Matching

There's a guy across the street in the retirement home, who must have lived a long, nicotine-rich life. He spends about half of the days asking passers by for light. And cigarettes. I gave him matches and lighters on a number of occasions, and even one of my cigars. Every time I have something for him his yellowing face lights up, he quiets down for a few minutes... and by the time I'm upstairs again I can already hear is yelling and soliciting for more tobacco.

Between Leather & Tobacco Week (May 11-15), the neighbour across the street asking for matches all the time,  and my newly found infatuation with Tabac Original - the natural course of events was to try to do matching for the latter.

"Matching this is the process of creating a replica for an existing perfume – it’s akin
to writing a symphony’s entire score by listening to a recording of it. nowadays, perfumers use a GC report to assist them in the process, but still need to rely first and foremost on their nose. matching is one of the most important skills for a perfumer, and one of the best tools to develop your composition skills, which is why you’ve been asked to create a match in many of the exercises throughout this book." (Foundation of Natural Perfumery, p. 176). 

Matching is not something I do often anymore (I did a lot of it in my early perfumery days, as it's a great way to learn composition and study the classics, simultaneously). The reason I don't is because usually it's nearly impossibly to create something even remotely close because the bulk of the fragrance's personality comes from synthetics - some of which are not even naturally occurring. So it's a lost battle from the start. This is also why I refrain from providing any replication services for y custom scents.

Another great challenge of matching is to listen to your nose instead of the brain. In a way it's easier to make matching for something you don't know the name of, or anything about. This way you don't have any misconceptions about it, and that reduces the risk of the "power of suggestion" effect. With Tabac Original, for example: it's easy to assume that there is tobacco in there, and be tempted to add it in. It's in the name of the fragrance, after all! But even my keen nose cannot for the life of me detect the tiniest amount of actual tobacco notes in there. Yes, the fragrance may bring to mind tobacco because its clean, dry, woody character - but there is none of the acrid, leathery, hay-like or even violetty nuances you'll find in tobacco absolute. I'm not saying tobacco won't smell good in there. But it's just isn't there. It's almost easier to think of it as a Fougere - even though it's not that either (there is no moss that I can detect; nor coumarin, which pervades so many masculine fragrances of yore). 

With Tabac Original - it seemed possible. Most of the perceptible and characteristic ingredients, except of the synthetic "white musks" are readily available on my palette. Plus, I thought it would be fun. The "brief" so to speak was not only to make it retain the refreshing vetiver and spice character, but also to refrain from using overtly rare or costly ingredients, so it could potentially be a  "natural drugstore" fragrance of sorts...

So far I'm rather pleased with the results - which utilizes Haitian vetiver as the key component, spiced heart notes of Egyptian geranium, petitgrain and allspice; top notes of lavender, black pepper, ginger and nutmeg. I also had to use some proprietary tinctures of ambrette seeds in lieu of the musk; and ambergris tincture as well to create a bouquetting effect. In that sense I failed to make it a truly cheap fragrance. But it seemed quite necessary for the composition if I were to avoid any expensive florals (for example: I decided to forego any neroli or carnation absolute, both being prohibitively expensive). The tinctures are used in minute amounts, but I won't say either of these raw materials is a run-of-the-mill, easy to find ingredient. It does smell great, though. 

Nocturnes

Although the name suggests it to be a night-invoking perfume, I find it extremely summer-like and full of light.
It starts off with a citrus splash of bergamot and tangerine, backed up with a feminine floral notes of jasmine, and a more masculine eau-de-cologne like notes of orange blossoms and a hint of musk, that adds sensuality to that blast of freshness.
As the top notes start to fade, they reveal a luscious fruity note of peach supported by vanilla, which gradually pushes away the dominant orange-blossom and tangerine accord.
The dry down gradually enters with an interesting and surprising accord dominated by a fresh, woody and masculine vetiver notes, accompanied by green notes, orange blossom (softer and more subtle now), and a very modest hint of vanilla and rose. 
This perfume is full of surprises, I love the way the stages fade into each other. The overall impression is of freshness and vivacity, mingled with a tad of melancholy, which brings to mind Chopin's expressive piano nocturni. 

It’s surprising to see that such an old-fashioned aldehydic floral was launched in the 80’s (1981 to be exact). The perfumer behind Nocturnes is Gerard Lefort.

Top notes: Aldehydes, Bergamot, Mandarin, Green notes
Heart notes: Orange Blossom, Jasmine, Ylang Ylang, Tuberose, Stephanotis, Lily of the Valley, Orris, Rose, Cyclamen 
Base notes: Vetiver, Musk, Sandalwood, Amber, Vanilla, Benzoin

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.

Lampblack

Lampblack by Bruno Fazzolari

Every evening before sunset, the preparations for the lightless hours commenced: father would fill the lamps with petroleum, trim the wicks and replace the spent ones; and mother would clean the soot off the fragile mouth-blown glass shields with a round bottle-brush. This job had to be done well ahead of time to ensure they are completely dry. Failure to do so would result of the glass exploding into shreds once the heat of the flame kisses the damp glass.

