan) 14.0

Hyacinth absolute (Polak's Frutal Works) 9.0

Aldehyde C.11 (undecylenic) 10% 10.0


Angelica root oil 2.0

Hydroxycitronellal 4.0

Musk ketone 3.0

Ethyl vanillin 6.5

Costus absolute, 10% 2.5

Birch tar oil. rectified 10.0

beta-Methyl inone 15.0

Ionone extra 10.0

Terpineol 10.0

100.0

The woody note is often employed in association with other notes, not only to confer its own characteristicsbut to soften and round off the finished composition.


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Woody Base B.1

Linalyl acetate 27.00

Bergamot oil 12.35

Rose de Grasse absolute 12.20

Jasmin absolute 6.90

Bois de rose oil, Brazil 6.00

Lilac No.2 5.70

Muguet No.1 5.25

Vanillin 4.95

Coumarin 4.95

Sandalwood oil 3.90


Neroli oil 1.95

Bitter orange oil, Guinea 1.95

Labdanum absolute 1.20

Patchouli oil 1.05

Vetiver oil, Bourbon 1.05

Hyperessence orange (Charabot) 0.90

100.00


26/65

The moss note plays a very important part in perfumery. It sustains the head notes of 'green' compositions,which are currently fashionable; but long before this it found other applications. That great perfumerRoudnitska has contributed significantly to the popularly of the moss note, and perfumers everywhereknown the famous mossy base, made by one of the leading synthetic houses and bearing the name of aGerman province.

The day when oakmoss was first associated with the synthetic odour of isobutylquinoline, was indeed alandmark in the history of perfumery. It opened a new and broad avenue of perfume creation, and especiallyso when homologous odorants became available to vary the original accord and multiply the possibility offurther combinations.

In their basic notes these mossy compositions afford admirable support for special fruity effects, oncondition that they are accompanied by a more 'human' note, as it were, such as musk, amber, civet etc.

Moss Base M.1


Bergamot oil 10.25

Bulgarian rose oil 2.40


Coriandrol 0.25

Jasmin No.4 2.40

Patchouli oil 6.70

Thyme oil, red 0.35

Vetiver oil, Bourbon 5.30

Ciste absolute 5.50

Oakmoss absolute 5.30

Castoreum absolute 11.30


27/65

Neroli A 0.95

Musk ambrette 0.75

Caraway oil (Flebo) 17.65

Superorange (Lautier) 11.60

100.00

In the following formula readers should note that vetiver acetate does not mean vetiveryl acetate. The former- with its own distinctive odour - results from the acetylation of the oil itself, which naturally involves notonly the acetylation of the oil's vetiverol but also that of the other alcohols present in the oil. Vetiveryl

acetate, on the other hand, is prepared by the simple acetylation of vetiverol.

Base 1.S

Opopanax L.G.(Givaudan) 30.0

beta-iso Methyl ionone 13.5


Ylang-ylang oil 2.5

Ionone alpha 5.0

Rose Bulgarian oil (10%) 10.0

Jasmin absolute 5.0

Vetiver oil, Java 1.0

Musk ambrette 2.5

Coumarin 1.0

Vanillin 2.0


28/65

Base Claveline No.1 2.5

Muguet No.2 10.0

Vetiver acetate 5.0

IsoButylquinoline 2.5

100.0

Moss Base M.2


Rose de Mai absolute 3.80


Neroli oil 1.50

Jasim absolute 3.80

Thyme oil 0.60

Patchouli oil 1.55


Ciste absolute 4.15

Tree moss absolute 9.10

Castoreum tincture 2.65

Opopanax L 2.65

Musk ambrette 1.15


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Tincture of musk 1.50

Bergamot oil 32.70

IsoButylquinoline (5%) 4.60

Supercitron (Lautier) 50% 0.75

Superorange (Lautier) 0.40

Coriandrol 0.40

100.00

See Chapter 13 of this book, under Green, Fruity and other special notes. In addition to the newer 'green'odorants marketed as pure chemicals, others have been introduced as proprietary bases. In most instancesthese bases have been well contrived, so as to permit their introduction into standard formulae withoutcausing any undue imbalance or interference. They nevertheless give rise to effects that are quite distinctiveand different from those that preceded their introduction. The auxiliary notes so introduced may of course bepleasing or displeasing, but the possibility of producing novel and interesting effects cannot be overlooked.

Moss notes may be more or less 'fruity' in type, according to taste. Moss Base M.2 can very easily bereorientated in this fashion.

