The Different Company's Osmanthus

Sometime in the spring, I took the train to Tel Aviv for a day of fun with my daughter. Among other things, we went to Individual in Neve Tzedeq, a new perfume boutique that carries only niche brands, among them Different Company. It was a chance to revisit Osmanthus, a fragrance that from my memory captured best the elusive scent of this tiny flower while it's still intact on the bush. The absolute does not portray an accurate picture, although it is gorgeous on and of itself. I only had a chance to smell white osmanthus one evening in San Francisco at Ineke' private fragrant garden. It's the kind of scent one could ever forget. The osmanthus incense my friend Noriko brought me from Japan also comes pretty close to it, and does not smell terrible artificial even though it is.

The shop owners at Individual are evidently passionate about perfume, and know how to sell it (not being pushy is crucial, as is giving samples to try at home several times). I've revisited the sample of TDC Osmanthus over the course of a few months now, and I'm still on the fence if to get it or not... But before I launch into describing my experience with this scent, a word of caution to any perfumer trying to recreate this scent or even attempt to compose with osmanthus absolute: it is extremely challenging. That is not to say that there aren't any gorgeous perfumes with that scent, or that it's impossible to work with, or to discourage one from trying; but the results are more often watered down florals that lack body or character, except for a very artificial and synthetic feel (the examples for this genre of osmanthus approach are many, from to the swimming-pool clean l'Eau d'Issey or whitewashed Pure White Linen to the fruity-shampoo persona of Nuit de Cellophane). Some of the natural and niche perfumeries have churned up descent or interesting perfumes in which osmanthus is the star of the show - Osmanthus Oolong and Un Crime Exotique are two of my all-time favourites.

TDC Osmanthus starts realistic and promising, with that mysterious, fruity yet powdery, diffusive and  delicately ephemeral live osmanthus on the bush; yet there is a slightly oily element which interrupts this harmony. This is not uncommon in osmanthus absolute, by the way. There could be a tad of a rancid oil off-note. As long as it's just a hint, that's okay. Then it becomes  bit more honeyed and before you know it - it turns into realistic rendition of living linden blossoms in mid-June. Like  whiff of blue skies on a cool summer morning. Bright and fresh like crisp linens off the laundry line, with hints of iced tilleul tea. It is pretty, but I'm missing some kind of a darkness or body or a contrasting point that would make it more interesting and less linear.

Fresh Charisma

Lemon Verbena, a photo by Ayala Moriel on Flickr.

After a long retirement, my teas are finally being gradually re-stocked. It's been a long journey - and I'm still walking the last few steps of it - getting all my ducks in a row so to speak. Tea blending is a whole other world, and its similarities to perfume development are also the culprit of this endeavor. Tea requires TIME. Time to source, evaluate, steep, re-steep, take notes, blend, make errors, re-blend, steep, re-steep, re-steep again... You get my drift.

As for Charisma tea, the formula or recipe was developed long time ago. In fact, it was the first tea I've designed by myself. The challenge now was acquiring lemon verbena. I'm a bit sentimental, but I am incredibly partial to the lemon verbena that grows in my home village of Clil. I've told you about it and how much I enjoyed the fresh leaves this summer. Whenever possible, I prefer to source from small grower and harvesters, or harvest myself. Verbena only grows in the summer, and is dried late summer and early fall. Which means that once the supplies run out, you'll have to wait another full year to enjoy it again.

This is true to most if not all tea types. Some are harvested only once a year (such as the white teas), and therefore once they're sold out, it requires taking the product off the shelves for a while. This is perfectly fine by me, and part of the beauty of nature's cycles. However, it did take me a bit of time to learn these cycles - and I still am learning. Which means that my teas are not available year-around, but only while quantities last and until the next harvest is ready.

The other ingredients in Charisma also had to be top quality: fragrant jasmine sambac tea, organic spearming, and the most luscious, apricot-y and velvety osmanthus blossoms available.

I love the new packaging for my teas, and each tin holds different weight of each tea (but the volume is, roughly 2oz). Some leaves are larger and looser than others (i.e.: the silver needle that makes most of Zangvil tea), and some are more dense (i.e.: Immortelle l'Amour, which is based on rooibos tea, is like tiny packed red twigs).

I'll be releasing more teas as the winter holidays approach and the packaging is ready for my full collection to be re-instated: Charisma, Immortelle l'Amour, Roses et Chocolate and Zangvil.

And next year, prepare to enjoy some more innovative teas, some featuring wild-harvested botanical from the Pacific Northwest rainforests!

White Silk

Home :), a photo by Iro {Ivy style33} on Flickr.

Though the idea can fuel the imagination profusely - even in my wildest dreams never did I imagine an independent natural perfumer in Russia. Is her apothecary facing the vast tundra? Or hidden in an abandoned shed in the kolchoz? Maybe it's a posh Moscow boutique, with checkered marble floor, where ladies in Russian furs and Chinese silk tafetta marvel at her new creations over caviar and black tea drizzled with sour cherry preserves... Either way, I was intrigued. And lo and behold, not only does such a person exist - she is also talented and adds a fantastic dimension to the international indie perfumers scene. Her name is Anna Zworykina, and her eponymus line is not very known (probably due to the fact that her marketing is done entirely in Russian. 

I can't find much information about the perfumer or most of the perfumes I have samples of, as it is mostly in Russian and I can't read the Kirillian alphabet - so I don't even know what most of the names mean.  A couple of the labels were in English though, so that makes it a tad easier to at least differentiate between the several vials... All the perfumes of hers that I've smelled were of a similar style and character: sophisticated, intriguing, purely natural, with depth and complexity that is usually achieved by incorporating house-made botanical tinctures.

White Silk is complex yet not suffocating. Like a silk moth seems to orbit around its Chinese inspiration, with juicy citrus top notes of blood orange. The gorgeous, full-bodied osmanthus flower heart notes fade into a suave, mellow base of sandalwood powder, reminiscent of the burning incense sticks in a Buddhist temple. It is luxurious yet subtle; smooth yet with a certain rough texture. It truly reminds me of raw white silk, which is fine and rustic; simultaneously mat with shimmering light running through its threads. Beautiful. 

Spiced Citrus Vetiver

Preparing Blood Orange Bars, a photo by eatingoutloud on Flickr.