This is how I grew up, in the dim light to do the homework to in contrast to the blasting Mediterranean sun. Moths and fireflies will gather around the lamps and candles, often sacrificing their tiny lives by getting too close to the light... If you were too light-greedy by raised the flaming wick - the exact opposite result will be achieved: would  too much soot will collect rapidly on the glass, blocking the light and create more work for the next day...

One day technology arrived at my home village in the form of solar-power, and the petroleum lamps and all those little strange mundane details of electric-free life were almost forgotten... Until I encountered Bruno Fazzolari, a visual and perfume artist as well as an art educator - and his new perfume collection of 5 fragrances with the eponymous title. I instantly fell for two out of the five, and learned that the soot collecting on such lamps has a name, and is also the most ancient of all pigments: Lampblack.

Petroleum lamp, a photo by MrsFaraway on Flickr.

Lampblack is not an isolated perfume - it was debuted as part of an art show at Gallery Paule Anglim in San Francisco, alongside a series of Exploring the relationship between art and perfume is a controversial and difficult subject (for many reasons I feel should be the topic of another post) and it's both exciting and encouraging to see an artist taking the risk and seriously pursuing the challenge.

Lampblack pigment is not simply black - but also possesses brownish or blue background hues that might show more clearly to the untrained eye after the colour fades a bit. It's a very versatile pigment - and is used to create India Ink, as well as black water colour and oil paints.

The primal, basic nature of lampblack pigment appeals to me. There is something very straight forward about it; yet also a mystery. It connects the innate need to tell a story through the ages - on cave walls or the Metro station.

Lampblack perfume encompasses that connection: it has some very prehistoric elements such as the smokiness of nagramotha (cyperus, a relative of vetiver that has an almost tar-like scent that is not unlike petroleum at its pure state); an ink-like quality that makes one think of the cold steel from which bridges are built. Strangely enough, it also reminds me of a visit to a fisher's docks in Haifa in elementary schools, when we were shown a cephalopod and the ink that comes out of it. There was a salty, metallic scent in the air of a rainy winter day, the rusty ships and wet wooden docks.

Upon application, Lampblack possesses an abstract yet familiar freshness merged with woodsy and mineral elements: sulfuric grapefruit, flint-like black pepper and woodsy sandalwood and vetiver. Quickly, a turpentine-like smokiness of nagramotha interferes with the agreeable opening, and an abstract array of molecules that bring to mind ink and minerals. Underneath it, if you listen carefully, there's a quiet jasmine note peaking through the rather angular structure, echoing the "fruity magentas" and splashes of yellow that are peaking through the buoyant spills of thick India ink in the artist's painting - but perhaps it's the other way around. Powdery benzoin mellows out the dryness of the woods, suave and absorbent like rough watercolour paper.

Lampblack perfume and the entire collection of 5 can be purchased directly from the artist's Edition webpage, or via his Etsy shop.

Vetiver Noir OOAK Perfume

Coffee Beans, a photo by Stirling Noyes on Flickr.

Last month, I went back to my old sketch vetiver formula for Vetiver Noir (from 2007) and decided to make it better. Sometimes great idea take a few years to materialize, and I'm glad that no one bought this before, so I was able to turn this into a singular, One Of A Kind perfume and offer it anew on my website, in the semi-custom-perfume. The way it works with these OOAK perfumes is, that instead of paying full price for a custom scent you get to pick a singular phenomenon from my personal lab experiments and archives, and make it your own. I will not sell the perfume (or the formula) to anyone else after you do so; and when you run out - you can order a refill for the same price as custom scent refills go for. 

To the original formula, with Indonesian vetiver, dark-roast Arabica coffee, Ruh Khus and Cardamom - I added some surprising elements that have a dark, intense quality - yet create a very sophisticated aura. Using Bourbon Vetiver was a big twist of faith here, as it is a very rare distillation, and with that smoky, dark, nutty quality that makes vetiver connoisseurs swoon (and those who don't get vetiver in other occastions might just fall for it after smelling this varietal).

Dark-roasted coffee beans complement the nutty, dark texture of Vetiver Bourbon and Indonesian vetiver oils. Ruh Khus and baked Indian earth contribute warmth and depth, accented with hints of nutmeg and hazelnuts.

The new OOAK Vetiver Noir turned into something I'm so pleased with I'm almost tempted to take off-line... That's how much I love it. So make it your own before I change my mind!

Vetiver Salon at O5

Ayala Moriel hosting a Vetiver Salon at O5, a photo by Ayala Moriel on Flickr.

The best part of Monday this week was spent at O5 tea bar, where we conducted a Vetiver Salon.
I brought all my vetiver oils and essences - 10 altogether, and from 7 different locales:
India (Vetiver essential oil, CO2, ruh khus, and co-distillation with mitti attar); and vetiver essential oils from South Africa, Surinam, Sri Lanka, Haiti, Bourbon and Indonesia.

