One of my favorite parts of releasing a new perfume (after the actual composition process) is writing my Scent Notes column. I love pulling the curtain back and explaining my creative process. I believe in giving people credit for being intelligent information-seekers rather than trying to build a shroud of mystery. In all the art I love, there’s nothing that really enhances my appreciation than getting a direct conduit into the artist’s creative process and inspirations.
However, now that I have split the Chatillon Lux Parfums line into a new luxury house that caters to my desire to stretch my creativity to its fullest, Maher Olfactive, I wanted to create a place that I could not only keep my Scent Notes columns for both houses in one place, but also allows more more random musings about the world of perfumery. That will be both written and, hopefully in the near future, video blogs.
For the past year, I’ve been working with Dave Kern from on a new perfume. After releasing Madame Chouteau, he and I were talking about perfumes, as we tend to do. Of course, as two guys who adore vetiver, we spoke about the terroirs and the infinite possibilities of this wildly varied root. Maybe it was the same conversation or one in close proximity, but we also spoke about tuberose. It’s a great note, but the absolute always tends to end up in a thick, dense accord, whether it’s a floral bouquet or tightly woven accords, this absolute ends up being staunchly framed, ignoring the uplifting zestiness that one smells when sniffing the air around the flower itself.
I couldn’t get this idea out of my head. So I began researching headspace analysis of tuberose, which determines the molecules in the air around the living flower rather than the absolute extracted from a harvested flower. It gave me the exact inspiration I was searching for, this modern technology finding a way to find a new lens through which to view this traditional note. Not reinvented, but to repeat a word, reframed.
So I hurriedly composed the first version and sent it off to Louisville. We knew we had something special, but we also decided to take our time and fully realize what we wanted to do with it. One year later, and here we are.
We will talk more about that process later. But first, why the name Benton Park?
Benton Park is one of my favorite historical neighborhoods in Saint Louis. It sits between my home neighborhood of Marine Villa and the oldest neighborhood in Saint Louis, Soulard (where my new scent studio is located, as well!). The actual park itself is located just a few blocks north of me, and the name itself pays homage to Thomas Hart Benton, whose regionalist painting style was inspired by our shared river city hometown.
Funnily enough, among the up-and-coming artists that Benton mentored was Jackson Pollock. This metaphor is perfect for the fragrance: the contrast of old and new, traditionalism vs abstract expressionism. Just like Benton Park, where centuries-old buildings, including the Anheuser-Busch brewery, frame an urban revitalization fueled by new ideas and fresh perspectives.
For a fragrance based on a headspace analysis of tuberose complemented by a palette of natural vetiver of various characteristics solely dependent on the region of their origin, the parallels between these juxtapositions are perfect.
Before we dig into the two accords, I must say that the fulcrum of this fragrance lies completely within methyl benzoate. This material, featured in both tuberose and gardenia, is minty but with a texture you can almost feel with your fingertips when you smell it, one that immediately evokes the same feeling that I get from a great vetiver. I’ve also heard that methyl benzoate is also what drug-sniffing dogs seek out when they search for coke, so I guess it’s addicting to sniff no matter what format.
However, the two biggest components of this tuberose accord are limonene, a bright, citrus zesty note, and methyl salicylate, an cold, spearmint note. The minty freshness of tuberose is further fortified by blue gum eucalyptus essential oil, which shares a good amount of its composition with similar molecules in the tuberose headspace analysis, while the piney/citrus floral builder of alpha terpineol works in tandem with the limonene.
To fill out the accord further, I used methyl tuberate (the name should give this one away), and then an onslaught of notes to create the fleshy, fruity body of the tuberose without getting too heavy: gamma decalactone (creamy peach), dimethyl benzyl carbinyl butyrate (plummy), raspberry ketone (a fruity floral note) and benzyl alcohol (fruity jasmine).
While those notes were slightly interpreted from the headspace, where we really got into some fun abstraction was the green accord, from what was found in the headspace (cis 3 hexenyl tiglate) to some of our own expressions (violet leaf absolute and irival, a watery green orris material). Finally, eugenol and methyl diantilis make up the small touch of spicy notes that finished off the entire thing, with just a touch of vanillin pulling the whole thing together.