Sonoma Scent Studio has a new collection in the works - Sonoma Naturals, which I've been fortunate enough to sample its first two offerings. I was particularly curious to smell how Laurie Erickson's style translates in the new medium of 100% naturals. Although her "mixed media" perfumes are already contain a very high ratio of naturals, many of the molecules act as such powerful accessory notes that they could define a perfumer's style in such way that it would be difficult to fathom their perfumes without them. In this case, I could not imagine Laurie's perfumes without a prominent presence of violetty ionones.
 
Spiced Citrus Vetiver begins with a burst of blood orange and smooth warmth of Mysore sandalwood and a touch of very subtle woodsy spices. It is an unusually complex vetiver scent. It is refreshing and citrusy as you'd expect from such a name. At the same time it possesses a warmth that is not particularly spicy, but rather a sophisticated and woody-floral.

True to form, Spiced Citrus Vetiver contains ionones, originating in the exotic floral note of osmanthus. Osmanthus has a significant amount of naturally-occurring alpha ionone, which give this perfume a certain roundedness, as well as exotic mystery. It is suitable for the heat of the summer, reminiscent of sandalwood fans and chilled osmanthus tea and cool vetiver.

Osmanthus Conversation with Perfumer Lisa Fong

For the third (and perhaps not quite the last...) conversation about osmanthus I invited Lisa Fong of Artemisia Natural Perfume to discuss osmanthus from her unique experience of synesthesia of sounds, textures and colours and her creative process - starting from inspiration through raw material selections, to choosing the name.
Please note: this conversation took place before the 2nd Artisan Fragrance Salon in San Francisco.
 
Ayala Moriel/SmellyBlog: How would you describe the scent of osmanthus?

Lisa Fong/Artemisia Perfume: Osmanthus smells like cherry, sugar, honey, and roots.

AM: How fascinating to receive a completely different reaction from each perfumer in relation to the same scent. I've never heard anyone compare osmanthus to cherry or roots. Thank you for sharing!
Have you ever smelled the fresh flowers?

Lisa: No

Ayala: You should try to get in touch with Ineke (note to self: I should invite her to the Osmanthus Conversations!) and see if you can coordinate a visit to her lovely perfumed garden when the osmanthus is in bloom. That was the only time I smelled it in real life - there were only a couple of little clusters, but they smelled amazing! Quite different from the absolute - which I think is more smiler to the dry flowers.

Do you have any scent memories associated with osmanthus? Or memories that are triggered by this note?

Lisa: Cherry cough syrup from my childhood. I think it was called Chericol, and I loved it.

Ayala: What were the main challenges for you when incorporating this note into your perfumes?

Lisa: Osmanthus is a weak oil and gets drowned out easily. I had this problem so I used a lot of osmanthus and used some black current absolute in the base to bring out the fruity notes.

Ayala: That was my challenge with osmanthus as well - it feels as if the more you add, the less of it remains perceptible. I experience black currants as a top note though, with the characteristic sharp fruity edges wearing off very quickly.


Lisa: I thought black current bud was a basenote. I could be wrong, but I like it in this blend. It seems to help push the osmanthus.

Ayala: I think they are classified as such by Poucher - but find that even with volatility rates, the perfumer's perceptions vary - so I totally value your experience and perspective of it.  Have you noticed anything unusual about the behaviour of osmanthus in a blend?

Lisa: It is very complicated and it will tend to disappear.

Ayala: Your osmanthus perfume is themed around apricot, a fruit that often is used to describe the aroma of apricot. How much of the apricotiness is real, and how much is suggested by the name alone?

Lisa: For Saveur de l'Abricot, I used real, natural apricot essence. It was perfect with the osmanthus, which has a fruity quality, but also a sort of animalistic sense. I really like the fuzziness of the apricot and tried to bring that out by adding mango leaf essential oil.

Ayala: Was this an apricot extract, or an apricot specialty? (note to readers: specialty is a compounded accord that is designed to smell like notes that would be difficult to extract in other methods).

Lisa: I thought this was actually from the apricot,but after talking with Miriam of Robertet, I now think it is a blend of natural essences made to imitate apricot.

Ayala: While we're on the topic - what's in a name? What part does the naming play in your creative process?

Lisa: The name is the last and the hardest part for me. I never start with a concept, when I try it goes horribly wrong. I must stick to the scent itself and how I wish to develop it by adding other elements. When I finish, I try to write a description of the scent, and from that find a name that reflects what I think the scent is about. With Ondine, I felt the fragrance was watery and named it after the water nymph. Since then many people do not smell the water idea, but they like it anyway.

Ayala: To me Ondine is like warm water - like hot springs.
What an intricate process - it's almost as if you're going back and reflecting/assessing your creation in order to name it.
In your mind, what is the role of the name, then?

Lisa: I see the name as a way of summarizing the fragrance and what it is I tried to capture in formulating it. I find it is so hard to describe scent in words, it seems like an impossible task. The name is really important and I never know if I choose the right one.

Ayala: How does your background as a musician affect your style of composition?

Lisa: It has everything to do with my subconscious perception of the construction of the scent. Music is both intellectual and emotional. Since I have been a musician for most of my life, it is just a part of who I am. Order and logic are important, but I also like a bit of chaos and will toss in some strange ingredients to make the fragrance more interesting.

Ayala: Do you feel or refer to scents in terms of vibrational frequencies, such as sounds or colours?

Lisa: I always listen to music when I blend, and the music does influence the blend. I listened to Chopin when I made Eros. Now I'm listening to the Smiths, it will be interesting to see what I end up with. I've got some synesthesia and I associate scent with color and texture. For example, mango leaf smells green and fuzzy to me and frankincense seems sparkly with all the colors.

Ayala: What inspired you to create Saveur de l'Abricot? What's the story behind it?

Lisa: Well Ayala, remember when you and I visited Eden Botanicals in Petaluma, last July? They had the most gorgeous osmanthus I had ever smelled. We both bought some even though it was so expensive. I decided to make a perfume from it and when blended with the apricot essence, the idea was formulated.

Ayala: Of course I do! That's what got this whole osmanthus obsession started :-)
And since then I met a couple other perfumers and their osmanthus scents, which lead to a more elaborate series of conversations.
So - have you noticed a great deal of different between osmanthus essences from different sources? Do you have a favourite - and why?  

Lisa: Absolutely. I never cared for osmanthus because I had never smelled one I liked. The ones I had smelled like solvent, but the Eden Botanical osmanthus was a revelation.