A certain number of odorants are capable of suggesting the sea and the open air, faintly suggesting the odourof ozone. Givaudan's Alliantone, Laserson's Aldehyde Mer and Robertet's Absolu Marin are among theproducts of this type that strike a note of originality and may well introduce effects that appeal to outdoorsenthusiasts, the masculine market, and perhaps a still wider market. This type of perfume could well be thesubject of tomorrow's success story.

We now turn to the various general types of perfumes indicated in our earlier classification.

FLORAL BOUQUET PERFUMES

Parfum QH No.1

Lilac No.2

50.00


30/65


Aldehyde C.12 (MNA) 10% 0.25

Aldehyde C.12 (lauric) 10% 0.10

Citronellyl lactone (I.F.F.) 10% 0.05

Amyl salicylate 5.00

Sandalwood oil 1.55


Benzyl acetate 3.90

Rose No.3 4.00


Cedrat oil 7.00

Bergamot oil 5.00


Musk ambrette 1.00

Musk ketone 1.00

Vanillin 2.00

Ambrophore (Firmenich) 2.00

100.00

The next flower perfume (A) is characteristic of a kind of bouquet which had a great success at the end ofthe nineteenth century. As an essential part of its structure it contained a base termed Bouvardia, which had


31/65

then and still retains a wide acceptance among perfumers. For that reason we first give a formula for a baseor this general type.

Bouvardia BM


Geraniol extra 5.00


Base Tuberone No.1 2.50

Neroli B 12.50



Hypressence orangeflower (UOP) 6.25

100.00

Parfum AO

Mimosa flower absolute 1.7

Rose de mai absolute 3.4

Hyperessence orangeflower 5.0

Narcisse des Montagnes absolute(Camilli) 2.0

Base Tuberose No.2 4.0

Jasmin absolute 3.4

Jasmonone No.4a 1.0


32/65

Ylang-ylang oil, Manilla 3.0

Heliotropin 2.0

Acacia 200 (Firmenich) 8.5

Bouvardia BM 4.0

Bouvardia 100% (de Laire) 3.0

Bergamot oil 10.0


Anisic aldehyde 6.0

Methyl anthranilate 1.0

Linalyl acetate 2.0

Ionone alpha 2.0

Ambrophore (Firmenich) 3% 20.0

Civet tincture 10.0

100.0

The following perfume is distinguished by its association of a lilac type of composition with the atmosphereor the sea.