The vetiver accord, however, is based on three vetivers. A double distilled vetiver smooths out all the rough edges of the vetiver, creating a rich, elegant base. Vetiver from India creates more of a woody, green note, while the earthy grassiness of Haitian vetiver gives it a stronger top note and bridges the gap to the tuberose perfectly.
And finally, a trio of musks ground the whole thing and give it levity. Ethyl brassylate gives a strong body to the floral notes, while ambrettolide accentuates the nuttiness of vetiver and muscenone gives the whole thing an edge. Nothing menacing, but it really makes the texture stand out.
I truly believe this is a perfume lover’s perfume. One that appeals to students of the history of perfume, or really one for those who love vetiver, love pushing art beyond the possibilities of artificial constraints and one that can redefine what tuberose can be, who wears it and how it is perceived.
There will only be 25 bottles released, all of which are only available through American Perfumer’s lottery system. Contact us to be entered into the lottery to get a chance to purchase one of the 25 bottles. And the unlucky 26th person to be selected will win a free bottle. This is one of the few perfumes that I’ve worn consistently since it was completed, and I know Dave has, too. We both are very excited to share this with you and can’t wait to let you smell it.
As the world turns a corner and optimism abounds, it feels like the sun is rising on a new chapter. With that in mind, I have been thinking about bright, pleasant scents, but scents that do not smell like anything that we’re used to. Something new and unexpected.
When I think of bright, pleasant scents, I think about the floral market on LaSalle Ave. It’s one of the oldest in the country and supplies florists all over with flowers. In the morning, the dew coats the plants, while inside freshly cut flowers, wooden planters and other uplifting scents abound. That was the jumping off point for Sunrise on LaSalle.
While the top note of Sunrise on LaSalle is pear, the fragrance begins with a geranium essential oil from South Africa. This is a fruity and piquant essential oil is fortified with fruity, rosey elements that also link it to the pear note: alpha damascone (apple with a touch of mint), rhodinol (lemony rose/geranium) and givescone (spicy fruity rosey). These play a role in supporting the major players in the pear accord (which we will get to in a second), as well as emphasize both the lemony and spicy aspects of geranium that make it pair so well with the pear. Finally, methyl salicylate, a wintergreen/spearmint note, is used in a very small amount to add a crisp freshness to both the pear and the geranium notes.
Next, the pear accord revolves around a material called hexyl acetate, which smells quite a bit like pear. There’s a pear skin-type note called peranat, plus a couple notes to give it a more creamy texture: apritone and nectaryl, meant to make the pear accord more meaty. Finally, leaf alcohol (aka cis-3-hexanol) gives it a richness to anchor the accord, it’s rich green combining with the more biting top notes of the accord to create a juicy pear note.
The jasmine tea note utilizes a jasmine accored that I’ve employed before, while also using a big dose of both hedione and hedione hc to give everything some air to breathe, while clearwood adds an earthiness that one would expect from tea. Finally, the tea leaf texture is emphasized with clarycet, a sage/tea type note, as well as hexyl salicylate, an ethereal green note.
Finally, a Virginian cedar essential oil slots complements the geranium quite a bit, with its spicy top notes and rich, moist undertones, much like a cedar chest. I lighten this up a bit with iso e super, then further round out the base of the fragrance with ethylene brassylate, a great musk for florals and fruit, and galaxolide, to really finish off everything with a big fresh musk note. Finally, an atranol-free oakmoss absolute may not be noticeable, but it brings out so much of the cedar and tea that the fragrance wouldn’t be the same without it.
Sunrise on LaSalle will be released as an eau de toilette, as well as a soap and aftershave from Declaration Grooming, on May 1 at 12pm Eastern. I may have a few samples left from the test batch on the website, but if those run out then I will have more upon release.
I have always loved the phrase, sun soaked. The idea that something was so saturated with sunshine that it would overflow. On a sun-soaked day, the air always is thick with scent, the solar energy causing a vibrant, radiant feeling.
So now, in a season of both springtime renewal and also renewed hope, I composed two perfumes inspired by sunshine, brightness and optimism. One of which, Sunrise on LaSalle for Chatillon Lux, I will discuss soon. However, Sun Soaked Eau de Parfum for Maher Olfactive is unlike any that I have made so far. Bright and fresh, yet deep and complex. It is focused on neroli, but it is supported underneath by elements woven together to form one unified tale to tell with many facets to explore.