Ayala: We're fortunate to have a quality osmanthus, and I hope it will be around for a while. It's so wonderful it feels like you just can't get enough… Almost addictive! And since then I've done a few osmanthus experimentations that worked much better than in the days when I was struggling to create Kinmokusei. Since I have the new absolute, I added carrot seed, tea rose and pomelo tincture, which greatly improved the fruity, effervescent quality of the flower.

Lisa: Your osmanthus blends sound fascinating, you always have such creative ideas. I would love to smell what you create.
Thanks for letting me discuss my fragrance. See you in a few weeks!

Ayala: More like a few days now! Looking forward to it. Thank you so much for sharing your insights on osmanthus and the creative process behind Saveur de l'Abricot!

Purusa Petalum

　　, a photo by gracias! on Flickr.

The golden violet character of osmanthus is highlighted by sunny notes of mimosa and elemi and robust fruity-herbaceous davana (Artemisia pallens). Reminiscent of strawberry-jam, cured hay and grapes, davana adds a dark and fruity nuance to the apricot-leather quality of osmanthus, and shifts the balance from leather into fruit. Elemi's (Canarium luzonicum) lemon-pepper resinous note adds brilliance and clarity to this dense theme. It gives it a bit of a green and dry-woody tone as well.



Petalum is part of Purusa - Sebatian Sign's natural perfume gels line. They are infused into a smooth, easily-absorbing gel that's made from argan oil. Aside from the smooth consistency and unusual texture, they are also quite unusual perufmes, that style-wise fall somewhere between the therapeutic purity of aromatherapy synergies; and abstract perfume compositions of unusual notes.

Notes: Osmanthus absolute, jasmine absolute, davana oil, elemi oil, mimosa absolute. 

Cerise en Cocoa

Eisrose 2, a photo by multiflora on Flickr.

Cerise en Cocoa is the other Rebel & Mercury's other osmanthus-laden perfume Nikki sent me to try before our osmanthus conversation, this time in an oil-base parfum concentration.

It is not nearly as osmanthus-y as Osmanthus Red, but is noteworthy for its stellar pairing of a difficult trio: rose, osmanthus and chocolate.

Rose and osmanthus together are extremely difficult to work with. When they have been paired in the past, the result was a rich-heavy-nearly-muddy concoction. Masterfully blended it will result in melancholy darkness such as that present in 1000 de Patou. Not so well done it is just sheer cacophony - every perfumer's nightmare.

Somehow, in Cerise en Cocoa, Nikki Sherritt was able to pull the best of each component and work them together in a balancing act that brings to mind an acrobat dancer on a tightrope. And not just any acrobat - but the legendary Rosa Marzipan herself (a beloved Erich Kästner heroine). Pretty and flexible, with a delicate almond-paste complexion and while her head is nearly always in the air, her head is grounded in reason and wit.

Cerise en Cocoa (cherry and cocoa) begins with a burst of unusual fruitiness - the plum-like, robust juiciness of osmanthus absolute combined with an even juicier ruby-red grapefruit zest and both bring forth the the peach-plum damascones in red and white roses. The wine-like, liquor qualities of cocoa absolute also contribute to the sensual feeling of biting into a Pierre Herme violet-cassis macaron, with the thin brittle skin bursting open to reveal a lightly fragranced, creamy almond paste underneath and a cassis-flavoured silky ganache undnerneath.

Yet, all this apparent sweetness is well-balanced with an underlying dry air of woodsy vetiver roots. There is almost a dry feeling of pencil shavings, so there might be some Virginia cedar lurking beneath too.

Cerise en Cocoa is available directly from Rebel & Mercury's Etsy shop; or via Sweet Anthem in Seattle.

Top notes: Ruby Red Grapefruit, Virginia Cedarwood
Heart notes: Osmanthus, White and Red Rose accord
Base notes: Cocoa, Vetiver

Osmanthus Conversations

I'm pleased and excited to begin a new series on SmellyBlog, dedicated to one of my favourite notes: osmanthus. And for the first time - I will be hosting other perfumers who will share their thoughts, impressions and creative process working with this very special raw material.

The idea came to me after visiting Eden Botanicals last summer with my fried perfumer Lisa Fong. We both felt that this osmanthus was so exceptional it called for some special attention. Perhaps a little perfumers conversation on SmellyBlog?

We exchanged some osmanthus goodies - the dry buds, teas mixed with the dry buds, osmanthus oolong and such, and before I  even knew it - September came around, and we met again at the LA Artisan Fragrance Salon and Lisa has already created a new perfume surrounding osmanthus. I was clearly behind on my osmanthus series project - in hindsight perhaps a good thing. Because meanwhile I virtually met another talented and gracious natural perfumer, Charna Ethier, and fell in love with her Osmanthus Oolong. About a month later - Nikki Sherritt launched her Osmanthus Red at her Blackbird event (part of the Northwest Perfumers Circuit). It was clearly time for some action on the osmanthus front!

How can I describe osmanthus to you? 

Osmanthus (Osmanthus fragrans), sweet olive or tea olive (as it is known in the Southern United States) is a flowering evergreen shrub or small tree from the olive and lilac family, native to warm temperate Asia. It is cultivated as a decorative plant in gardens. In China, the dried flowers are used to infuse both green tea and black tea to create a fine tea called guì huāchá. It is also used in Chinese cuisine to flavour other specialty foods such as jam, cakes, dumplings, soups and a specialty liquor.

It is widely cultivated in Japan, where is it called kinmokusei, and where its incredibly humble, tiny clusters of golden-orange flowers permeate the air at the end of October, releasing a scent in the air that truly cannot be replicated. Marlen Harrison, who lived in Japan for a while, was the first to tell me of this elusive scent in real life, and how he spent hours searching for its source - so perfumey that at first he thought it was a laundry dryer sheet scent until he looked up and saw the osmanthus trees and their tiny, inconspicuous flowers.

And indeed, fresh osmanthus has been largely imitated by popular shampoo brand Herbal Essence and its smell-alikes; and even some laundry detergents and dryer sheets; and only later on in Serge Lutens' Nuit de Cellophane (by which point the scent sadly lost some of its prestige). Somehow, the ethreal quality of fresh osmanthus flowers got poorly interpreted and its lush, rich beauty watered-down in the many inspid aquatic florals that took over the 90's, alongside other "Asian" themes such as water lily and bamboo.