Parfum TL

Musk ketone 1.2

Rose No.1 2.0

Hyacinth No.1 5.6


33/65

Lilas Isobutaflor (Robertet) 7.7


Lilac No.3 72.0

Aldehyde Mer (Laserson & Sabetary) 0.5

Hyacinth absolute (Polak's Frutal) 1.0

100.0

Parfum F



Narcisse des Montagnes absolute (Camilli) 2.10

Lilac No.3 21.50

Paracetone (Givaudan) 22.70

Gardenia 9058 (Givaudan) 10.25

Heliotropol (Firmenich) 4.20

Jasmin No.4 4.20

Grapefruit oil 5.10

Bergamot oil, sesquieterpeneless 3.40

Neroli A 3.40

Base Cuir C.1 2.10


34/65

Coumarin 1.70

Bornoia absloute oil 1.00

Rose No.1 1.00

Pollenol (Firmenich) 0.50

Hyperessence reseda (Charabot) 0.15


Aldehyde C.12 (MNA)50% 0.05

Phenylacetaldyde dimethylacetal 50% 0.05

Cyclopentadecanolide 0.35

100.00

Parfum HB

Jasmin No.2 7.50

Bergamot oil 10.00

Lavender oil 7.45

Opaslaunax (Ets: Hasslauer) 7.50

Methyl anthranilate 6.70

Orange oil 4.10

Lilac No.1 3.60

Rose No.1 3.00


35/65

Methyl ionone 2.20


Muguet No.1 2.00

Neroli A 1.40

Claveline Base No.1 1.30

isoEugenol 1.30

Sandalwood oil 1.30

Heliotropin 1.30

Ambreine S (Firmenich) 0.80

Vanillin 0.80

Coumarin 0.75

Orangeflower water absolute 0.80


Anisic aldehyde 0.45

Cedarwood oil, Virginia 0.40

Merisia (Descollonges) 0.40

Orris absolute P.V. 0.20

Benzyl acetate 0.20

Zdravetz oil, 10% 0.90


36/65

Cinnamon oil, Ceylon 10% 0.40

Framboisis (de Laire) 10% 0.20

Peru balsam tincture 13.00

Civet tincture 13.00

Musk No.1 tincture 4.20

100.00

Parfum AR

Jasmin No.4 1.10

Jasmin No.2 3.95


Rose de Grasse absolute 1.60

Rose No.1 2.10


Arhenol (Firmenich) 7.10


Daturol (Firmenich) 0.55

Lilac No.1 5.10

Methyl ionone 3.60

Irophore (Firmenich) 0.30


37/65

Bioflor (Synarome) 6.65

Linalool 2.60


Nerol 0.55

Teprene (Synarome) 6.15

Muguet No.1 10.00

Bergamot oil 13.00

Aldehydic Base A1 3.20


Oakmoss absolute dcolore (Robertet) 1.10

Cyclopentadecanolide 1% 0.80

Vanillin 0.55

Musk ketone 1.20

Musk ambrette 1.10

Heliotropin 0.95

Civet tincture 3.70

Musk No.1 tincture 3.20

Vanilla tincture 5.25



38/65

Cuir Base C.1 0.80

Castoreum Anhydrol (Givaudan) 1% 0.80

100.00

ALDEHYDIC PERFUMES

Parfum VN

Bergamot oil 5.30

Bitter Orange oil 4.25

Aldehydic Base A2 3.00


Methyl ionone 4.25

Cinnamic aldehyde 340

Jasmin de Provence (Descollonges) 3.00

Petitgrain oil, French 2.20


Sophora (Givaudan) 2.80

Lavender 1.40

Neroli 1.15

Jonquil absolute (Charabot) 0.50



39/65

Sandalwool oil 0.60

Benzoin Gomodor (UOP) 0.60

Opopanax vrai resine (Hasslauer) 3.00

Elemi resinoid 2.00

Rose No.1 2.20


Musk tincture 12.45



100.00

Parfum C

Rose No.2 0.40

Lilac No.3 4.20

Jasmin No.2 6.70

Neroli B 0.15


Terpineol 3.20

Cinnamic alcohol ex styrax 0.50

Methyl ionone 3.20


40/65

Amarante (Givaudan) 5.00

Oakmoss absolute 1.25

Opopanax L 3.75

Base 1.S. 2.60

Liquidambar II 0.10

Mousse de Saxe (de Lair) 5.00

Thyme oil 0.30


Patchouli oil 3.00

Sandalwool oil 3.00

Coriander oil, Russian 4.00

Cedrat oil 1.00

Bitter Orange oil 2.00

Lavender oil 3.00

Bergamot oil 10.00




Ethyl vanillin 0.80


41/65

Musk ketone 0.50

Musk ambrette 1.00


Coumarin 3.00


Aldehyde C.12(lauric) 0.36

Aldehyed C.12 (MNA) 0.27

Tincture of civet 1.50

Tincture of castoreum 8.50

100.00

Fairly frequent reference is made in these formula to the natural resin, Liquidambar. This balsamic productof very dark bituminous aspect is not used as such but is appropriately treated to yield three differentfractions. The first of these has the strongly 'grassy' styrene odour; the second has a labdanum odour and an'animal' note; while the third has the animal note in an even more marked degree. In fine perfumery only thesecond and third fractions are normally used; and these are referred to in the various formulae asLiquidambar II and Liquidambar III.

Treatment of raw materials in this way may be carried out in the perfumery laboratories if they happen toinclude a suitable chemical laboratory adequately staffed. Alternatively, arrangements can often be madewith an outside laboratory to carry out this and other collaborative work.

Parfum SP

Opopanax L 2.20

Opopanax 18 (de Laire) 0.90

Cyclamen aldehyde 0.10


42/65


Costus resinoid (Camilli) 0.15

Bergamot oil 3.20

Patchouli oil 2.40

Grisambrol (Firmenich) 0.80

Labdanum oil (Schmoller) 0.25

Moss Base M2 0.40

Oakmoss absolute superessence (Yugoslav) 0.90

Liquidambar II 0.05

Mousse 1026 (Roure Dupont) 2.15

Musk BRB (Rhne-Poulenc) 0.10

Musk ketone 0.60


Ethyl vanillin 0.10

Thibetine (Givaudan) 0.60

Animalis (Synarome) 0.30

Civette RP No.2(Rohne-Poulenc) 0.10

Elecampane oil 4.50

Sandalwood oil 0.20


43/65

Methyl ionone 3.20

Jasmonone No.4 5.70


Gardenia No. 1 4.50

Gardamon oil, Naardenised (Naarden) 0.25


Corona (Roure Dupont) 1.70


Phenylacetaldehyde 0.05

Camomile absolute (Schmoller) 0.15

Lavender oiol, Barrme (42% esters) 1.30

Linalool ex bois de rose 4.50


Styrallyl acetate 2.10

Aldehyde C.8 0.10

Adehyde C.9 0.10

Aldehyde C.10 0.60


Aldehyde C.12 (lauric) 50% 0.70


44/65

Opopanax resin tincture 6.30


Vanilla tincture 1.10


100.00

CHYPRE TYPES

Chypre perfumes have always found great favour among women and, indeed, among men. Witness the

famous Chypre of Coty, about which and its constituents so much has been written.