Vetiver is used in many of my perfumes, but I brought 7 to create a diverse little collection that features vetiver in a prominent enough manner: Bon Zai, Hanami, Jasmine Pho, Megumi, New Orleans, Sabotage and Vetiver Racinettes and some of my OOAK vetiver perfumes: Vetiver Blanc, Wilde Vetyver, Vetiver Noir and Vetiver Rouge. And it goes without saying that there were some soap and candles involved...

And I also brought the dried roots, so that we can brew some warm vetiver infused tea. In the picture you can see the Anji Bai Cha - a Korean tea that is somewhere in between green and white. It brought out the nutty, sweet warmth of vetiver. We brewed it with another white tea - silver needles from China - to produce a more cool, clean, slightly grassy tasting liquor that would probably taste even better chilled in the summer. And our last experiment - vetiver roots with green pu-erh, which worked quite harmoniously, tasting fresh and not nearly as dirty-like and earthy as black pu-erh teas tend to be.

Hopefully this will be the beginning of semi-regular perfume and salons that I will be co-hosting at O5.

Vetiver Racinettes Soap V.01

Vetiver Racinettes Soap v.01, a photo by Ayala Moriel on Flickr.

Vetiver Racinettes has arrived back from S.C. - my student and soap maker down in Oregon. And the timing couldn't be better for the Artisan Fragrance Salon in Los Angeles!

We had some challenges with this experimental batch as we tried a few ingredients that are not normally used in soap, so we will have to make another test batch this fall. However, it only affected the look of the soap, and not it's other important attributes: V.01 still performs wonderfully and smells incredibly true to the scent that inspired it.

This cold processed soap has amazing lather - in fact, enough to challenge most shaving creams, and can be easily use as such. It is also quite moisturizing, with castor oil added to the mix for that purpose.

The soap is scented with refreshing, invigorating and quirky notes of vetiver, cardamom, espresso and kaffir lime leaf. I'm especially grateful for this clean scent in my shower while staying in over-heated Los Angeles (highs of 32c/89F today). Makes for a very fresh start for the day and a much-needed cleansing experience in the evening. The scent lingers on the skin after the shower and even garnered some unsolicited comments from my lovely hostess Persephenie!

Must Read: LA Times Magazine Vetiver Article

Visit the LA Times to read an excellent essay about vetiver by Denise Hamilton in her "Uncommon Scents" column - titled Green Goddess.
And as if a good read is not satisfying already - I was particularly surprised and happy to find mentions of both Vetiver Racinettes and Orcas!

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

Vetiver Bath

Vetiver Roots 02, originally uploaded by Ayala Moriel.

This afternoon I blended some vetiver bath salts... You may remember from a short while back this summer, I mentioned how unpopular were the Lavender bath salts, and how I was going to replace them with a vetiver scent... The lavender is probably not the problem, but rather - the accompanying notes (or their names... go figure): licorice and vanilla. Vanilla is popular alright, but licorice tends to divide people: most either love it or hate it. Very few feel lukewarm, on the fence or just pleasantly ok about it. And for the most part, it is an acquired taste... There are some cultural preferences around licorice. I knew for quite sometime that most Asian cultures do not enjoy licorice candy or licorice flavour (though they seem quite fond of star anise! Go figure…). And just recently, I learned from my Swiss intern Olivier, that in Europe there is something that is called “the licorice border” that runs along the Elbe river: everyone north of that line loves licorice, and to the south of it – they cannot tolerate it… The border runs along a river.

Back to vetiver: the bath salts I’ve created are a simplified version of Vetiver Racinettes. It has a hint of coffee, spices, wild mushroom and tarragon (can’t escape the licorice, can I?) but really, just a hint. It’s all about vetiver, and a lot of Australian sandalwood to boot – which gives it this smooth woody scent which I find to work beautifully in body products. I used some special salts in this which I’m very excited about: Ancient Canadian bath salts from Saskatchewan, Dead Sea salts from Israel. So you can understand why I’m feeling really at home with this bath…

While my stuffed grapevine leaves were cooking on the stove*, I immersed myself in a Vetiver Ritual Bath this evening and the scent lingered for a long, relaxing hot bath even though I haven’t used that much salt; and my skin still smells delicately of vetiver and sandalwood as I write this.

* You won't believe it! I found some freshly picked leaves in the farmers' market last Saturday and I'm making them for my brother's birthday feast tomorrow... So excited: it's been 2 years since I had these last, probably 3 since I last made them from fresh leaves!!!

Sycomore

As you may remember, Les Exclusifs left my nose generally unimpressed and my wallet completely unaffected (except that, of course, I immediately bough the last parfum extrait of Bois des Îles upon learning this was the sacrifice for the new line). Even though all the 6 new scents were very well made from quality materials and nevertheless elegant – they left me cold and, well, disappointed. Mostly because most of the collection seemed to be elaborating on already-familiar-Chanel themes: the cool green iris scent (28 La Pausa, Bel Respiro – both reflecion of No. 19); the over-the-top oriental (Coromandel, a modern oriental with an obvious wink towards Coco from the 80’s); and finally - the sophisticated abstract woody: No. 18 and 31 Rue Cambon, both paying an homage to Bois des Îles but barely scrape the bottom of its feet in my opinion, but nevertheless are the only two that I found interesting so far. Until Sycomore came around.