The flowers are solvent-extracted to produce a green, viscous liquid with an unusual floral note with a rich and dense aroma: fruity, leathery and green all at once and  reminiscent of leather, apricots, green tea and coumarin. It is sweet, mysterious and exotic. It's fruity intensity is more pronounced in higher quality grades, while poorer quality might present a hint of rancid-oil facet.

Osmanthus is a heart note that is used as the main theme or as an accessory note to add an exotic and unusual dimension to a perfume. It works very well in both rich florals and green florals, orientals, fresh fruity florals, leather and chypre compositions and can make a great floral note in a masculine scent, although it is sadly underused in this regard.

Its beauty is particularly revealed when accompanied with ionone-dominated and tea-like notes (i.e.: green tea, violet leaf, linden blossom, cassie) and fruity floral notes such as jasmine, magnolia, rose and orange blossom.  It's main challenge, however, is that this delicate and complex note is often cluttered with too many other dominant notes that tend to conceal it; and the other big technical challenge is that it is a little shy and tends to disappear the more you add of it. This could be in part due to the fickle character of the ionones in it.

Osmanthus flowers are minuscule, and the yield is low - a classic recipe for prohibitive costs. Therefore it is not surprising that it is not a common note to find - especially not in its natural form. You'll find very few perfumes that are a true ode to osmanthus, and even they are often watered down versions of the glorious original. More often, osmanthus will come up in perfumes that are minimalist, as if to attract the potential markets in Asia (Osmanthe Yunnan and Ormonde Jayne's Osmanthus for example, where it is light, ethereal and evoking green tea and cologne); while in others it is incredibly powdery, fruity-sweet and girly (Keiko Mecheri's and The Different Company's rendition). Only rarely will a perfumer explore its darker, leathery sides, as Ineke did in Evenings Edged in Gold, where the ionone and apricot of osmanthus is paired with leathery saffron. And in even rarer cases there is an original take on osmanthus: the bitter, herbaceous rose of 1000 de Patou; and the insanely too-good-to-be-true dessert of Un Crime Exotique. And then, of course, there are the creations of the perfumers that will be part of this little osmanthus series. It will be really interesting to read their own descriptions and insights into this less-known perfume note.

The Essential Oil Mansion (July 9th)

The last stop before heading back to Oakland (and continuing a vigorous packing of the 40 essential oils I left behind on my last trip... Oy vey) was one of my most favourite suppliers ever, whom I always dreamed of visiting: Eden Botanicals. I don't usually disclose my suppliers, but I am making a huge exception here because I've been working with them for so long that I feel like I'm part of their team in some ways too (you'll understand why in a moment).

Eden Botanicals recently moved from their rural Northern California location up in Hymapom, closer to civilization to the town of Petalum in Sonoma County (just under an hour drive from San Francisco).

They were located in a quiet street in a several story-high house that looked like an essential oil mansion, or a castle to me. And for a warehouse that stores tens of essential oils in substantial quantities, the scent was not in the least overwhelming, but pleasant and aromatic and wonderful. Just like walking into a larger version of my tiny studio space when I just open all the boxes where I store my vast of oils stashed away from heat and light.

It was wonderful to connect in person with the people who import top-quality essential oils and absolutes from around the world (as well as other accessories for aromatherapists and perfumers - anything from carrier oils to scent-strips, which, by the way, I was out of and they managed to ship speedily over to Lisa's house so that I can have them for the weekend's many scent events!). I've been working with Eden Botanicals for years, both as my supplier, but also helping them out in writing the ad copy to some of the essential oils they bring from around the world. It's a mammoth project, which is very unlikely to ever end, as they always bring new things and we always tried to keep the descriptions accurate for slight variations between batches.

Eden Botanicals has grown throughout the years but is still a very small, personable company, which includes the new owner, Josh, Kyanne, Mollie and their aromatherpist Julia (the last two are shown in the picture above). They are still planning to move to a different location within Petaluma, and Josh has many exciting plans for this new locations which I can hardly wait to tell you - but will just have to wait till I see and smell them myself.



When showing them my new "Oy de Cologne" Julia told me she was Jewish too and pulled out this interesting essential oil display shaped like a Menorah from AvAroma (Avraham Sand's company in Israel), carrying the "Ketoret" (incense) oils: Costus, saffron, myrrh, frankincense, balsam, galbanum, spikenard, cassia, cloves and more.



I came with a very specific shopping list in mind (great way to "get rid of" foreign cash, by the way!) and only strayed from it with one ingredients - the new arrival: Osmanthus absolute. It was great that I did, because I completely ran out and the only other sources I have were both extremely expensive and not all the great of a quality. This osmanthus, like most of the essences they scout, is exceptional. This flower, redolent of apricot and leather is still dark and mysterious, but it feels as if there is a ray of light coming through it. There is a quality that I find hard time to truly describe and pinpoint, but is there in all good quality oils: they are vibrant, and feel alive and full of action, as if they are still a living thing. And that's exactly what I'm looking for, and is always worth all the extra costs and effort to find.

I smelled and received a few samples of other exciting new arrivals, including coffee bean essential oil, organic peppermint oil, Somalian frankincense (Boswellia frereana), organic fresh ginger root oil and organic Ylang Ylang. If these do not sound all that exotic, know that when a plant is grown, harvested and distilled/extracted with care, the result is exceptional and inspiring. As is the case with all of these oils.

Last but not least: Eden Botanicals now accept international orders! That's also great news for Canadians, who could now order directly from the website, rather than call in with their order. Yay!

Happy Mardi Gras!

Happy Mardi Gras!, originally uploaded by Ayala Moriel.

Happy Mardi Gras, everyone!
I'm so excited to launch my New Orleans perfume tonight, with a gala cocktail party to benefit two New Orleans charities -

1) America's Wetland non-profit organization that works towards saving coastal Louisiana, who is losing land at a rate of 25 square miles per year (!).

2) The Tipitina's Foundation which is dedicated to helping artists recover from Hurricane Katrina and preserving the cultural traditions of New Orleans. Can you imagine a Mardi Gras parade without a marching band?!