Characteristic of the Chypre odour, in addition to its conventional notes of bergamot, oakmoss, civet, linalylacetate, amyl salicylate, rose, neroli, vetiver, sandalwood, labdanum and the little rustic or herbal notes ofred thyme, tarragon and basil, etc.... is a note of safrole or isosafrole. Others will see in this very specialnote, which assures the perfume's success, a celebrated composition of the German firm Heine, known underthe name of Product EM and probably based on oakmoss, labdanum, liquidambar, linalyl acetate - andvarious floral elements.

Many Chypre variants have been introduced each, with its slightly different note or emphasis whichdistinguish it from the other members of its class.

When a perfumery house lacks imagination enough to devise a really new perfume. It tends to fall back on a'special' Chypre; this being a more or less safe bet, in that it is most unlikely to prove an abject failure. This'policy of the least effort' provoked Maurice Chevron to remark: 'It is simply beef steak.' During the past fewyears aldehydic chypres have made headway. The following examples are given as typical of this class.

Pafum C.2

Rose No.1 1.80

Ysminia (Firmenich) 15.00


Oakmoss absolute superessence, Yugoslav (Schmoller) 0.60


45/65

Bergamot oil 4.20

Oakmoss absolute (Camilli) 4.35

Jasmin No.1 4.00

Geranium sur rose oil 1.80

Methyl ionone 11.30

Vetiver oil 3.60

Sandalwool oil 1.30

Linalool ex bois de rose 1.80

Dianthine (Firmenich) 7.60

Eugenol 0.75



Costus absolute 10% 2.10

Mace oil 0.15

Florizia (Firmenich) 3.15

Tincture of Musk, 3% 7.60

Tincute of Civet, 3% 1.00

Musk ambrette 0.70

Musk ketone 1.40


46/65

Coumarin 0.30

Vanillin 0.15


Aldehyde C.11 (undecyclenic) 1% 1.20

Aldehyde C.12 (MNA) 10% 3.60

100.00

This is typical of Aldehydic Chypre. The following Chypre Base is also, in its way, very characteristic.

Base Chypre H

Coumarin 8.70

Vanillin 4.60

Ethyl vanillin 2.90

Heliotropin 1.80

Methyl ionone 1.20

Musk ketone 0.75

Rose H 0.60

Orange oi, bitter, Guinea 4.50

Geraniol extra 2.90

Bois de Rhodes oil (Chiris-UOP) 1.00

Noisette (de Laire) 0.20


47/65

Sandalwood oil 2.80

Benzoin Supergomodor (Chiris-UOP) 0.45

Liquidambar II 2.90

Labdanum Clair (Lautier) 5.80

Linalool ex bois de rose Cayenne 0.75

Linalyl acetate ex bois de rose 2.90

Terpinyl acetate 8.80

Benzyl acetate 2.90

Vetiver acetate 0.09

Estragon (tarragon) oil 5% 0.54

isoButylquinolin 5% 0.75



Bergamot oil 6.00

100.00

Parfum MD

Opopanax L 2.60


Cyclamen aldehyde 0.40


48/65

isoButyl salicylate 1.70

Costus oil 0.90

Bergamot oil 4.22

Cyclosia Base (Firmenich) 2.00

Patchouli oil 18.10

Vetiverol 4.82

Jasmin No.1 4.23


Muguet No.1 4.22


Lavender oil 1.70


Cardamine (Synarome) 4.22

Gardenia No.1 6.07

Galbanum oil (Robertet) 1.70

Oakmoss absolute superessence (Schmoller) 2.60

Base Tuberose No.1 0.85

Rose No. 2 0.45

Cardamon oil 1.70


49/65

Ambre 83 (de Laire) 10% 0.85

Grisambrol (Firmenich) 2.25

Ethyl vanillin 0.45

Musk ketone 4.22

Musk BRB (Rhne-Poulenc) 0.85

Coumarin 3.37


Civettone (Firmenich) 100% 0.90

Musk ambrette 4.22

Ambrophore (Firmenich) 2.87

Animalis (Synarome) 2.15



100.00

The number of chypre variations is very great and it would be impossible for us to offer examples of acomprehensive range of them in the necessarily restricted space available to us. The following, however,reveals the incorporation of distinctively 'animal' note in a chypre base.

Chypre I.D.