As I mentioned, neroli is the focus of this perfume. The blossom of the bitter orange tree, neroli features both bitter orange facets and narcotic white flower aspects all at once, providing it an opportunity for exploration throughout.
I began everything with a neroli absolute from Egypt, fortifying it with a bitter orange (orange bigarade) petitgrain essential oil, which refers to the branches and leaves of the orange bigarade tree. Additionally, in order to make the note pop, I fortified it with small doses of neryl acetate and rhubofix, a sparking, effervescent rhubarb note used in a very small dose to give the shimmering sunshine vibe to the top note. Finally, a small dash of cypriol grounds the accord and acts as a way to connect it to a narcissus absolute, an absolutely beautiful one that is the same that I used in this year’s version of Madame Chouteau. These add a rich, fruity floral yet throaty floral note to add a counterpoint without weighing things down too much.
Naturally, this leads into the orange bigarade note. The foundation for this note has already been laid. In order to avoid the typical pulpy orange overload, I used a delicate hand, simply using corps oranger, another orange/orange blossom note, and a tamarind base that is also green, mandarin and slightly aldehydic. I used a C-10 aldehyde, a citrus orange sparkle, to further enhance these sunshine citrus notes.
Finally, apritone (an apricot-type note) and vetikone (a grapefruit peel/vetiver note) add a creamy fruity note and a citrus peel bitterness to the composition, respectively.
Next, a black currant bud absolute keeps pushing the narcissus to the fruity side, especially when fortified with a bit of cassifix, which enhances the fruity quality of black currant. A splash of damascene alpha, an apple note found in some of the fruitier roses, further softens up the black currant note and adds to the joyful vibe of the top notes.
Now I was faced with how to start to bring some gravity to this composition without sacrificing the sunshine brilliance that I hoped to preserve. I came up with a solution: a chamomile absolute that is far more rich and complex than other chamomiles I have smelled, far less tea-like and more fruity green and almost vaguely syrupy, but more sappy than what you would put on pancakes, as well as a tinge of apple, as well.
Finally, in the base is a Texas cedar, not a huge dose, but enough to add some terpenic aspects in addition to a rich, deep woodiness. And then the final touch, the amber accord.
This amber accord is heavy on the labdanum absolute and light on the ethyl vanillin, keeping it from venturing into the overly thick or powdery territory, but rather adding a sense of fullness and longevity, the idea of air saturated with sunshine. Iso e super also keeps it lighter than the typical amber accord, as well as olibanum frankincense and elemi essential oils. Finally, the accord uses habanolide and ambrettolide musks, to round everything out and add just a touch of bared teeth to it. And last but not least, beeswax absolute adds some sweetness while also further enhancing the sunshine day in the country sense.
I’m excited about this new scent, as it is the first addition to the Maher Olfactive line to be so lighthearted. But I still fully believe that it retains the same fullness and complexity that is the hallmark of the line. There are still limited samples available from the test batch, but when those are out the full release will be available on May 15.
Growing up, my grandmother lived south of Saint Louis close to the Meramec River. As a child, I loved hiking out in the woods behind her house down to a creek that was a tributary to that river. There were fun hills to climb, and the smell was so fresh, green and vibrant.
As I was composing Tempo Rubato and contemplating the multifaceted scent of orris butter, especially the watery green nuances. It suddenly made me think of those hikes. So I composed this with those memories at the top of mind to create a nouveau fougère of sorts.
In order to complement this aspect of the orris, I used violet leaf absolute, irival and orivone in conjunction with hinoki for a watery green, woody note. Then the sparkling note of helional makes it shine even more, with a raspberry accord and a spearmint note (methyl salicylate) act as players in small doses, not noticeable on their own, just to affect the occord. Finally, cypriol adds some dark, green lush weight to the accord. Finally, I use gamma nonalactone, a creamy coconut note that ends up giving a fig leaf effect to this part of the scent. Finally, ambergris and ambroxan finalize the watery green aspect.
In order to give the impression of the flowers that were blossoming throughout the hikes, I used cassie absolute (aka frangipani), Bulgarian lavender, jasmine grandiflorum absolute (complemented by high-cis hedione, a fruity jasmine note), neroli essential oil from France, bergamot from Italy (rectified to remove sensitizing elements) and amyl salicylate, a clover-type note.