New Orleans perfume took a few years in the making - since I watched the film When The Levees Broke (about the aftermath of hurricane Katrina), which really moved me and made me realize that even though the hurricane was over 2 years ago, there was lots more to be done to help the people of New Orleans. That's when the concept was conceived to make a perfume that will help New Orleans. I took longer than expected to complete the perfume (which is why I used l'Ecume des Jours as a temporary fundraising perfume for NOLA), because I've never been to New Orleans in person, and I had to rely on my perfume friends from there to fill my olfactory gap. The rest was left to imagination...

Now that the bottling is done, and there is even a new batch maturing (which I have just blended this morning), AND it's Mardi Gras, after all, which is when I planned to launch the perfume, I think it's the right time to reveal to you what this perfume turned out to be, at long last.

The perfume was carefully orchestrated based on Paula Stratton's description of the scent. It took a long time, and several trials until I achieved the desired results. The challenge was combining the herbaceous notes (basil, rosemary) with the sweet florals (sweet olive, tea rose, orange blossom), bright citrus (Meyer lemon) and last but not least - the scent of decay, decomposition, moss, seaweed and oak trees and cypress that is what makes the scent of New Orleans. The various trials were similar in concept, but quite different in scent. Even though they all had an accord of sweet olive (aka osmanthus), orange blossom, magnolia and rose at the heart, they all had a different mood and personality.

I'd like to share with you a bit of the evolution, as well as Paula and her husband Mark's feedback:

Mod 1 (dated August 21-22, 2007) included brown oakmoss (for a more deeply woody aroma than the green variety), blue cypress, spikenard, seaweed and vanilla. The top included basil, rosemary and lemon.

Paula's reaction: "Number 1 is the most genteel. It's the most feminine, and I catch the jasmine and osmanthus. It's my favourite".

I felt it was a little too muddy and that the basil clashed with sweetness of the floral bouquet and the vanilla. Therefore - mod 2 (created just a week after the 1st mod) was to follow, where there was neither moss, nor herbal notes. I added more violety notes, such as cassie and orris root. Paula observed - "Number 2 would probably be the most popular with the most people. It's lively and reminds me of the drink called a Sazerac".

I felt there was still too much heaviness and not enough harmony there, and waited a few more years before I was really able to create something worth sharing with Paula, in 2010. Perfume creation is a time-consuming process. Not only do the scents really need to mature and marry, but also the ideas need to hibernate, interact with one another, and waiting and patience is the essence of the process... Sometimes waiting for the scent to mature; other times - waiting for the right idea, or the right aroma to materialize. In this case, I had to wait for both. It finally dawned on me in 2010, that what I need to create was not something gloomy and heavy, somewhat aldehydic/old-fashioned chypre with seaweed and other unusual notes; but rather - something bright and hopeful. Which I didn't realize till February 8th, 2010.

I moved on and created a 3rd version, a cheerful, brighter and more citrusy. It still had the original concept mossy and salty, woody vetiver base, sweet Southern Belle floral bouquet at the heart, and citrus and herbal top notes. But it was so much more sheer and harmonious, yet not any less intriguing than the first two versions. The key to this lightness was using cedarmoss instead of the potent oakmoss. I also used an abundant proportion of ambergris, which did not appear in any of the previous formulas. The roses of Turkey, Bulgaria and France were replaced by the luscious and voluptuously sweet tea rose from China, and I also added hints of amber for a hint of sweetness (but no vanilla!), and amyris, for accentuated woodsiness that is a little tropical (Amyris grows in the West Indies, which is the heritage of the Cajun in New Oreleans, so I thought it particularly appropriate). Both Paula and her husband loved this version - especially her husband: "...He liked # 3 the most, repeatedly. And after multiple sniffs, I understand why. It's lively and a man can wear it. I'm picturing Errol Flynn in period dress. ;)"

I was already partial to the 3rd mod. And hearing that it was so warmly received by a man only made more sense of this direction - I felt this scent had to be equally loved by both men and women.

Paula's notes about all three versions I've sent her: "Numbers 1 , 2 and 3 are serious winners. I smell them on paper strips and skin and wonder what did you do which captured thefeeling of walking in NOLA, Charleston or Savannah in September. Bumby cobblestone walks, oaks dripping moss, the maturity of the homes. And a touch of silk...as women and men in waistcoats pass one in the morning".

I kept on going though, to create the fourth and last version on October 12th, 2010. That was when I finally had the missing ingredient which I felt was important not only for the perfume's composition, but also for the authenticity of its ingredients: Meyer Lemon. I just felt that lemon wasn't enough. Besides, Meyer lemon has such a cheerful, bright citrus aroma that it just belonged in this perfume. New Orleans lives on, and it is happy even though there may be some blue notes in its history. It's all part of life and embracing tragedy (not an easy feat, but possible if your love for life is greater than fear of suffering), rising above them like a phoenix - this is what this perfume is all about. The structure of the perfume and its notes portray this, and although you will be smelling the top notes first, I'm going to present them structurally as I was building it upwards:

Base notes - natural forces of the sea and the land:
Seaweed and ambergris representing the force of the ocean
Amber
Cedarwmoss representing decay
Vetiver from Haiti and Sri Lanka for healing and preservation (vetiver roots help to prevent erosion and flooding, and is grown in the area for that purpose)
Cypress and Amyris for strength and dignity.

Heart notes - Southern Belle accord with a little bit of "blue notes":
Magnolia - beautiful and sweet in every way
Sweet Olive (Osmanthus) - sweet and pretty, but with a little bit of melancholy blue notes
Tea Rose,which is very sweet but also has ionone, which is violety and a little moody)
Orange Blossom for pure happiness

Top notes - Cheerful and Ascending:
Hand tinctured Meyer Lemon
Rosemary verbenon - which is sheer, non medicinal and full of life
Mandarin Murcott - an unusually sweet and full bodied citrus notes
White Grapefruit from Israel, which is the best I've ever smelled in my life and is floral and vivacious

And this final version is what you will get to smell tonight at my party, or might need to wait a few days till it ships from Vancouver.

Proceeds (10%) from this scent and all sales at the event tonight will be donated to these two charities, to continue to help New Orleans be the wonderful city that it is. And if all goes well, I am going to visit there this year for Jazz Festival!

And last but not least - you can listen to Mardi Gras music all day today (and to authentic New Orleans jazz year around, from anywhere in the world) via WWOZ 90.7FM!