Oakmoss absolute hyperessence (Charabot) 0.30



50/65

Musc VH (Ets. Hasslauer) 10% 20.15

Musc baume epure (Payan & Bertrand)10% 10.00

Ambergris tincture 18.80


Musk ketone 0.30

alpha-Methyl ionone 0.90

Sandalwood oil 0.40

Vetiver oil 0.90

Bergamot oil 4.75

Rose No.3 3.75

Bouvardia CNC (Firmenich) 4.75

Carrot Clair (Lautier) 10% 2.05

Celery Clair (Lautier) 10% 1.25

Tobacco W (I.F.F.) 0.55


Cyclopentadecanolide 1% 0.15

Orange oil superdterpene (Charabot) 0.35

Celery seed oil 0.35

Angelica root oil 0.15


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100.00

The following formula is for a modified chypre perfume with a peach type of top note.

Parfum V.W.


Wardia (Firmenich) 2.00

Benzyl acetate 9.00

Orange oil, sweet 3.00


Vetiveryl acetate 4.50

Cedryl acetate (Givaudan) 4.00

Sandalwood oil (Mysore) 2.50

Lavender oil, Barrme 42% esters 6.00

isoEugenol 1.75


Bergamot oil 12.00

Lemon oil, Guinea 3.50

Methyl ionone 5.00


Oakmoss decolore (Robertet) 3.50


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Patchouli oil 2.50

Petitgrain oil, paraguay 4.00

Indole 0.15

Citral 0.50

Aurantiol 4.00

Dimethyl benzyl carbinol 3.00


I-citronellol 2.00

Geranium extra 2.50

Fennel oil 0.75

Black pepper oil 0.75

Coumarin 2.60

Musk ketone 1.50

Civettone 0.20

Ambrettozone (Haarmann & Reimer) 0.40

Ambrarome Absolute (Synarome) 0.25

Clove bud oil 0.30

Aldehyde (pseudo) C.18, 10% 0.40

Aldehyde (pseudo) C.16, 10% 0.20


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Aldehyde C.14 ('peach'), 10% 5.00

100.00

ORIENTAL PERFUMES

The principle underlying the creation of so-called oriental perfumes is to utilise balsams and resins of allkinds as the base, e.g. Perue balsam, benzoin, opopanax, olibanum, labdanum, etc., accormpanied by muskand civet, etc., natural and artificial. The conventional crystalline 'fixatives' are also used according to taste.The desired objective is to obtain a perfume with warm and even seductive tonalities. The typically orientalbase is 'floralized' by means of heady flower odours such as jasmin, tuberose, magnolia, gardenia, honey-suckle, syringa, etc.

Due note must be taken of the fact that all the basic raw materials are heavy in character and slow to be

released into the atmosphere. It is, therefore, necessary to use, with them, a sufficiency of citrus type oils,etc., acetates and other synthetics of a light nature, in order to entrain and disperse them.

By way of example we give a base that may serve as a starting point for these types of perfume.

Base S.H.

Tonka beans hyperessence (Charabot) 1.75

Peru balsam rectified (Hasslauer) 3.30

Castoreum anhydrol (Givaudan) 2.55

Ethyl vanillin 2.20

Bergamot oil 51.25

Orange oil, bitter (Guinea) 8.70


Lavender oil, Barrme 4.40[tr

]Ondatrol (Descollonges) 0.75

Linalyl acetate ex shiu oil 16.40


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100.00

Here is another oriental pefume:

Parfum J

Coriandrol (Robertet) 10.85

Vetyrisine (Firmenich) 7.30

Opaslaunax (Hasslauer) 7.30

Humuscol (Descollonges) 5.82

Vanillin 3.90

Heliotropol (Firmenich) 0.35

Coumarin 3.65

Sandalwool oil 3.65

Lavender oil, Barrme, 40% esters 3.65

Bergamot oil 3.65

Coriander oil, U.S.S.R. 2.91


Neroli 2.54

Supercuracao (Lautier) 2.59

Clary sage (Chiris-UOP) 1.48



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Patchouli oil 0.74

Musk ambrette 0.74


Rose No.1 0.37

Wintergreen oil 0.14

Peru balsam rect. (Hasslauer) 2.50


Anhydrol Castoreum (Givaudan) 0.37

Civettone 100% 0.37

Musk tincture No.1 28.71

100.00

'GREEN' PERFUMES

For some years there has been a growing demand for perfumes with a more or less pronounced note ofgreenery or verdure. It could of course be said that the original perfumes with a type of green note were theferns or fougres, led by the famous Fougre Royale of Houbigant, created by Paul Parquet around 1880-1882. Other fougres were quick to follow, and all helped to popularize the fern note, which is really oneof forest trees and undergrowth rather than a truly green leaf note.