Sycomore was love at first sniff. It encompasses everything that I wish was in a vetiver perfume but haven’t really smelled yet. I have to admit: for a moment I felt so comfortable I even thought I am smelling my own familiar and odd Vetiver Racinettes. . It is the first vetiver that I encounter that is nearly as complex and full bodied, dark and spicy, earthy and sweet as how I like this root to be. It has many of the lements I liked in Vetiver Tonka. It even has a nutty coffee note (which I really enoyed in Jo Malon’s Black Vetiver Café); and it has a lot of Haitian vetiver from what I can tell – which is my all-time favourite vetiver oil. I've been reaching for the Sycomore mini for a week now and enjoy it's versatility, easy-going nature and find that it is distinctive and perhaps even timeless. But perhaps more than anything else I'm surprised that is so unpretentious.

Sycomore is nutty, woody, earthy, sweet, clean, tart and complex like vetiver should be. It has whiffs of odd and familiar notes weaving in and out – mint, pepper, mastic, cypress, juniper and coffee. And the woodiness of vetiver is accentuated by other woody notes such as sandalwood. It truly captures the vastness of earth, nature, trees and woods.

News from the Nose: ArbitRary Candle, Vetiver Racinettes and Father's Day

Dear Fragrant Friends,

In this newsletter:

• Father's Day Celebrations
  
• New Arrival: ArbitRary Candle
  
• Candle Burning Tips
  
• Enjoying Scents in Summer
  
• Limited Edition: Vetiver Racinettes

Father's Day Celebrations

Two years ago I was fortunate to celebrate Father's Day with my dad going to the Van Dussen Gardens and enjoying a day outdoors among the beautiful plants. This is where I captured this scene of a child sitting on a tree branch, just like in Oscar Wilde's "The Selfish Giant", waiting to be helped down by someone bigger and stronger.

I was talking to my brother today about scents that reminds him of our father. These turned out to be primarily turpentine and paint thinner. He never wore a fragrance and kept a beard so didn't even use as much as an aftershave by way of fragrance products. This is maybe a bit extreme, but most dads, it seems, would go scentless unless they receive gifts of fragrance. And so this is suppose to be the point where I should have a little spiel in my newsletter convincing you to buy a fragrance for your father. Well, I'll be doomed if that's what I'm suppose to do every year on Father's Day for the rest of my career. I trust that you know what your dad likes, and be it an electronic gadget, hardware or a tie, what will really make him happy is your thoughts of him and spending time together with his children.

So instead of advocating for more fragrance shopping (by all means, go for it if you must...) I just wanted to acknowledge that special day coming up on Sunday June 15th and wish you all a Happy Father's Day. It is a secular holiday that celebrates something that is essential and universally meaningful - parenthood, and thanking our parents for all that they did for us. Aside from that, I highly recommend you read my myth-crashing article titled What Makes a Fragrance Masculine?

New arrival: ArbitRary Candle

Ayala Moriel is proud to present the first perfumed candle in our collection: ArbitRary.

ArbitRary candle is based in food-grade soy wax with pure cotton wick. It has a stunning cold throw that is as refreshing and bright as the perfume itself. It burns with its lovely, refreshing

aroma, filling the room gently with its mélange of basil, lime, lemon
verbena, oakmoss and hay.

Each 8oz candle burns for 50-60 hours and retails for $45. They are now available for ordering and will be in stock next week

In all of our products - perfumes, jewelry, teas and now candles - we put quality, integrity and craftsmanship as a top priotiry. When sourcing production from outside of our atelier, we collaborate with independent artisans who are passionate about their art and value quality and integrity in their business just as much as we do. In doing so, we are committed to creating positive change in our world: we give you the best, pure product we can possibly create and also support like-minded artisans and their businesses. This is our way of creating small change in the way business is conducted around the world.
Our perfumed candles are made with attention to purity, quality and detail: each candle is created and hand-poured especially for us by hand by Nikki Sherritt, the talented and passionate artisan candle maker and the founder of Seattle-based, independent candle company Gabriel’s Aunt. The candle was custom-made especially for Ayala Moriel Parfums, based on the perfume formula of ArbitRary. Nikki and I have been working on adding all-natural perfumed candles to

my line since the fall, and we hope that ArbitRary will be received in the enthusiasm it deserves so that we can create more beautiful candles for you (the next candles are going to be gorgeous!).

Candle Burning Tips

To get the most out of your candle, follow these simple steps:

Safety tips:

- Never leave a burning candle unattended

- Place burning candle away from any flammable materials

- Place the candle away from reach of children and pets; keep matches and lighters away from children as well.

- To avoid large flame, always trip the wick before lighting your candle to the recommended length of 1/8”

- Burn the candle away from open windows

How to care for your candle:

- When burning your candle for the first time, burn it for 4 hours straight, or until there a melted wax pool forms on the entire surface of the candle. This will help avoiding the formation of a hole or a “tunnel” in the middle of the candle.

- To ensure an even burn, always trip the wick before burning, and ensure it is centered.