Related posts:

The Aroma of New Orleans, Louisiana
New Orleans Today
New Orleans Cuisine
Louisiana in September
l'Ecume des Jours & Rebuilding New Orleans
Re-Building New Orleans
When The Levees Broke: A Requiem in Four Acts
Scent for a Drowned City Re-Emerging

Gearing Up to Mardi Gras

Mardi Gras Beads, originally uploaded by jciv.

I'm planning my Mardi Gras party for Tuesday, March 8th.
This is when I will be launching my New Orleans perfume. Those of you who've been following its development on the blog here might remember - the process started in 2007 and it took a while to brew in my head, my lab, and with the assistance of my perfume friends in New Orleans - Paula and Michelle - I'm able to bring it to you this Mardi Gras, even though I'm yet to visit New Orleans in person. I'm planning to go there for Jazz Festival this year though!

The menu for what I hope will be a happily laid back cocktail party is mostly derived from the perfume itself. I'll be serving aromatic nibbles and desserts that are inspired by New Orleans botanicals such as sweet olive (aka tea olive) - in the form of osmanthus shortbread.
Herbaceous rosemary will add a twist to a Southern cornbread recipe, and of course the menu will not be complete without some seafood and cajun appies.

As far as drinks go - there will be also a Meyer lemon hard lemonade, Southern Comfort cocktails, and for the tea lovers among us (me included) - fragrant Magnolia oolong tea.

The Mardi Gras Party is on Tuesday, March 8th from 7-11pm.
We will be serving some Southern finger food, as well as desserts and pastries inspired by the Cajun cuisine and the botanicals used in New Orleans perfume.

9:00pm - the Grand reveal of New Orleans perfume, as well as breakdown of the unusual notes that make it such a unique fragrance.

Tickets are by donation - you can order them online for our suggested donation of $12 at the door. 100% of ticket sales will be sent to charity in New Orleans, and additional donations are encouraged!
In addition, 10% of all sales that night will benefit these two important organizations:
1) America's Wetland non-profit organization that works towards saving coastal Louisiana, who is losing land at a rate of 25 square miles per year (!).

2) The Tipitina's Foundation which is dedicated to helping artists recover from Hurricane Katrina and preserving the cultural traditions of New Orleans. Can you imagine a Mardi Gras parade without a marching band?!

You can support New Orleans' unique culture by attending the event, buying New Orleans perfume online and off-line, and

Tickets can be purchased in advance online at ayalamoriel.com.

To RSVP or for more information about the Mardi Gras Party, please contact: ayala (at) ayalamoriel.com or call (778) 863-0806. Or via Facebook.

Osmanthe-Saffran Truffles

Here is a snapshot of my Osmanthe-Saffran truffles in the making. I make them square or diamond shape rather than round, because I like to sprinkle the saffron on top for the visual effect. Having it inside the truffles will give the same flavour, but not the crunchiness of biting into the roasted crocus stamens; and you won't be able to see the saffron threads until biting into the truffles.
The diamond shape is also an homage to the exotic Middle Eastern desserts that are often made in large trays and cut into diamonds (harrissa, baclava and sesame or nut barks are cut that way).
This is my 2nd time making thes luxurious truffles. And the first times, I'm always experimenting with flavours and spices. In the 1st time creating these, I infused the cream with osmanthus flowers, and added saffron salt and saffron gin.
The 2nd time around, I infuesed the cream with my favourite milky oolong tea (which is also the flavour of the dark chocolate truffles that share the tray in the photograph below). I forgot about the gin, unfortunately. For the osmanthus flavour, I used osmanthus absolute. I think if it weren't for the missing gin, this would have been the winning recipe.

I still have both of these truffle flavours for sale. They make a perfect gift (boxed in our reusable tins and tied with a bow - 12 truffles for $15); and they are an elegant, stress-free dessert for any festive meal or afternoon tea with special guests.

- Posted using BlogPress from my iPhone

New Orleans Perfume

Oak Alley, originally uploaded by Lake Fred.

A little distraction from the Autumn Aromas theme that's been running here in the past few days... But still connected since this is about a perfume that combines both Meyer lemons and moss!

Based on Paula Stratton's description of the aromas New Orleans I have created yesterday the 4th and what may be the final version of what I call for now "New Orleans". After 2 first gloomy mods, I've created a 3rd one that was more of a cheerful twist on the same olfactory themes - magnolia, cypress, moss, vetiver, tea olive, citrus and a dash of herbs. Paula has told me in that "each of the 3 has successfully captured the magic, the mystery of New orleans before Katrina. Each is gorgeous".

But I felt that the last mod was the most hopeful and refined... I also thought that Meyer lemon element was important, even if subtle, in order to bring this perfume into completion. And I had to make Meyer lemon tincture, which I finally did and filtered.

This perfume is bright, mossy, delightful. It has the dryness of woods from the cedarmoss and vetiver and amyris and salty notes of seaweed and ambergris as a balancing backdrop for the floral notes are classically the Southern Belle's favourites (magnolia and tea olive - aka osmanthus). However, Paula's husband liked it a lot and even thought it to be the most masculine of the bunch... I think that if you love New Orleans, even if you haven't been there, you would appreciate this perfume. And gender has very little to do with it.

Top notes: Meyer Lemon, Rosemary, Grapefruit, Tangerine Murcott

Heart notes: Tea Olive, Tea Rose, Magnolia, Neroli, Orange Blossom

Base notes: Haitian & Sri Lankan Vetiver, Cypress, Seaweed, Amyris, Cedarmoss, Ambergris

I was toying with different names, and decided finally to keep it very simple - not NOLA, but New Orleans. After all, this is what it's all about... I would love to hear any of your thoughts though - especially among my readers from New Orleans.

Kinmokusei Mentioned in Pivoines et Macarons

For the French speaking among you - here's a link to florist and garden designer Olga Campagnoli's article about osmanthus in her Pivoines et Macarons blog, which mentions Kinmokusei perfume right after Jean-Claude Elena's Osmanthe Yunnan!

Osmanthus is very much a fall flower: the fragrant osmanthus used in perfumery blooms just around this time of the year in Japan and China. And it has beautiful, golden-orange flowers too!

Now I'm off to burn some osmanthus incense my friend Noriko brought me from Japan...

Rose with Jade Stem

Getting back from shipping packages at the post office today, I was back at the lobby checking my own mail, which had a package, a few bills, and as usual - a delivery attempt notice from UPS, which could only mean one thing: I missed the courier guy by just a few minutes, as usual... And than the unheard of happened: I found the package waiting for me patiently right at my doorstep!