Towards 1920 or perhaps a little later appeared, under one of the more modest brand names, Parfums Ybry,a very green type of hyacinth-based perfume. Some years after this came Schiaparelli's Shocking, with itslightly green note superimposed on a very powdery base. Still later (1930-32) Houbigant tried to launch a

green type of perfume under the name Festival. But it was still too soon to anticipate success in thisdirection. A little later, however, Carven came out with Ma Griffe and this, with its truly green note, provedto be a great success. After this came a profusion of 'green' perfumes, and the fashion still endures.

Her is a hyacinth-green base which can be of considerable service in the creation of green perfumes.

Hyacinth Green Base No. 10


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Hydroxycitronellal (Cyclosia,Firmenich) 3.60

Phenylethyl acetate 1.80


isoEugenol 3.50

Cinnamic alcohol 16.66

Phenylacetaldehyde 50% 0.85

Phenylacetaldehyde dimethyl acetal 0.50

Folial (Firmenich) 0.05


Benzyl acetate 1.80

Phenylethyl formate 0.50

Terpineol 3.10

Rhodinol 1.20

alpha-Amylcinnamic aldehyde 0.30


Rose No.2 0.06


Hosaldeine (de Laire) 0.79

Framboise 2222 (Firmenich) 10% 0.24


57/65


100.00

The green note is rather more restrained in the formula that follows:

Parfum P No. 2

Jasmin No.1 12.65


Lilac No.3 22.90


Orangeflower No.4 4.95

Rose No.1 4.95

Narcisse des Montagnes absolute (Camilli) 4.95

Methyl cinnamate 2.40

Phenylacetaldehyde 2.45

Nardcissus No. 2 25.65

Phenylacetaldehyde dimethyl acetal 0.26

Vert de Lilas (de Laire) 0.94

Coumarin 3.70

Musk ketone 1.20

Oakmoss absolute, Yugoslav,Superessence (Schmoller) 3.75


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Liquidambar II 1.20

100.00

Other suggestions on the subject of green notes are to be found in Chapter 14.

DOMINANT NOTE TYPES

These are perfumes which have a well-defined characteristic note produced by a specific synthetic odorantor a group of two or three odorants, natural or synthetic.

It is easy enough to obtain in perfumery what, in painting, one terms a grisaille: in other words a soullessoverall tint, which shades off into a heavy and nondescript mist. To avoid this one experiments with arestricted number of odorants in order to arrive at a note that is at once novel and, as we have said, well

defined.

Here is a formula in which the dominant note is formed by an accord of four principal odorants: ambergris,Arhenol, boronia and cassis:

Parfum D

Bornia absolute oil(Plaimer) 3.75

Cassis bud absolute incolore 3.00

Oakmoss absolute incolore 2.50

Jasmin absolute Butaflor (Robertet) 1.25

Vetiver oil, naardenised (Naarden) 7.38

Carrot oil, naardenised 0.07


Benzoin Supergomodor (Chiris-UOP) 2.00

Rose No.1 1.87

Cinnamon oil, naardenised (Naarden) 1.25


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Clary sage oil, naardenised 3.50

Clary sage oil, natural 3.50

Sandalwood oil 4.00



Pollenol (Firmenich) 3.00

Ambrarome (Firmenich) 7.38

Ondatrol (Descollonges) 3.50

Alcohol C.11 (undecylenic) 0.62

Aldehyde C.10, 10% 0.03

Linalool ex bois de rose Brazil 3.75


Mandarin oil 0.75

Moskene (Givaudan) 0.25

Ethyl vanillin 2.50

Benzyl acetate 2.25

Opopanax tincture 4.00


100.00


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The ambergris note

When it comes to using this composition for preparing a perfume of chosen concentration, the quantity oftincture of ambergris that should be added, is calculated in the proportion of 100 parts of the concentrate to73.5 parts of ambergris tincture - with the balance made up of perfumery alcohol. As an example, suppose

that what is wanted is a perfume containting 15 per cent of concentrate. Then to 15 parts of the concentratewe add 11 parts of tincture of ambergris, and complete the formula by adding a sufficiency of alcohol at 95oto arrive at a total volume of 100 parts.

Tincture of ambergris at 3 per cent concentration may be replaced by much less expensive synthetics: videthe section on Animal Notes in the chapter on synthetic odorants. In this particular case excellent results,possibly even superior to those yielded by the natural product, may be obtained with a 3 per cent tincture ofAmbergris Synthtique (Givaudan).