- Burn the candle away from open windows or drafts to avoid uneven burn and enlarged flame

Enjoying Scents in the Summer

In the heat and humidity of summer choosing the right scent to wear isn't easy. There are many factors that don't work in our favour at this time of the year in relation to fragrance:

Humidity tends to make scents feel heavy and suffocating. Therefore, try to avoid scents that are already heavy by nature, such as concentrated floral perfumes (particularly the more narcotic notes can come off as overbearing in extreme heat and humidity). Humidity strangely carries the scents in the air and at times even amplifies them. They may not stay for long on your skin with all the sweating but while they do they could linger quite heavily in the air, carried by the moist molecules.

That is why I recommend only the lightest and preferably "dry" scents for those unbearable humid days. Notes such as woods and vetiver, as well as citrus and fragrances with only a light touch of spices and very little floral notes if at all. For example: Bon Zai with its dry vetiver and sandalwood; Lovender's captivating fresh and calming lavender, lemon, sandalwood and iris notes; and last but not least Sabotage - a clean, sophisticated and somewhat soapy concoction of vetiver, tobacco and lemon leaves with a hint of pepper.

Heat increases the evaporation rate of scents and so you may need re-apply scents more often during the summer. Traditionally, citrus and light cologne or eau fraiche type fragrances are worn in the summer. These are very light and not long lasting to begin with and the simple action of applying the scent is perceived as cooling, which adds to their appeal. Aside from using your favourite light summer fragrances you may also want to try using simple floral water to freshen up in the heat of the day. Neroli (orange flower water) and Rosewater are widely available in many Middle-Eastern, Greece and East Indian grocery stores and are fairly inexpensive. Decant some into a spray bottle or a mister and enjoy the cool water on your face, neck and arms. Some other floral waters or hydrosols can be found as well - including sandalwood and vetiver. Likewise, floral waters or pure spring water can be sprinkled on vetiver fans to produce a cooling waft of air.

When it's really hot, I particularly enjoy wearing ArbitRary, with its citrus-herbal notes of basil, lime and verbena; Fetish, bursting with grapefruit, mandarin and rhododendron; and Charisma, with its exotic green-tea, osmanthus and spearmint notes.

Limited Edition: Vetiver Racinettes

Last year, I have conducted an intensive Vetiver Series on SmellyBlog. Aside from articles about the odour profiles of vetiver from different regions, traditional and medicinal uses of vetiver, and reviews of vetiver-centered fragrances - I have shared my own experiences in creating a series of mods for my very own vetiver perfume. One thing lead to another, and after 4 different vetiver versions (Vetiver Blanc, Wilde Vetyver, Vetiver Noir and Vetiver Rouge) - I have finally arrived at a destination that I have never quite planned to find - my very own signature vetiver scent: Vetiver Racinettes.

Vetiver Racinettes was born out of two forces: my curiousity to study this intriguing and versatile note; and a deep need that I can only describe as therapeutic at that time, which lead me specifically to that essence. The result of this vetiver journey is a perfume that contains all of the elements that I've ever loved in the vetiver scents I've tried, as well as my own conclusions from my journey in the route of vetiver. It has the warmth of earth and firey spices and at the same time - the coolness of clay and vetiver curtains sprinkled with water; the medicinal dryness of herbs and grasses and the luxurious tenacity of woods; the sweetness of tarragon and earth with the bitterness of coffee and mud.

Top notes: Black Pepper, Fresh Ginger, Cardamom, Kaffir Lime Leaf
Heart notes: Haitian Vetiver , Nutmeg Asbolute, Coffee, Spikenard
Base notes: Ruh Khus, Indonesian Vetiver, Vetiver Bourbon, Attar Mitti, Tarragon Absolute, Cepes

I had difficult time deciding when to release Vetiver Racinettes; and after consulting with all of my "sniffing bunnies" I have arrived at the conclusion that the summer would be the best time of year to appreciate the calm coolness that it brings while also accentuating the extremist attitude this scent has. And so Vetiver Racinettes is now at your service, as a limited edition for summertime.

Happy Father's Day!

Warm regards,

Ayala

Vetiver Truffle

My last experiment with vetiver was actually a solid perfume. I was so smitten with my Vetiver Rouge, that I wanted to turn it into a crème parfum. But I also really loved the coffee & vetiver accord, so I decided to use some coffee oil in the formula. In that sense, there is nothing new in this particular vetiver, except for merging Vetiver Rouge with Vetiver Noir. Bear with me for a few more lines and you’ll see what’s new in this particular vetiver rendition.

I usually use a base of jojoba oil and raw beeswax (the unbleached one, which still retains the lovely honey and pollen notes, and adds a new dimension to the final product). This time, I decided to do something a bit different: This time, for my vetiver solid perfume, I decided to use a completely different base oil: Black Truffle Oil!