Finally, the woody, spicy and mossy notes. First of all, piñon pine essential oil, juniper tree essential oil and iso e super give a bright, green conifer note. Then an IFRA-compliant oakmoss, coumarin and amyl salicylate (a clover-type note) give it the fougère feel, complemented by dark-aged patchouli (supplemented by clearwood), coriander, black pepper from India and romanolide, a fresh, white musk.
The result is a fresh spring day with blooming flowers, shimmering green notes with dew drops, the wet rocks of a creek and spicy, mossy undergrowth. This will be released along with Tempo Rubato on December 8.
Notes: cassie absolute, violet leaf, orris butter, fig leaf, piñon pine, juniper tree, Bulgarian lavender, coriander, oakmoss, coumarin, dark-aged patchouli and Indian black pepper.
Recently, I have become fixated on orris butter. This is quite the legendary material in perfumery, known for both its beauty and its expense. It is associated with the iris (the official flower of Saint Louis, no less, due to its association with the fleur de lis and the namesake of my city), but with a more rooty nuance.
Additionally, orris is the epitome of two of my favorite materials, irones and ionones. In my composition for Chatillon Lux, Weinstrasse, my iris accord played a big part that scent. I love ionones of all types, often found in florals like iris and violets, but also in peachy notes, as well, many of which came into play for Lamplight Penance and Eau de Treget.
This was the first of what became two compositions featuring orris butter that will soon be released, along with Orris Forest, the inspiration for which came during the development of Tempo Rubato.
However, Tempo Rubato, in large part due to the inspiration for the perfume, spared no expense in trying to achieve my vision for it. I feel that it would do it a disservice to submit to a budget by exclusing the raw materials that hold so much beauty.
And so I want to highlight this message up front, because I will be sending a link to this article to anyone who emails me, comments on social media or puts out any diatribes about the price of this perfume. Yes, it is costly. I apologize, but the raw materials cost per bottle is over double of what is currently my most expensive perfume, Santal Auster. If it is out of your price range, I totally understand, but that is the unfortunate thing about an uncompromising vision and also trying to run a business. I have to set prices that reflect what it costs to make it.
I wish I could afford to lose money on releases, but I simply cannot (especially as small of an operation that I run). And the fact of the matter is that orris butter, rose otto absolute, narcissus absolute, galbanum resinoids, neroli essential oil, jasmine absolute and civet are amongst the most expensive things that I could add to a formula. It was in part the inspiration behind Orris Forest, a composition that could feature the beauty of orris butter at a more accessible price point.
And, as is always the case, I am sure there will be some who will not be satiated by my response here or anything that I could tell them. I do not understand the anger towards someone charging a price based on what goes in the bottle, especially since I do not even make enough money to work as a perfumer full time, but such is life. And so I will prepare to weather the ensuing outrage of a perfume that costs $180 for a 50 mL bottle.
But with that out of the way, let’s talk about the inspiration and the composition.
Billie Holiday and Tempo Rubato
The idea of tempo rubato is one that is often used in jazz. It translates to “robbed time,” referring to the use of playing off-tempo in a way that adds some tension and feeling to the melody. Much like natural materials used in perfumery, the beauty is in the “imperfections” and the natural feel. Not flawed, but not uniform or robotic, either.
Billie Holiday’s powerful and entrancing vocal style is a perfect example of this style. It’s difficult to define, but tempo rubato isn’t just singing off beat. Far from it. It has to be done skillfully, artfully and in an indefinable manner. Miles Davis said, “A lot of singers try to sing like Billie, but just the act of playing behind the beat doesn’t make it sound soulful.”
And of course, this style is on full display in her masterpiece, “Strange Fruit.” This powerful, gripping dirge remains as relevant today as it ever was and sounds as fresh as it ever did.
However, we’re here to talk perfume, so I would refer you to read more about tempo rubato in this wonderful academic paper you can read here. Additionally, the excellent podcast Throughline did a podcast on her tragic life, and I would highly recommend listening to it (again and again, it’s so good) here or on whatever podcast platform you prefer.
Composing the Perfume
Some perfumes come together in a snap. And some really make me work for it, digging and refining until I finally uncover what I’ve been looking for. By far, Tempo Rubato was the latter. It was important to create something as rich and vibrant as Billie’s vocal styling.
