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Fragrance Under Threat – and why it matters

28 June 2022 by wpolfiction

Olfiction Perfumer Pia Long’s open letter to the perfume industry – a rallying call to contact EU lawmakers who are proposing legislation that threatens the usage of many natural raw materials.

Image by Rebekka D @ https://pixabay.com/

You know who the largest producer of toxins is?

Nature.

Of course, we would never want to ban natural cosmetic and fragrance materials just because some natural toxins and carcinogens exist.

Or would we?

This is exactly what the unintended consequence of the EU’s well-meaning but hopelessly clumsy Green New Deal could be. Dozens of fragrance materials could become the casualty of this initiative that confuses hazard with risk.

Anyone who has conducted even the most basic risk assessment will roll their eyes at that. Why? Because anything around us could harm or even kill us, under certain circumstances. It is impossible to eliminate all risk from our lives. We can, however, come up with sensible practices that help us minimise risk.
Unfortunately, in relation to consumer product safety, the sense has left the building, as behind the scenes, ministers and lobbyists are pressuring the EU to ignore the hazard vs risk approach, and just blanket ban anything with hazardous properties, regardless of whether the product in question has been deemed safe to use as intended.

The Chemicals Strategy of EU’s Green New Deal aims to ban the most harmful chemicals in consumer products – allowing their use only where essential.1

The above is a key statement, already biased and leading (because for us to determine harm we must have context). What this means in practice is that a total ban on anything potentially carcinogenic, mutagenic, reprotoxic is being pushed, regardless of whether safe doses and use scenarios have been established. Even if potentially hazardous materials are harmless in the context of the product, that won’t matter.

Materials like lavender oil, rose oil, basil oil, and many more are therefore under threat, because the EU does not consider fragrance essential.

If you have ever wept when smelling the perfume of a dead loved one, ever felt relief when a scent has masked an anxiety-inducing malodour, ever smiled from ear-to-ear when you finally get that burst of fragrance in the shower after sweating at the gym, and millions more such everyday yet essential instances of quality-of-life improvements, I need you to pay attention. If you lost your sense of smell due to COVID-19 and felt how deep an impact that had on your life, I need you to pay attention. I need you to write to some of these decision makers and ask for them to consider what the unintended consequences of an otherwise wholesome initiative could be.

The issue here is not safety. We all agree that we want consumer products to be safe. Nobody is arguing against that. It’s the unscientific approach of this initiative that will cause a cascade of problems.

The Irony of Nature

The natural fragrance raw materials we use in perfumery are concentrated forms of what the plants produce themselves. Plants are natural chemical factories. Plant materials are natural complex chemical mixtures. Rose oil is made up of around 350 chemicals, others, a hundred, some, a couple of dozen.

Certain chemicals will contribute a great deal to the smell of the finished essential oil, absolute, Co2 extract or resin, some chemicals will be beneficial to us, and occasionally a plant material will contain something that could be harmful to us. This is why the industry trade body International Fragrance Association (IFRA) has developed a methodology along with the Research Institute of Fragrance Materials (RIFM) to research, gather and publish a set of Standards (maximum amounts of hazardous substances in the fragrance concentrate) which all professional perfumers and brands adhere to. I say all – the reality is that many independent and especially non-EU perfumers and brands do not, and this is in part driving confusion about whether consumer products are or aren’t currently safe.

When a perfumer follows the IFRA guidelines, the calculations are so complex that most individuals and companies now rely on software. If I am creating a perfume formula with 60 lines (each line representing a raw material), several of those materials themselves contain a “mini formula” of chemical constituents that I need to be aware of. By the time my fragrance is ready to be included in a product, I will be able to calculate the accumulated total of undesirable chemicals present, and make sure they fall within safe limits. By the time a product in which the fragrance was included is being examined for consumer safety, the toxicologist doing so can see exactly what trace amounts remain of undesirable materials. There is a point at which they no longer represent a risk to consumers.