Another example of a formula in this category may be given:

Parfum BM


Sophora (Givaudan) 20.00

Cattleya (Givaudan) 3.60

Jonquille alpha (de Laire) 6.00


Orangeflower A 0.30

Folia (Bertrand fres) 2.00

Methyl ionone 1.00


Cinnamic alcohol ex styrax 9.78

Benzyl acetate 2.00



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Rose No. 1 3.20

isoEugenol 0.80

Citral 0.40

Orange oil, bitter 4.00


Cedrat oil 2.00


Aledhyed C.11 (undecylenic) 0.02

Patchouli oil 0.27

Coumarin 3.00

Ethyl vanillin 0.80

Jasmonone No.4A 3.00

100.00

The formula for the finished perfume is made up as follows:

Perfume concentrate as above (Parfum BM) 15 kilos

Tincture of musk No. 2 4 litres

Alcohol at 95o 81 litres

After chilling and filtration one obtains 100 liters of perfume.


62/65

Many simple, small-scale chemical processes may be profitably used by the perfumer or his associates. Onethinks of the fractional distillation of Virginian cedarwood oil, for example, or the interesting end-product ofdistilling bergamot oil over oakmoss, just as the larger supply houses have distilled geranium over roseflowers and petitgrain over orange flowers. The separation of a determined portion or portions of a knownessential oil can also yield an attractive result. Nothing should be overlooked, in fact, that may contribute a

novel and perhaps an in inimitable note to a new perfume.

Manufacturing Processes

No perfume can be better than the concentrate from which it is prepared. Hence the necessity not merely ofensuring the best results in conception and formulation but also of taking every possible care in the selection,purchase and storage of raw materials. A constant standard of quality is essential.

Citrus oils are among those materials which deteriorate relatively rapidly. Stocks should therefore be used upaccordingly and any falling off in quality duly noted and acted upon. Storage basements, etc., should be dry,shaded and well ventilated. They should afford adequate protection against normal fire risks. Storage should

preferably be in glass, although internally lined aluminium cans provide one of the permissible alternatives.Some oxidation-prone essential oils are often treated on the production site with traces (e.g. 1 part in 20,000)of antioxidants, but the practice of adding such materials should be kept to a minimum and note knowinglyencouraged in fine perfumery. First-grade fresh oil is always superior to comparable treated oil.

A few odorants, e.g. myristic aldehyde, should not be stored in the cold. This particular aldehyde tends topolymerise if kept below room temperature.

When weighing-out, the formula may conveniently be typed on a Cellophane-wrapped card and clipped intoa holder having a movable wide flat strip, designed to indicate clearly the actual line that is to be wieghed.

Much thought should be given to the containers and other utensils, in respect of the metals from which theyare fabricated (e.g. good quality tinplate) and their design (e.g. with spouts for drip-free pouring and basessuitable for use on a steam bath or hot plate.

)

Accurate weighing is essential, and especially so in the case of very small quantities, which may have to beweighed separately on a more sensitive balance or used as a 10, 5 or 1 per cent solution in ethyl alcohol,benzyl benzoate, diethyl phthalate or other appropriate diluent. A very serviceable type of balance is one thatincorporates a zero resetting device and a calculator which shows automatically, at the end of the weighing,the same total as that shown in the typed formula.

Most mixtures are prepared in the cold, but some require gentle heating to promote thorough solution.Sensitive materials such as flower absolutes and fatty aldehydes should be added only after such dissolving-with-heat has been affected and the blend allowed to cool.

Modern mixing equipment offers many improvements on the old-fashioned hand methods once used in theperfumery industry. The steps that follow comprise the maturation of the concentrate on storage and (in the


63/65

case of spirituous perfumes) its subsequent reduction or dilution with alcohol; its chilling, filtration andfilling into bottles.

Probably the best way of preparing a finished perfume consisting of the compounded odorants known as theperfume concentrate, together with alcohol and water, is to pre-mix the concentrate with an equal quantity by

volume of the alcohol, and then to dilute the rest of the alcohol with the proper amount of distilled water,allow to cool completely, and then add the concentrate-plus-alcohol with renewed stirring. This methodtends to prevent colloidal precipitation of part of the concentrate, which one gets by adding the concentrateto the main bulk of alcohol initially, or the difficulty in solubilisation that may arise when the concentrate isadded last of all.

After the lapse of some 24 hours the alcoholic batch is chilled (-0.4 to -0.6o C) and filtered. Where filter aidsare used, as in the case of weakly alcoholic solutions, asbestos wool and diatomaceous earth are preferred tothe mildly alkaline magnesium carbonate.