The Floral Bouquet
Like both the upcoming December 8 releases, this idea began with orris butter. The rooty part of the iris flower (the official flower of Saint Louis with its association with the fleur de lis), it is rich, decadent and elegant. The perfect material for the intention of this scent. It is reinforced with a few different ionones and irones, elements of this family, as well as carrot seed essential oil, which has some of the same ionone and silky green charactaristics.
In addition to the silky smooth floral aspect, orris has a watery green aspect that leads very well into galbanum. Galbanum, grown in the Persian region, is a bit of a chameleon, reinforcing floral accords with a springtime freshness, and I used a combination of a supercritical CO2 extract that eliminates some of the bitter aspects of a distilled essential oil with a resin that adds a richness and weight that keeps it from becoming too sharp.
Then that leads to narcissus absolute, also rich, also with green nuances. It also has a throaty nature that feels perfectly in line with the powerful, rich vocal stylings of Billie. Additionally, a rose otto absolute, a species heavy in the fruity, bright damascones that make these roses so vibrant and rounded.
Accompanying that is jasmine grandiflorum absolute from Egypt, which has a meaty, fruity weight to it. This is amplified with a plum accord that plays off the ionones of the orris as well as the fruity benzyl acetate found in jasmine grandiflorum, in addition to prunella and two materials that I use so often: pyproprunat and dimethyl benzyl carbinyl butyrate. Finally, an orange blossom absolute adds some brightness to the white flower/stone fruit note while its woody, bitter counterpoint, petitgrain mandarin, and a more floral neroli essential oil from Egypt add some liveliness and zest to this part of the accord. Finally, an apricot accord using natural apricot and a material called apritone add some more brightness to the featured fruit.
Leather, Musk and Benzoin Base
Underneath the beauty of the florals, a base of leather, musk and benzoin shows the tenacity and grit that I wanted to represent. Benzoin adds a sweet counterbalance to this take on a traditional leather accord.
The accord begins with some of the most trusted materials in an old-school leather accord: castoreum, birch tar, isobutyl quinoline, vanillin, labdanum resin and civet (a synthetic representation called civetone in order to keep this perfume cruelty-free). Then there is a twist, with black currant but absolute, dark-aged patchouli, a smoky vetiver from Java and cypriol (aka nagarmotha, often used by perfumers as an “oud” in perfumes). Then to give it a creaminess, gamma octalactone, mysantol (a creamy sandalwood note) and tonquitone (a cruelty-free Tonkin deer musk substitute) finish off this accord that appears seamlessly from the white florals in the middle of the composition.
This extrait de parfum, released in conjunction with Orris Forest Eau de Parfum, will be available on Tuesday, December 8. The official notes include apricot, plum, neroli, petitgrain, orange blossom absolute, rose otto absolute, narcissus absolute, jasmine grandiflorum absolute, galbanum, orris butter, benzoin, leather and musk.
Here in Saint Louis, the word “confluence” is used for many reasons. Of course, the easiest connection is the meeting of the Missouri and Mississippi Rivers, which was the reason why Pierre Laclede Liguest and Madame Therese Chouteau chose it as the location for their trading hamlet. But it goes even beyond that.
Additionally, due to its origins as a trading hamlet, many nationalities and backgrounds had to come together to trade, work and merge their cultures to work together. Our city flag represents this, with both rivers represented, along with the colors of the French and Spanish flags, to represent the city’s heritage as a French territory that eventually became a Spanish territory.
Unfortunately, much of our historical buildings were wiped out by a fire (which is why you’ll see so many red brick buildings in the city). Even more were wiped out by interstate highways and the Gateway Arch Park. However, one of the oldest buildings, a chapel, still stands. And it made me think of, of course, the person who I find to be the most enduring character from our history: Henri Chatillon.
The man who lived peacefully at the confluence of cultures, of nobile French heritage who lived as a member of the Oglala nation. So the idea of incense and coniferous trees together, with their shared trait of terpenic citrus notes as their own confluence.
Incense and Wood
In the incense accord that is at the heart of this fragrance, it of course begins with frankincense. Specifically, a combination of two types: boswellia serrata and olibanum serrata. These are reinforced with (and given a bridge to the woody elements of the composition) elemi, then on top of that some palo santo essential oil, which also throws a brighter, citrus vibe into it.