Below is a small extract from the IFRA 49th Amendment in the form of screenshots from the supporting information provided to IFRA members.

Examples of natural materials that contain coumarin, with the amounts in % on the right
Coumarin is carcinogenic.
Examples of natural materials that contain methyl eugenol, with the amounts in % on the right
Methyl eugenol is carcinogenic.
Examples of natural materials that contain estragole, with amounts in % on the right
Estragole is carcinogenic.

In this age of social media, of tail wagging the dog, can you imagine being a brand and trying to have this conversation in public? Can you imagine what would come of trying to educate the already scared, the already misinformed, when it transpires that the product they thought would be the safest possible option for their family (something containing only natural essential oils – because marketing has made them believe that natural equals safe) turns out to contain carcinogens? How would you even begin to address the underlying issues?

Or perhaps you are a brand who has distorted science for commercial gain. In which case, part of what is happening now is on you.

Moral Purity and the Commercial Gain of Greenwashing

Imagine telling people that coffee should be banned because it contains the probable carcinogen acrylamide? Yet studies on coffee have deemed that it is not carcinogenic2. This would not be an acceptable sacrifice in the name of “just in case” public safety approach for most people.

Cosmetic products and fragrance are an easier gain for those who wish to signal to the public that “we are making your lives safer and our environment healthier”, because cosmetics manufacturers and our broader fragrance trade have been participating in their own destruction. Participated, by being too obfuscating, too insular, too keen on short-term commercial gain from jumping on various bandwagons, and not educating their own client base.

The time for business at all costs must end.

The EU’s Green New Deal will take its lead from the moral purity argument of “let’s just outright ban any trace of carcinogens from cosmetics, regardless of whether the amounts in the finished products have been deemed to be meaningless to safety.” The Precautionary Principle of eliminating things or preparing for things just in case has its place in a specific set of scenarios, say a threat of an asteroid hit. It has no place in a nuanced field where a risk assessment (and subsequent mitigation) is the appropriate approach. The EU’s Green New Deal has also been influenced by a Nordic approach to personal grooming – a disdain (not just dislike) of fragrance, and the “sauna clean” ideal of nothing but hot steam and plain soap.

Complex problems often require complex solutions.

Greedy and short-sighted manufacturers, brands and individuals have capitalised on the idea of equating “chemical” with “toxic” and “natural” with “safe.”

All matter is made up of chemicals. Chemistry is vital to life. Chemistry IS life. Our bodies produce and require chemicals. Humanity has harnessed the natural chemistry of plants since time immemorial, first by trial and error, then through more refined science – but ultimately to benefit humankind, and in the process creating entire trades.

Separating “chemical” and “natural” is a fallacy on multiple levels, and the idea that they can be separated has fed into a public sense of chemophobia. This environment does not result in better or safer products. This environment does not increase scientific literacy, it damages it. This environment does not enhance the ability for chemists to talk to the public, it poisons it.

For too long, the reality of chemical safety, consumer product safety, and environmental safety have been muddled with marketing, the morality of “purity”, and commercial interests. We must now fight greenwashing, eco-bandwagon jumping, and especially, the dangerous trajectory of moral and ideological arguments directing scientific policy.

We do Need Chemical Regulation

I am in favour of, and fully support chemical regulation. The trade I operate in (fragrance trade) fully supports chemical regulation and consumer product safety. Even if one were a completely callous businessperson only, it would be idiotic not to support the above. Chemical regulation is absolutely necessary in the multitude of cases we can all think about – toxic waste, workplace exposure, and yes – consumer product safety.

The EU’s current trajectory seems to be to excessively regulate the cosmetic and fragrance trade, using a biased, oddly unscientific approach, however.