This is unprecedented. It never, ever, EVER happens. But that was not where the good surprises ended today. This was a flacon of Patou's 1000 in parfum concentration I ordered off eBay last week. As it turns out, even though it was wrapped with cellophane and the bottle completely sealed, it was a vintage. In any case, it is at least old enough to exist before the IFRA regulations kicked in, with the requirement for a long list of allergens, and most importantly the oakmoss, which is now gradually being eliminated altogether from such Chyprish beauties!

1000 was better than I even remembered it. Releasing the stopper from the sealing film, I noticed it was covered but what looked like crystals (from the film perhaps?). Dipping the jade applicator in the precious jus (some of which evaporated) and applying it onto my skin was a magical moment. Off the jade glass rod, a rose emerged, with thorns and crushed leaves. Moss, amber, spice and a hint of tea-like osmanthus swirling around it like little green fairies.

1000 has the rich vintage air to it of a full-bodied, grown up perfume. It's not as dry and medicinal as I remember it. It certainly has the "old fashioned Chypre" feel to it with a tad of a soapiness (that seems to be the trademark of the 70's - 1000 was released in 1972 and was created by Msr. Jean Kerléo, who now runs the Osmotheque). And the rose really blooms and grows on the skin, a dark rose with its roots deep in patchouli, oakmoss, musk and a hint of ambery labdanum, and an even tinier hint of immortelle absolute. I'm in heaven.

Un Crime Exotique

Tea and petite fours, originally uploaded by arora_anshu.

I imagine that this is what Alice in Wonderland has experienced when she opened the bottle that said “drink me”. Succession of decadence pours effortlessly out of Un Crime Exotique, as if the occident and the orient have simultaneously decided to pack their most refined treats into one little bottle, with an endless supply of surreal liquid fantasy.

Star-anise infused pastries. Madeleine steeped in steamed milk. Dim-sum sponge cake soaked with jasmine tea. Gingerbread baking in the oven. Black sesame and honey. Osmanthus incense burning and Japanese body incense sprinkled on a sleepy skin with penetrating camphor and sweet cinnamon and vanilla. Milky bubble tea.

This is a comfort scent if there ever was one. Soft, soothing, mysterious, imaginative and like no other. Uncork that bottle and experience a stream of pouring thick lactonic vapour, floating above, transporting me to a place where there are no worries and only rewards, only tea and desserts and none of the savoury prerequisites. Truly an (exotic) crime.

Notes: Chinese Osmanthus, Gingerbread, Tea, Cinnamon, Star anise, Mate Absolute, Vanilla Sugar, South Sea Island Sandalwood

Chartreuse Eau de Vie Tisane

Licorice meets flowers in this unusual tisane that’s described as a “luxury digestive tonic”, and was inspired by the Green Chartreuse liquor. Like its namesake, this tisane is prepared as an either cold or warm cordial and has a sweet anisic flavour, which comes from the fennel and anise seeds. Combined with milky chamomile flowers, it is sure to soothe the digestive system, yet thankfully it escapes the familiar baby-colic-relief brew because of the presence of other unusual elements, most importantly French tarragon, which contributes a quirky and refreshing, slightly minty and sweet clove-like character that is a departure from the familiar licorice and anise flavour; and lemon verbena, which is invigorating and balances the richness of the licorice. To top this off, osmanthus flowers and lavender buds add a perfumed element that complements the chamomile and adds not only to its therapeutic, soothing effect but also to its rich, sweet floral bouquet.

Chartreuse Eau de Vie tisane is available directly from Inner Alchemy Tea Co. in Vancouver (604) 731-1529 and is also sold in select Farmers’ Markets around Vancouver during the Spring, Summer and Fall. It costs $16 for a 2oz tin.

P.s. Like most antique liquors, Chartreuse liquor originated in a form of a medicinal concoction created by monks in a monastery of the same name. This one came from France, and for centuries is prepared by monks of the Carthusian Order who to his day are the only ones who know its secret recipe. Its origins are dated as far back as 1605, and its secret formula containing some 130 herbal extracts withstood many historical challenges including several expulsions of the monks from their monastery, restrictions from the French government, and the ruin of the distillery itself.

Tea Rose

Dewy Tea Rose, originally uploaded by Ayala Moriel.

As if my tea obsession is not already enough, I have been recently obsessed with tea roses. There is much to be said about the sheer bliss that rests upon me when I burry my face in a gigantic hybrid tea rose. The cool petals in the summer, sometimes covered in dew, other times with dust, and always makes a rose garden shine with beauty. I always felt that tea roses are more rosy than any other kind. Rosa damascena is more full-bodied and wine like, Rosa centifolia (cabbage rose) a little lighter, and Rosa odorata (the Latin name for tea roses) is definitely the most peachy-perfect of them all. To my nose, anyway.

As it turns out, what makes tea roses smell the way they do is their orange colour, due to presence of beta carotene, and also a type of ionone, which is what make it smell as fresh as a cup of green tea.

I tried to recreate the experience by creating a tea rose soliflore, using two China roses - Rosa odorata and Rosa rugoza essential oils, highlighted by osmanthus and black current buds for extra fruitiness, and grounded with cassie absolute and green tea CO2 and just a touch of vanilla. The result was very much to my liking: cheerful and light rose with none of the muddiness that can so easily darken an all-natural rose fragrance, with ionone and tea depths that make it interesting and long lasting and quite diffusive.

Tea Rose is now offered as a limited edition via my Etsy shop.

Ineke's Garden

Angel's Trumpet, originally uploaded by Ayala Moriel.

It was a cold-gray-wet mid-November day in 2007. Ineke and I sat at the Starbucks across from Vancouver Public Library (the main branch, which Moshe Safdie has humorously designed to resemble the Colosseum and give my city an imposed air of culture). This was my first time smelling Evening Edged in Gold and my immediate reaction was that of familiarity. I couldn't quite pinpoint it at the context, so Ineke mentioned the influence of the grand woody-floriental scents from the 90's - Feminite du Bois and Dolce Vita, both with a pronounced cedarwood and fruity notes.