Black Truffle Oil is an infusion of the rare fungi into olive oil. So you see, the base oil is actually an olive oil. The result is a slightly different texture – a bit lighter, and more like an unguent. The black truffle note is very tenacious – earthy, dirty and sensual. Along with the subtle honey notes, the tarragon, coffee and 5 types of artisanal vetiver oils (including the Ruhs from India) this is definitely a different vetiver from what I’ve smelled before. I may even be tempted to turn it into a parfum oil, with a base oil made of a combination of Black Truffle Oil and jojoba oil.
Thinking about it - that would be much easier to pack as a sample and share with you as well. The reason why I didn't think of it before completely escapes me...

This vetiver entry closes this cycle of vetiver posts. I love vetiver, so I won’t be surprised to come back to it later. But for now, I need my vetiver ideas to be brewing on low heat, until the right ideas will bubble up to the surface…

* The silver box above, containing the vetiver solid perfume is an ethnic Moroccan piece given to me by my X in-laws when they came back from Morocco years ago. Isn't it lovely?

** If you wish to try Vetiver Truffle, or any of the previous four vetivers (Wilde Vetyver, Vetiver Blanc, Vetiver Noir and Vetiver Rouge) samples can be obtained via email. The price is the same for all my other samples ($5.99 plus shipping). If you order all four, you will also get a free sample of the solid vetiver perfume (to be announced here tomorrow).

Vetiver Rouge

Root Beer, originally uploaded by Just Peachy!.

My recent vetiver experiments concluded with a fourth liquid (alcohol based) perfume, which I temporarily named Vetiver Rouge. From all of my vetivers, this is the most complex and ambitious in a sense. I was trying to create a more rounded, multifaceted fragrance. Still, vetiver is the theme. But to the vetiver I added a note which I have never seen together before: the elusive, distinctive, intensely licorice-sweet yet somewhat green - Tarragon Absolute. I used again a few types of vetiver, but the most tenacious of them, the Ruh Khus and the Ruh with Attar Mitti (baked earth) dominate with their copper undertones (origininated at the traditional Indian still, which is made of copper).

This brew of myriad little sweet rootlets, a rooty beverage, reminiscent of the “Sous” (licorice roots iced tea) that the Arab merchants used to carry in tapped copper kettles on their backs alongside the sour & salty Tamarhind and (the less exciting) lemonade.

Of all my vetiver scent, this is the one I am most excited about. We’ll see where this will lead me…

* If you wish to try Vetiver Rouge, or the previous three vetiver (Vetiver Blanc, Vetiver Noir and Wilde Vetyver) samples can be obtained via email. The price is the same for all my other samples ($5.99 plus shipping). If you order all four, you will also get a free sample of the solid vetiver perfume (to be announced here tomorrow).

Sel de Vetiver

The concept of using minerals as a theme in perfume is relatively new. Although there are distinct mineral notes in perfumes such as Aqua Allegoria Pampeloune (Sulfur) and l’Eau d’Issey (Chlorine), the mineral presence in these fragrances was kept hush-hush only to be noticed by the keen noses; Yet the Elena family seems to be taking this concept into a whole different direction, spearheading the elemental or mineral movement in perfumery, with Sel de Vetiver by Celine Elena (Salt) and Terre d’Hermes by Jean-Claude Elena (Flint) and in general by their minimalist approach that is more mineral than organic.

Sel de Vetiver (Vetiver Salt) from The Different Company meant to evoke the barely-there scent of ocean salt on a sun warmed skin. Although I can understand the salty reference and association with vetiver, warm it is not. Rather, it’s a cool, dusty vetiver with a clean earthy presence. It may recall the gritty, ground-sea-shells sand, salt sticking to driftwood and the rough dryness of skin that was soaked and masked with mud, salt and sulfur for too long. But it does not quite smell like salt or skin.


Sel de Vetiver opens with an astringent, clean accord of grapefruit, ginger and a hint of cardamom that reminds me roasted dark coffee more than the spice itself. I can smell hints of ylang ylang, but they are not obvious at all, being rather heady and fleeting. Other notes that are mentioned are orris and geranium, but I can’t say I was aware of their presence at any given point. Vetiver and refined patchouli (smells more like a patchouli isolate rather than the full-bodied oil) step in pretty fast and dominate Sel de Vetiver for most of its life on the skin – the sweet, clean scent of these two earthy essences combined.

Top notes: Grapefruit, Ginger, Cardamom
Heart notes: Ylang Ylang, Geranium Bourbon, Orris
Base notes: Vetiver, Patchouli

Vetiver Noir

Cuppa Coffee and Jack, originally uploaded by CaymanGirl.

One of the most original vetiver accords I’ve smelled is Black Vetyver Café by Jo Malone. I was so impressed with this imaginative combination, yet hoped the coffee note will linger longer. Given that coffee note is a heart note and not a base note dictates that it cannot last for too long on the skin. But in Black Vetyver Café it is more of a top note than a heart note and disappears really fast, leaving behind mostly woody vetyver. Therefore, I simply could not resist the temptation to try my hand at combining these two essences in their natural form – black coloured just like the dark-roasted coffee beans and vetiver oils from around the world in different proportions.