Should the fragrance trade:

  • Minimise or even eliminate where possible, exposure to carcinogenic, mutagenic and reprotoxic substances in the work environment? Yes, and it is already doing that.
  • Minimise or even eliminate where possible, inclusion of carcinogenic, mutagenic and reprotoxic substances in products that fall under the cosmetics regulation? Yes, and it is already doing that.
  • Ensure that the product manufacturers and brands check their products are safe? Yes, and if there is room to improve it’s here – the framework for safety assessments of cosmetics is uneven and could be harmonised further globally. But in the EU, there is a strict process in place of stability testing, safety testing and toxicologist assessment of the formula in place already.

There has been a so-called public consultation on the proposals recently. This is how the EU’s public consultation letter went out:

I asked a toxicologist friend his opinion on this document (and the question above specifically). His reply: There is misleading/biased wording of the questions. It’s simply another step down the path of regulation by potential hazard, not risk. To ask a question that says “It should be possible to continue using the most harmful substances in cosmetic products provided that:” is completely ridiculous. To say something is harmful is an exposure-based conclusion, not a hazard-based conclusion. Even the most hazardous substances are not harmful if the dose is low enough.

Fragrance is Global

This is a global issue, and it won’t be contained within the EU. Why? Growers, manufacturers, brands, suppliers – are all part of a global supply and retail scene, and if an ingredient becomes banned in a major market (and especially if it gets formulated out of global consumer brands), its manufacturing/production/growing will diminish or even disappear. Also, if one market has successfully used a political/ethical argument to get something written into law, it can affect the decision making in other countries.

You may think you will be safe from this, if you operate outside of the EU, but I implore you to take a more active role in fighting back on the nonsensical parts of EU regulations because IFRA alone can’t do it3, and if anything, IFRA gets wrongly accused of being the perpetrator (when they are the dam stopping us all from getting overwhelmed by the flood). We need much more to happen for there to be actual recognition of the foolishness of the EU’s approach. It may already be too late.

On a personal level, I feel the fragrance and cosmetic trade has been overly slow, overly corporate, and overly secretive about all of this, to its own detriment. Talking about Eurocentric heritage, making a business case – it’s not enough, and it’s not going to persuade anyone whose mentality is “why should we let anyone include a harmful substance in a product?” because the answer of “our business and livelihood would suffer” is not a sufficient. We need to challenge the premise itself, not argue based on rules that have been wrongly set.

Unless we – everyone who uses, produces, creates, manufactures, adores fragrance – acts now, many fragrance materials will be banned based on poor science. Unless we act now, there will be no case for fragrance being essential.

P.S.

No, it’s not the fragrance houses doing this. The fragrance houses rely on natural raw materials just as much as they rely on the synthetic, and any reformulations of fragrance (of which there’d be thousands if this goes through) is down to the fragrance house. A massive cost.

A Call to Action – Here is Who to Contact

Dirk Hudig
Secretary General
European Regulation and Innovation Forum
&
Max Bentinck
European Regulation and Innovation Forum
Programme Executive
Rue de la Loi 227
1040 Brussels, Belgium
Telephone: +32 2 613 2828
Fax: +32 2 613 28 49

Leonore Gewessler
Minister of Climate Action, Environment, Energy, Mobility, Innovation and Technology, Austria
Zakia Khattabi
Minister of the Climate, the Environment, Sustainable Development and Green Deal, Belgium
Lea Wermelin
Minister for Environment, Denmark
Maria Ohisalo
Minister of the Environment and Climate Change, Finland
Joëlle Welfring
Minister for the Environment, Climate and Sustainable Development, Luxembourg
Espen Barth Eide
Minister of Climate and Environment, Norway
Teresa Ribera
Minister for the Ecological Transition and the Demographic Challenge, Spain
Annika Strandhäll
Minister for Climate and the Environment, Sweden

About the Author
Pia Long is the chief perfumer and co-founder of Olfiction Limited, an independently owned UK fragrance house and consultancy. She has written extensively on the topic of perfumery and fragrance regulations, for multiple publications. She is a council member of the BSP (British Society of Perfumers) and a full member of the ISPC (International Society of Perfumer Creators).