Alcoholic Strengths

As we mention in the chapter on eaux de Cologne, the perfume content of Colognes, eaux de toilette, eauxde parfume and other fancifully named 'dilute perfumes' may range from 3 to 8 per cent, although in somefew cases this figure has been found to exceed even 10 per cent. There seems little point in marketing as atoilet water what is, in fact, a perfume - unless its water solubility has been artificially enhanced for thepurpose.

Perfumes themselves range from the perhaps old-fashioned 'low' of 10 per cent to 15, 20, 25 and even, quiteirrationally, 35 per cent. The alcoholic strength may lie between 850 and 950 Inexperienced perfumers, andsome captains of industry in the perfumery world who are not perfumers, seem occasionally to believe thathigher perfume concentration means enhanced strength and tenacity. This is not so. Sometimes the tenacity

may be slightly increased but, beyond a certain optimum level, the strength is not increased. Indeed, too higha concentration lowers the tonality of a perfume and flattens it out, curtailing its ability to expand. With avery high concentration dull, non-diffusive perfumes result, and one of the most valued properties of a goodgrade of ethyl alcohol is wasted.

Control

Adequate checking and control methods are of course essential at all stages of perfume production: from theintake and essay of raw materials, through storage and processing to filling and packaging. The variability ofcertain materials because of batch or climatic deviations, etc., is an additional obstacle in the way ofproducing a uniform series over a period of time. The perfumer should be closely concerned with the

provision and use of standard samples for odour checking and comparison. These standards must be kept inoptimum conditions, i.e. where possible in sealed ampoules or under nitrogen. Watch should also be kept onthe exact matching of colour shades.

Ethyl Alcohol: Conversion from Gay-Lussac to equivalent degrees Proof, U.S. and U.K., and

compared with Percentage Alcohol by Volume


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Gay-

Lussac(15oC)

% Alcohol by

volume (60oF)

Equivalent specific gravity in air

(60oF/60oF)

Degrees overproof

(U.K.)

U.S. Proof at 60oF

(approx.)

85 84.71 0.8503 48.49 170

86 85.71 0.8472 50.25 172

87 86.72 0.8442 52.01 174

88 87.72 0.8411 53.78 176

89 88.73 0.8378 55.55 178

90. 89.74 0.8346 57.31 180

91 90.75 0.8312 59.08 182

92 91.75 0.8278 60.85 184

93 92.76 0.8243 62.62 186

94 93.76 0.8206 64.38 188

95 94.76 0.8168 66.15 190

96 95.76 0.8129 69.67 192

97 96.76 0.8087 69.67 193

98 97.77 0.8043 71.44 195

99 98.79 0.7996 73.20 197

100 99.78 0.7947 74.97 199

100.2 100.00 0.7936 75.35 200

Notes:


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1. Equivalent specific gravities in air at the now standard temperature of 200C are given in the Specific Gravityof Spirits tables published by H.M. Stationery Office, London, 1954.[/l]

2. Degrees overproof may also be stated as 'percentage of proof spirit', in which case 48.49, for example,become 148.49.

3. It will be seen that the Gay-Lussac figures are in close approximation to those given for percentage alcoholby volume. They are in fact derived from the volume of alcohol measured at 15oC contained in 100 cc of thealcohol-water mixture also at 15oC.

It is fequently necessary to dilute 95 per cent alcohol to 90, 85, 80, 70 per cent or even lover strengths. Todetermine the quantity of water required to reduce the proof of alcoholic solutions by a definite amount, onedivides the percentage by volume of alcohol in the given proof by the percentage by volume of alcohol ofthe desired proof. The quotient is multiplied by the percentage by volume of water in the desired proof, andfrom this one subtracts the percentage by volume of water in the given proof. The remainder is the numberof volumes of water that must be added to 100 volumes of the given proof to produce a solution of thedesired proof. The resultant volume of the diluted alcohol will be the quotient first obtained multiplied bythe original volume.

Thus if 13.38 vol. of distilled water are added to 100 vol. of 95 per cent alcohol, the resultant solution will be85 per cent alcohol.

90 per cent alcohol may be prepared by diluting 947 ml of 95 per cent alcohol with water to 1000 ml.

80 per cent alcohol results from diluting 842 ml of 95 per cent alcohol to 1000 ml.

70 per cent alcohol is obtained by diluting 737 ml of 95 per cent alcohol; 60 per cent by diluting 632 ml, 50per cent by diluting 526 ml, and 45 per cent by diluting 474 ml to 1000 ml with purified water.

Contraction of volume and rise of temperature occur when ethyl alcohol and water are mixed. The finaladjustment of volume, when preparing these dilutions, is therefore made at the same temperature as that atwhich the 95 per cent alcohol is measured, i.e. about 20o C.

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