I decided to go wild with earthy vetiver varieties from India, including the co-distillation with Mitti Attar. The pungency and the earthiness and a hint of brash greenness seems to provide an interesting counter point to the coffee. And also by staying away from the “woody” I was hoping to create something different, albeit not original (Jo Malone deserves all the credit for thinking of this combination!). Indonesian vetiver adds a rough smoky touch, and the wild Indian vetiver oil (Ruh Khus) adds a sweetness that is well rounded and complex. To this I added nutmeg absolute. There is something about nutmeg absolute that just works so well with vetiver. It’s so sweet and rich (not like the oil, which is quite sharp and peppery!). It adds warmth to the sweet yet cool earthiness of vetiver. I could barely resist the temptation to sneak in a few drops of cardamom CO2, which goes so fantastically with coffee. But I don’t like to repeat myself.

I am really enjoying this vetiver mod. Perhaps it is not my favourite so far of all the three, but I feel I am getting somewhere in exploring the possibilities that vetiver has to offer. Hopefully by the end of this journey I will come up with something that I can truly call my own vetiver.

I like the complexity in this scent, even though it only has three elements: vetiver, coffee and nutmeg. It is earthy-sweet and warm, and feels rooty and almost edible without being obviously spicy or sweet. I am wondering what would happen if I chose a more mellow vetiver as a pivotal point, maybe the Sri-Lankan oil. Or add another woody element such as patchouli, or sandalwood or agarwood. Yet I think I should be trying a new mod before drawing any conclusions. In fact, I much rather keep blending vetiver-dominated scents and discovering the interaction between vetiver and other notes. It’s a fascinating study and it really should never end.

Samples of Vetiver Noir, Vetiver Blanc and Wilde Vetyver (Khus Khus) are available for you to try, you can get all three samples for $15 including shipping world wide. Just email me and let me know, or simply PayPal me and I will ship it to you immediately.

Vetiver Fans for Vetiver Fans

Vetiver Fan, originally uploaded by Ayala Moriel.

Marcia Elston from Samara Botane kindly sent me a lovely Vetiver Fan. This is going to be a must have for all vetiver fans, pun intended!
The fan is weaved from vetiver rootlets and surrounded by an outline of firmer branches to hold up its shape. It is recommended to use during the hot summer days after sprinkling it with water or better yet - vetiver hydrosol.

I will be taking this with me on my travel to warmer parts of the world so I can report on the effectiveness of combating heat. A real challenge.

To order your own vetiver fan, contact Marcia.

Vétiver Oriental

桃...だと思う:peach...may be, originally uploaded by lenny_kox.

Perhaps the title of this post should be “expectations” rather than the name of the perfume I am abouit to review. From a consumer’s point of view, expectations are perhaps one of the most dangerous things that can happen in the perfume world. Be it the posters, commercials, ad copy, reviews by fellow perfume addicts, or a simply stunning bottle – the final decision is in the juice, or as they say it “the proof is in the pudding”. However, this decision is often so wildly affected by the previous mentioned marketing maneuvers and peer pressure, that proportions are all lost once the moment of truth (i.e.: sniffing) arrives.

In my Vetiver Marathon, I was hoping to find interesting treatments of this unusual yet humble note. I started with what I thought was one of the classics – Guerlain’s Vetiver. Yes, it is citrusy. But it definitely smells like vetiver. I was hoping to find other perfumes that take vetiver to the forefront yet shed a new light, provide a refreshing angle. It seems that the more “adventurous” and “avant-garde” the vetiver I try – the further it is from the “truth” of vetiver. To my nose, anyways; so do feel free to disagree.

Vétiver Oriental starts up woody and peachy, with notes of Virginian cedarwood, Sandalwood, Atlas cedarwood and a hint of peach. This last note make it smell very much like a wooden-version of the plump, juicy oriental Asja by Fendi.

The heart develops a more powdery, dusted-sweet presence with orris and cocoa, which is quite similar to Dior Homme. But while Dior Homme offered a surprising, almost cutting-edge presence in a (recently) predictable and mostly uninspiring mainstream line, Vetiver Oriental pales like a shy speechless odour in comparison to the richness and bold statements of its peers (i.e.: Arabie, Fumerie Turque and Muscs Kublai Khan).

It is only in the late heart-notes phase that the aroma of vetiver emerges, still very subtly – it is nutty, roasted and sweet. It emerges for a very brief time, and is not particularly pronounced either, reminding me for a glimpse of grace f the roasted-sesame notes in Vetiver Tonka. I even thought for a second that I got a hint of roasted coffee (another hint for a vetiver I am biased towards, this time Jo Malone's Black Vetyver Cafe), but it puffed away and kept mumbling the same lame fake sandalwood tune, dusted with pleasant and agreeable woody sweetness like a rice-powder makeup in peach hues worn on cheeks suspended in an artificial smile.

I am sorry to say that as much as this scent is wearable and pleasant, it fails to excite me at all. I find myself disappointed over and over again by scents that have more vetiver in the name than in the formula. Whatever vetiver is left in Vétiver Oriental is so prettified and peached that it looses most of its appeal for me by the time the vetiver finally makes an appearance. It does so in the end, accentuating the sweetness of vetiver rather than its earthiness or the green freshness that the roots so brilliantly offer all at once in a harmonious contradiction that is reserved to Nature alone. In the dry down it is so similar to Dior Homme that I feel tempted to nickname it Dior Femme: a lacy garment weaved of bleached and peach-hued vetiver rootlets dusted with powdered sugar and makeup...