Further organisations in the fight for a genuinely ethical trade:

https://perfumeryethics.org/
https://artandolfaction.com/

[1] https://environment.ec.europa.eu/strategy/chemicals-strategy_en
“banning the most harmful chemicals in consumer products – allowing their use only where essential”
[2] https://www.cancer.org/latest-news/coffee-and-cancer-what-the-research-really-shows.html
Coffee can contain acrylamide, a chemical that is also used in certain industrial processes and has been commercially available since the 1950s. In addition to coffee, acrylamide is also found in French fries (frying causes acrylamide formation), toasted bread, snack foods, like potato chips and pretzels, crackers, biscuits, cookies and cereals, and in tobacco products. Acrylamide is classified by IARC as a “probable carcinogen,” based primarily on genotoxicity experiments in animals. In 2002, Swedish scientists discovered that acrylamide could be formed from asparagine (an amino acid) and sugar during high-heat cooking. This discovery led to intensified research into the association between acrylamide intake from diet and cancer risk in humans. In 2011 and 2014, two large studies summarized the evidence in humans and found no association between dietary acrylamide and risk of several cancers.
[3] https://www.fragrancematters.org/

Click here to download a PDF copy of this article to share with industry colleagues.

Filed Under: Perfumery

Ford unveils fragrance for all-electric Mach-E GT

15 July 2021 by wpolfiction

Olfiction perfumer Pia Long was commissioned by Ford to create a fragrance to celebrate the launch of the new all-electric Mustang Mach-E GT, for those who “hold a fondness for the evocative smells of traditional petrol cars”.

The Mach-Eau fragrance was created by Olfiction perfumer Pia Long, with ingredients that each add a specific element of the scent’s story. Ford revealed the fragrance this weekend at the Goodwood Festival of Speed, an annual event that attracts petrolheads from across the globe. The scent, which is not available to buy, is part of Ford’s ongoing mission to help dispel myths around electric cars and convince traditional car enthusiasts of the potential of electric vehicles.

Pia’s starting point was to look into the chemicals that are emitted from car interiors, engines and petrol. This included benzaldehyde, which is an almond-like scent given off by car interiors, and para-cresol which is key in creating the rubbery scent of tyres. There were blended with ingredients like blue ginger, lavender, geranium and sandalwood that added metallic, smoky and further rubbery accents, as well as an overdose of Timut pepper, utilising the petrol-like topnote. An ‘animal’ element was also included, to create an impression of horses and underline the Mustang heritage.

In a Ford-commissioned survey, one in five drivers said the smell of petrol is what they’d miss most when swapping to an electric vehicle, with almost 70 per cent claiming they would miss the smell of petrol to some degree. Petrol also ranked as a more popular scent than both wine and cheese, and almost identically to the smell of new books.

The new scent is designed to help usher these drivers into the future of driving through their sense of smell. Rather than just smelling like petrol though, Mach-Eau is designed to please the nose of any wearer; a high-end fragrance that fuses smoky accords, aspects of rubber and even an ‘animal’ element to give a nod to the Mustang heritage.

Ford Mach-Eau perfume activation at Goodwood Festival of Speed. Photograph by Christopher Ison ©

“Judging by our survey findings, the sensory appeal of petrol cars is still something drivers are reluctant to give up. The Mach Eau fragrance is designed to give them a hint of that fuel-fragrance they still crave. It should linger long enough for the GT’s performance to make any other doubts vaporise too.”

                                                           Jay Ward, director, Ford of Europe Product Communications

Filed Under: Creative, Olfiction news, Perfumery

Zoologist Chipmunk launches in August 2021

11 May 2021 by wpolfiction

Olfiction Creative Perfumer Pia Long has worked with Victor Wong of Zoologist to bring a new cute animal to the collection: Chipmunk! The perfume features oak absolute, spices and a green hazelnut accord (not a typical gourmand, more as you would find in nature).