I further help bring out these citric, terpenic ntoes with grapefruit terpenes, vetikone (which you might remember from La Petite Prairie), claritone and blue gum eucalyptus. To further add some zest, fresh ginger essential oil really makes it bubble up. Then this element is finished off with the fresh, green zest of clarycet and the cold, green spice of cardamom.
Finally, a deep, rich base of benzoin anchors the composition and gives it a rich, semi-sweet and spicy base.
Conifers and Resin
At the top of the woody, coniferous accord is juniper. And not just the berries. It also includes the branches and all in a mélange of essential oils. Additionally, black spruce essential oil gives some more depth to it, with the atlas cedar essential oil giving it a light, cedar shaving tint to it. Finally, a piñon pine essential oil helps really bring out the terpenic character inherent in coniferous notes and tie it in with the incense.
However, in order to add some weight to it, I added a fir balsam resin and labdanum resin, giving it a full body. And as a counterbalance, iso e super adds a great deal of texture that feels right at home with the fuzzy texture of frankincense.
This might seem like more of a simple composition than others I have done, but I think like many people in history, it is more complex than it might seem at first sniff. However, it still can be easily wearable while always offering something new to learn the more you get to know it.
This scent will be available as an EdT for the Black Cyber Holiday Event this year on Friday, November 27.
Notes: Frankincense, palo santo, benzoin, elemi, cedar, black spruce, atlas cedar, juniper and fir balsam.
While there will be a full Scent Notes column written soon, my writing work has been so busy that I’ve been finding it hard to squeeze any more words out of my fingertips. For now, watch the video to learn more about my two upcoming Maher Olfactive releases.
Hey everybody, as you probably know, Scott and the wonderful team of Declaration Grooming have taken over production of all grooming and shaving products with Chatillon Lux scents. And it’s been great! We’ve revisited the first scent he ever used (Champs de Lavande) and have a lot of great plans for the near future. However, with a new batch of 88 Chestnut Street coming out, we wanted to give you a heads up about the scent.
Basically, it boils down to natural materials. In this case specifically, neroli. Neroli is the blossom from a bitter orange tree. In 88 Chestnut Street, I use a neroli essential oil, which is awesome. Like many florals, it’s a bit pricey due to the difficult extraction process. And like all naturals, the product is subject to fluctuations due to harvest conditions and, very often, the increasing number of natural disasters that growers must deal with as an effect of climate change.
For this latest batch, we sourced some new neroli essential oil out of necessity. In using it, it feels much better in the blend, making it more harmonious and giving it a richer neroli opening. However, it is different, and so we’ve got to embrace the change. Mainly, because we have no choice.
While many naturals are very beautiful, they are subject to the whims of Mother Nature and also the market demand/supply. So please keep that in mind with the new 88 Chestnut Street batch of soap and aftershave. The EdC formula remains the same (and uses more complex accords that add more safeguards) and it is the same batch that I made at the beginning of the summer. And there is a ton of that batch left.
In the future, I will let you know about any changes that effect the final composition of a fragrance. While I love using natural materials (at least the ones not restricted in their usage, as natural materials are often the culprits of irritation and have their usage restricted more often than synthetically derived materials), it was already an issue even before economics, pandemics and nutso weather affected the supply chain. But in this case, at least, both Scott and I feel it is a change for the better. Maybe unexpected, but good news nonetheless!
When working on this newest perfume, I wanted something comforting. My development began in the cold months of fall and winter, starting in 2019, but the final stages of development came during a stay-at-home order during the middle of the COVID-19 pandemic. I was lucky enough to have not been as directly affected as many are (luckily working as a perfumer and a writer means that I am perfectly conditioned for isolated conditions and working alone), but it does wear on one’s mind to know that so much of humanity is suffering.
So I finished development of the perfume right as the pandemic began to take off in the United States, right before the launch of Maher Olfactive. I considered delaying the launch, but instead know that many could use perfume as a comfort much as I have been, exploring new ones and revisiting the comforting embrace of old favorites.
When naming the perfume, I considered the notes – tobacco, pipe tobacco, vanilla absolute, sweet almond, cocoa, whiskey, saffron, spices, davana and berries – and how these items are very tangible part of many of our everyday lives, but much like the famous painting by René Magritte, The Treachery of Images, states that “this is not a pipe” next to the image of a pipe, the same idea of the symbolic representation of an item created through olfactory art is not truly the item itself.