Top notes: Virginian Cedarwood, Peach
Heart notes: Atlas Cedarwood, Sandalwood, Orris, Cocoa
Base notes: Vetiver, Oakmoss

I’ve been longing to try Vétiver Oriental for a long time. From all I’ve read about it, it sounded like a scent that I had to try. Thanks to Lee who sent me a generous sample, I was able to taste this pudding; a peach pudding if to be precise. I hope the above review does not sound ungrateful, which I truly am. I could have never known it unless I tried it thanks to your generousity. May it serve as a reminder to us all to us all to always test before we buy, instead of relying on perfume reviews in SmellyBlog or otherwise!

If you want to read the complete opposite of my views of this fragrance, you can read this review.

Le Labo's Vetiver 46

smoke, originally uploaded by Silent Image.

Le Labo is a relatively new (2006) independent perfume house that commissions different perfumers to design their fragrances. I am not familiar with other scents from this line, nor do I know who is the nose behind this particular scent - but what I do know about about Le Labo’s perfumes is that they all bear names of building blocks followed by a number to indicate how many other building blocks went into the formula.

In the case of Vetiver 46, I can smell the other 45 ingredients far more than building block that gave its name. To be more precise, I smell labdanum and incense. The Le Labo website describes Vetiver 46 as the most masculine of the line, and themed around Haitian vetiver. I find this quite surprising, given the woody, incensey, at times almost smoky quality of the perfume that pervades most of its life on the skin.

Opening with labdanum, cistus oil, olibanum (AKA frankincense) and smoky notes of guiacwood and burning cedarwood, the scent gradually softens but remains rather linear and unchanging. Its aroma is rich, nevertheless; yet while I find the combination of notes appealing on its own, I find the persistence of the labdanum and oakmoss here to be leaving more to be desired.

However, I am quite certain that if the name hinted the promise of incense I would have not been disappointed, even if I found out at the end that there is an underlining mossy, musky quality to the perfume (which gives it its “masculine” nuance). Given that it is called Vetiver 46, I find it difficult to assess the scent based on its performance in an objective manner. If you are looking for a vetiver scent, you won't find it here. If incense is what your heart desires, look no further, it's here in a juice form. Not a joss stick as pictured, but the resins thrown on a hot charcoal in a censer.

While Villoresi’s Vetiver was quite far from being a single-note vetiver, and also, like Le Labo's, plays up the cistus notes - it still was able to derive certain qualities from vetiver (i.e.: the dryness, the astringent freshness) and come back to it in the end. This perfume from Le Labo is the most remotely related to the building block that is its namesake that I’ve smelled of the genre. If it was called Cistus 45 I couldn’t have found this more fitting as a name. The 46th ingredient, Vetiver, got lost in the smoke and was left behind.

Khus Khus (Wilde Vetyver)

putting down roots, originally uploaded by Splat Worldwide.

In my second mod of vetiver I wanted to focus on the unique Ruh Khus, a traditional East Indian distillation of wild vetiver. The note is challenging for the uninitiated-Khus-Khus-nose. As I mentioned earlier, this distillation in copper alembics makes for a very unusual note, not just because of the raw, earthy tone of the root itself, grown in Indian soil, but also because some of the copper remains in the oil and adds colour as well as olfactory residues.

I wanted to go wild all the way with the Ruh Khus, and bring out its characteristics by adding two additional oils that are quite unusual as well: Attar Mitt, which is a distillation of baked Indian earth into sandalwood oil, and also a co-distillation of both vetiver and Mitti (earth). All three oils, Ruh Khus, Attar Mitti and the co-distillation of Indian vetiver and baked earth make for a genuinely earthy olfactory experience.

To balance some of the sharpness from the copper tones of the Ruh Khus I also added a bit of the milder varieties of vetiver in my possession: the woody vetiver from Sri Lanka, and the sweet & tart Haitian vetiver. I also used a bit of the Indonesian vetiver to add body and intensity, and balanced it all out with a tad of Peru balsam, for a rounding, smooth sweetness.

The result was at first alarmingly earthy, but it mellowed with time. Last week I sensed in the mid-top notes a certain aromatic green sweetness that made me recall the unusual scent of unripe guavas. This has subsided a week later (and about 4 weeks after maturing the mod), and now presents a new olfactory resemblance to freshly uprooted root-vegetables, particularly garden carrots, dug out of the garden in a cold winter day and eaten by the enthusiastic gardener after rubbing in the wet grass – which inevitably means that some dirt is consumed along with the crispy sweet vegetable.

The dry down is indeed showcasing the natural, earthy complexity and simple harmony of Ruh Khus. The connection to earth cannot be portrayed in a more immediate way than these particular essences. Once you delve into it, I hope you will understand why it is called “The Oil of Tranquility” in India.

Samples of Wilde Vetyver (Khus Khus) are available for $8 including shipping internationally. You may also order