This is what Victor has to say:

The lush green of the treetops fades to a dull gold. What seems a peaceful transition actually raises a blaring alarm to the creatures below. Time is running out. But for generations, mighty oaks have fulfilled a promise to provide, and leaves are not the only bounty tumbling to the forest floor. Chipmunks scurry among the detritus in their quest to collect the plumpest acorns. They eagerly gather what they can and, cheeks bulging with nuts, scamper home to line their snug burrows before falling leaves give way to biting snow.⁣
⁣
Zoologist Chipmunk captures an autumn forest bursting with ripe nuts. Juicy quince, dusted with cardamom and nutmeg, dangles tantalizingly among naturalistic woods and green, milky kernels. Chipmunk invites you up into the branches, offering a dazzling vantage point from which to enjoy the rich golden and russet hues of the changing seasons.⁣
⁣
TOP⁣
Quince, Pink Pepper, Red Mandarin, Cardamom, Nutmeg⁣
⁣
HEART⁣
Camomile, Hazelnut, Fir Balsam Absolute, Oak Absolute, Earthy Notes⁣
⁣
BASE⁣
Cedarwood, Amyris, Patchouli, Vetiver, Benzoin Resin, Opoponax, Guaiacwood, Animal Notes⁣

Chipmunk will launch in August 2021 and samples are already in circulation.

Filed Under: Creative, Olfiction news, Perfumery

Olfiction launches Boujee Bougies

30 November 2020 by wpolfiction

Last week saw the launch of Boujee Bougies, a collection of five scented candles we’ve created as a perfumery playground and Olfiction’s brand debut.

The collection includes Queen Jam, inspired by a Finnish conserve, Gilt, a golden confessional, Cuir Culture, like leather in a library, Succulent, an ode to juicy cacti, and Hellflower, a sulphuric grapefruit-magnolia.

A collaborative full team effort to create, with perfumery by Pia Long, creative direction by Nick Gilbert, words by Thomas Dunckley, and illustrations by assistant and trainee perfumer, Ezra-Lloyd Jackson. We’ve worked with our clients (and friends!) at Parks London Ltd to bring these to life, and of course the fragrance oils are supplied by our partner Accords et Parfums.

Discover the brand and our playful fragrances at
www.boujeebougies.com

Filed Under: Creative, Fragrance Development, Olfiction news, Perfumery

Perfumery education: a discussion with Christophe Laudamiel, Marianne Martin & Nicola Pozzani

11 September 2020 by wpolfiction

Christophe Laudamiel and his manifesto on education for all
Christophe Laudamiel’s passionate manifesto for rethinking perfumery education is a key theme in all his presentations about the topic – he now thinks there is more potential for his vision to become reality

How do you become a perfumer? What are perfumes made of? Who creates perfumes and how? What does real lavender oil smell like? What is “cashmere wood?” …hundreds of questions and thoughts that float around in the minds of consumers and those interested in our trade – yet we still lack a framework of academic level education that other arts have, much less real public access to genuine, accurate information. It is emerging – from various sources simultaneously – but how is a layperson to know what is true, what is twisted, and what is complete nonsense?

The perfumery educators

Wouldn’t it be amazing if the general public had access to real information about perfumery? This is a driving force behind what we do at Olfiction when we participate in communication about our trade, and this was the major theme in Christophe Laudamiel’s manifesto, written years ahead of its time. In fact, one of the reasons I called Christophe a “Perfumer of the Future” in my profile of him for Perfumer & Flavorist in 2017, is the tendency of his to be several steps ahead of the possibilities our trade is yet to explore; and the vision he has of what the world could be like if perfumery truly would be accepted as a legitimate art form, instead of considered just commerce. What better person to invite for an open discussion on the topic of perfumery education – and this is just what we did at the British Society of Perfumers. Marianne Martin (current vice president, BSP), and Nicola Pozzani (bespoke perfumer at Floris, and a scent art lecturer), joined Christophe for an evening of relaxed but passionate discussion on what kind of education is available now, and what would be ideal in the future.