So I decided that the perfume would be called This Is Not a Pipe. Brilliant! So brilliant, of course, that Demeter had already released a perfume under this moniker. The Treachery of Images is a bit of a handful to fit on a label, so I moved to simply Treachery. And this made a lot of sense.
Many of the things that bring us pleasure also can bring harmful consequences. Smoking a pipe, pouring a couple fingers of a fine single-barrel bourbon, or even indulging in an exquisite meal. However, in moderation, these pleasures are worth the risk because our lives are finite, and what is the purpose of a life lived without pleasure? Would the extra time gained be worth it if completely devoid of pleasure? And with a pandemic reminding us of our own mortality, this idea of the treachery of hedonistic pleasures really resonated with me.
With that out of the way, we can discuss the composition and execution of this idea.
Tobacco, Vanilla, Bourbon and Cocoa
The idea began with this familiar combination of items. Nothing groundbreaking, but in part that is why it is so comforting. I wanted to begin with the familiar and make it new. So the perfume is centered around a big dose of tobacco absolute and vanilla absolute. The sweetness and booziness of the vanilla absolute made it a great bridge from this accord to the whiskey accord, which begins with a big dose of oakwood absolute, a scent of fine, barrel-aged bourbon, then is fortified by methyl octalactone (also known as the whiskey lactone) and guaiacol, a very boozy note in its own right. To add some more depth and fortify this bridge, I used Vanilys, a dirty vanilla note that makes me think of the stories of selecting the dirty vanilla absolute in the composition of Shalimar, along with ethyl vanillin.
In order to push the tobacco absolute into more of a pipe-type tobacco, I used the sweet almond and cherry-tinged notes of an accord headlined bypara toualdehyde. Then, considering the coumarin-type sweet hay notes of tobacco, I employed tonka bean, Coumarex (a richer coumarin note), then underneath that, an accord featuring natural ambergris and fortified by small doses of ambergris-type materials, ambrocenide and ambroxan. Finally, to give some weight and resinous depth to the accord, I used labdanum absolute, a Peru balsam accord, beeswax absolute and dark-aged patchouli.
Finally, notes of natural cocoa, cocoa aldehyde and chocovan added the powdery chocolate and cocoa sweetness to the accord. Not a thick, syrupy chocolate, but rather a crumbling bite of decdant dark chocolate or a comforting powdered cocoa.
Saffron, Spice, Berries and More
I really love a berry note with a rich, sweet note. It blends so smoothly. So I began with a variation of a berry and apricot accord that I originally made for Chatillon Lux’s Lamplight Penance, then added berryflor to give it some more vibrancy, then folded all of that into a big dose of davana essential oil, a fruity/berry floral that works well with tobacco notes in my experience. Finally, I used small doses of apricot essential oil and Cassifix, a cassis-type material
For the spice accord, I began with Kephailis, a spice that complements tobacco very well. However, that did not seem sufficient, so I began thinking more deeply on what kind of spice would work well. I realized that the leathery, rich spice of saffron was an ideal note. So I created an accord with Safranal, Safraleine, and Pyralone, among others. To help balance it, the cool spice of cardamom essential oil added another bridge to the main accord to offset the contrasting saffron accord, and then added some rosey, floral spice notes of pink pepper essential oil and red champaca absolute. And finally, tiny little sprinkles of Indian black pepper, black cumin (far more well behaved than the regular cumin I’ve experienced), cinnamon leaf essential oil and laurel leaf essential oil.
At this point, the composition was very, very dense. And the final composition is still one that I would consider perhaps the most dense composition that I have made. However, using Iso E Super, Clearwood and Hedione, I added some airy notes that would support the tobacco and berry accord while creating space in which to really allow the scent to develop and bloom on the skin. And while this is not a scent begs to be worn on the skin, like Crystal Moon, it does unfold delightfully when reacting with body heat but also would be decadent when sprayed onto a scarf, coat or shirt. It also works great as a nice, fragrantic hug while staying at home.
Treachery will be available on Saturday, January 18 at 12pm Eastern through not only Maher Olfactive, but also American Perfumer, a retail shop featuring the best independent perfumers that work to further the new American fronteirs of perfumery, but also Sealed Essence, a retailer that curates perfumers worldwide who use the most exquisite and carefully selected raw materials.