Months later, Ineke kindly sent me a sample of her new opus (by the way - Ineke has a new and beautifully packaged sampler set, with all her 5 fragrances, titled “Volume 2” and meticulously wrapped and packaged in their miniature matchbox-like case within a larger drawer-type box), as well as the three floral bases used in the perfume. Two of the bases are ones that Ineke has created “from scratch” so to speak, using flowering plants in her garden as a reference and inspiration.

Although these floral bases play a modest role in the formulation percentage-wise (the woody and musky notes play a more dominant role here, accounting for more than half of the composition), they sure are what sets Evening Edged in Gold apart from, say, Dolce Vita and Samsara.

The Angel’s Trumpet (aka Datura) base is reminiscent of lilies and reminds me greatly of the lily-and-orange blossom saturated Lys Mediteranee, yet with a far more pronounced lily-of-the-valley note (most likely from Phenyl Ethyl Alcohol and other muguet molecules).

The Midnight Candy base is a lot less floral that I expected it to be and smells very candy-like indeed, and has a dusky, smooth ripe-plum-like texture which goes very well with the more complex, apricoty-osmanthus base (Ineke used both osamnthus absolute and an osmanthus base for Evening Edged in Gold - I have to say I personally prefer the absolute as it is).

The Angel’s Trumpet I’ve taken pictures of (see above) did not have much of a fragrance (at least not in broad daylight). Keep in mind that I've met in in mid-day; according to Bill (Ineke's husband and business partner), it is at night time when the flower releases it's lily-like scent into the air, and the yellow variety is the one to look for (the bush I've found being peach coloured may not be as fragrant but I'm bound to check out if it's still in bloom this very evening).

Midnight Candy is the flower that “stars” in this fragrance’s packaging. Unfortunately, I haven’t smelled it either. Again, according to Bill this finicky dusky flower will only show off its olfactory capabilities on a hot day after 4pm. In a cooler day it won't be as generous sharing its fragrance. I am very curious to hear if any of you who have tried Evening Edged in Gold are familiar with these two fragrant flowers and could “find” them within Ineke’s perfume. I would love to hear from you more about the plant inspiration for this perfume.

Zaluzianskya capensis. Midnigth Candy. (Nattstjerne-balsam), originally uploaded by Tess_.

Tirzah Tea Time

Tirzah Tea Time, originally uploaded by Ayala Moriel.

Escaping the wet snow outside, I entered Dawna’s cozy apothecary-kitchen. The table was already set with a bamboo tea tray and a glass plate laden with linden and tiny orange-almond cookies. Through the kitchen window, embraced with a yellow curtain, we could still see the snow falling straight to the ground, uninterrupted by wind.

Tea time with Dawna is always special. And when there is a new tea-blend involved, even more so. This time, the occasion was our shared tea-tasting ceremony of Tirzah – the new perfumed tea blend Dawna have created to accompany my linden blossom soliflore. Back in June 2007, when Tirzah was lauched, Dawna has created a limited edition blend of one tin only which she named Flora Linden (which is now available as a limited edition tea directly from Inner Alchemy Tea Co.) . It was lovely and floral, but we felt that it was time to re-visit this concept and re-create a tea that is more representative of Tirzah’s woody-floral-green freshness.

Dawna surprised me with orange-almond cookies that were made by Elsa’s Story in no other place in the world but Nahariya – a beautiful beach city which happens to be the nearest to my village in the Western Galilee… She also surprised me with some ideas for our next tea collaboration: a yerbamate-based tea blend to accompany Gaucho (to be released in Spring 2008). The beautiful dried herbs she showed me all resonate deeply with the green yet sweet coumarin qualities of Gaucho… Aside from peaking your curiousity, I will say no more.

The kettle boiled, and Dawna carefully measured the temperature of the water to ensure the delicate sencha leaves that create the base for Tirzah will not get overexposed to heat and release too much bitternesss. Moments later the clear glass teapot was filled with a gentle brew of flowers and leaves. The hops flowers blossomed in the water, floating beautifully like little ballerinas with green organza dresses…

The tea was than strained and a pure, light green liquid was poured into the delicate clear-glass tea cups. While we waited until the tea cooled down a bit in the cups (which brings out the flavours better), we enjoyed smelling the gentle steam emanating from the cups and marveling at the connection between the tea and the perfume that inspired it. Both have a delicate, lemon-woody-floral feel to them. The greenness is spring like and fresh, and delicate and gentle rather than brash and sharp as greens can often come across.

The tea is very pure and delicately smooth on the palate. Tirzah has a unique floral bouquet, interlacing linden blossoms and leaves, hops flowers and the honeyed, fruity-apricotness of osmanthus blossoms. While the lemon peel has a definite presence in the immediate experience of the tea, it is more floral and woody than being remotely similar to a lemonade… And the sencha leaves (two different kind of organic green Japanese sencha tea leaves were used) create a sophisticated, delicately-green, smooth and only ever so slightly tannin backdrop to this tea-tapestry.

Tirzah tea is perfect and pure and should be served with no additional sweeteners that will mask the subtle complexity of its floral notes. Though I might add that the orange and almond cookes served on the side were fantastic, they are by no means necessary for enjoying this beautiful tea.

And not just because I can, not just because it's the week of the Carnival in Brazil (the one I missed out on...) but also because I find this music to beautifully portray the peacefulness of the tea... And if you have Caetano Veloso & Gal Costa's album "Domingo", that would be even a better accompaniment for this tea...

Tirzah perfumed tea is a delicate floral blend based in organic Japanese sencha green tea. Ingredietns: Organic Japanese sencha tea leaf, Wild Linden Blossom Wild Linden Leaf, Organic Lemon Verbena Leaf, Organic Lemon Peel, Wild Osmantus Blossom, Organic Hops Blossoms. All botanicals are guaranteed certified organic or wildcrafted in a pristine environment and tested for chemical residues. Each tin contains 50gr of loose leaf tea. To prepare: bring water to a boil. Wait a few moments before steeping the tea leaves. Steep 1-1/2 teaspoons in 8oz of boiled water, for 1 minute (if you prefer a stronger tea, you may steep it for 1-1/2 minutes, but no more than 2 minutes to prevent the tea from becoming bitter). Tirzah tea is best served unsweetened, and its flavour improves even more when it cools down to room temperature. It is an excellent meditation tea as well as a light rejuvenating tea to be enjoyed throughout the day.
We are now pleased to offer Tirzah for an introductory price of $20 (regular price is $30), when you order it along with Tirzah perfume as part of our Tea Time Gift Set.