Follow the BSP on Instagram

The event was recorded, and should it become available to the general public, I will edit this post to link to it from here. Members of the BSP will be able to access the audio recording in the members’ area of the website soon.

Some big themes from the night:

  • Current perfumery education is focused on serving commercial needs of the trade – preparing future perfumers to enter the trade.
  • Other arts have education for its own sake; to learn how to create and use the chosen medium without immediately and/or exclusively diving into how to create consumer products
  • Everyone should be able to fully participate in exploring their sense of smell, with some benefits beyond the obvious. Nicola Pozzani called perfumery education a form of therapy. His teaching often focuses on how to use fragrance as an aid to creation in other modalities.
  • As a higher education lecturer, Marianne Martin has the ability to see that even if students from an academic course would not go on to become perfumers or even work in the trade, “perfumery education would be an education for life.”

What could we do to improve perfumery education? And education for all; not just those wishing to enter the trade. It’s obvious that the general public are already being “educated” – by fear marketers; misinformed sales people and social media personalities with no deep knowledge about the topic. And what would happen if more consumers demanded quality from their fragrances in the sense of “not just another copy”; or honesty about marketing (so many brands still using tired tropes or outright lying).

What would it look like if we could engage millions of people with their sense of smell more? And give access to information and inspiration for life – an enhanced form of being present, observing, enjoying life.

Next BSP virtual perfumer panel

The next BSP virtual event is also a perfumer panel – this time, professional noses from multiple regions (USA, UK, India, and Greece) discuss their route to career, what they get up to in their role on a daily basis, and their perfumery process. The discussion is due to take place at 2pm BST

Filed Under: Perfumery, Training

Scenting Christmas at the (Snow) Globe

12 December 2019 by wpolfiction

This Christmas, world renowned performing arts venue, cultural attraction and education centre Shakespeare’s Globe will show Christmas at the (Snow) Globe. As part of their dedication to making performance accessible, the production will have an audio described performance with a set touch tour for visually impaired visitors. To enhance this aspect of the production, Shakespeare’s Globe commissioned Olfiction to create fragrances which evoke all of the sensations and scents of Christmas.

The team at Olfiction created accords of Snow, Christmas Tree, and Pomanders as well as a finished fragrance which combines all of these elements.

Talking about the experience, Olfiction Perfumer, Pia Long, said:

“A Finnish person being asked to make the smell of a Nordic Christmas? Absolutely!
The challenge of doing things that are very well known by people is harder than it seems, because if you don’t get it right, it is as though you have ruined something that is personally important to them. It’s a fun challenge to make something that if you give the scent to someone, they will smell it and say ‘that’s Christmas!’.
I particularly enjoyed making snow because it is so abstract, more like a sensation than a smell – and it’s not until you think about it that you realise there is a smell. I’ve always felt that some aldehydes smelled like snow. That was the most fun to do as a perfumer – it’s something that you know and you don’t, because it isn’t as though there is a snow essential oil!”

Snow Globe

A sensation of cold crisp air and frozen earth.
“As though you are walking into a snowy landscape and take a big lungful of snowy air, it’s got the snow but also the frozen ground under the snow. I wanted you to sense that there are trees in the background. It’s very much a Nordic landscape on a crisp winter morning when it’s well below zero.”
Notes: Aldehydes, Juniper, Cyclamen, Black Pepper, Cold Effects

Yule Tree

A picture-perfect Christmas tree.
“I wanted to do a spruce as it’s growing, ready to be your Christmas tree – so here are the fresh young shoots as well as the smell of the Christmas tree when you bring it into your house for Christmas. So, it’s Nordic spruce, not a typical pine – the smell is more delicate and leafy, there’s almost a fruitiness to it and it’s absolutely the smell of Christmas for me. It’s not Christmas until you have the real live tree in the house. The tradition was that you would go and physically fetch your tree on Christmas Eve, and you’d go to cut it down from the forest as a family.”
Notes: Fir Balsam abs, Cypress, Elemi, Labdanum, Amber, Oakmoss, Pine

Pomander

A traditional orange pomander dotted in spices.
“For this accord, I wanted to capture an orange pomander with cloves, but I’ve also thought of the Christmas stockings stuffed with clementines and gingerbread – the whole idea is combining citrus and spices. There’s a bit of floralcy in this as well – I added carnations and orange blossom – to make it a bit more sophisticated.”
Notes: Cinnamon, Clove, Nutmeg, Orange, Orange Flower, Clementine, Mandarin, Carnation, Patchouli, Amber

Danish Christmas

This fragrance captures all of the sensations of the individual accords, in a wearable perfume that can be used by the actors and ushers as well as to scent the decorations and space.

“I wanted to take slices of each of the accords. Up top you’ve got the aldehydes from Snow Globe, and the spice and citrus from Pomander. From the Yule Tree, I’ve taken the resins and balsams and the ambery side, with some of the woodiness, so the complete fragrance is this warming and cosy Christmas hug. I’ve added a slight gingerbread note in there as well, to evoke the feeling of baking Christmas treats and festive cosiness.”
Notes: Aldehydes, Orange, Clementine, Mandarin, Jasmine Absolute, Cedarwood Atlas, Carnation, Cinnamon, Orange Flower Absolute, Clove, Nutmeg, Benzoin, Incense, Sandalwood, Patchouli, Fir Balsam, Labdanum, Oakmoss

About the Show

The Globe Theatre stands empty, the stage bare, the Christmas tree undecorated and we need your help.

Someone has stolen the magic of Christmas from Snowdrop, the fairy who stands watch over our wooden ‘O’ during the winter months. Comedian Sandi Toksvig and her merry gang need your help to find it and bring it back to the Globe.

Sing along to classic Christmas songs with the tremendous Fourth Choir, prepare to make paper chains to decorate the theatre and get ready to harness your belief in the spirit of the season to help restore some festive cheer.

This is a show for the entire family so tell everyone you know to put on their favourite Christmas jumpers and join us for the most heart-warming of gatherings.

Help us spread the cheer further. In the spirit of storytelling and gift giving, we’re inviting audiences to bring along a brand-new children’s book as a present to put under the Christmas at the (Snow) Globe tree, which we’ll donate to local charities that support children and young people.

Created and directed by Sandi Toksvig and Jenifer Toksvig, Christmas at the (Snow) Globe will have integrated BSL for every performance. There will be captioned performances on Sunday 22 December at 2.00PM and 6.00PM, and the audio described performance will be on Saturday 21 December at 2.00PM, with a touch and scent tour on the stage at 12 noon.

Filed Under: Perfumery, Trade shows and events

BeauFort London launches Terror & Magnificence

16 September 2019 by wpolfiction

Last weekend at Pitti Fragranze’s 17th edition, BeauFort London launched their latest perfume, Terror & Magnificence, created by Olfiction perfumer Pia Long. The fragrance has already drawn praise from the perfume community, with Sergey Borisov of Fragrantica naming it among his favourite launches at the show. Below, Pia shares her notes and thoughts on the creative process.

Terror & Magnificence by BeauFort London
Terror & Magnificence by BeauFort London

Terror and Magnificence – Perfumer’s Notes

Leo Crabtree’s creative ideas around perfumery are larger-than-life, with gothic horror, punk and metal influences. The fragrances he has thus far coaxed out of perfumers have had enormous presence. The idea of something that forces you to pay attention to it; wearable art – these have been the underpinnings of BeauFort London. We happened to meet through some other work we were doing together, and Leo smelled an accord I’d created of concrete and hyper-real brutalism. Of course, there is no “concrete essential oil”, yet somehow, I’d managed to create a smell that made sense as wet concrete and towering brutalist architecture.

We started working together on some concepts, and I developed a smoke accord for Leo, which felt at once enormous and transparent. This sparked something.

My style of perfumery is probably best described as magic realism. I like to create something hyper-real, and then push it to be more than the real thing, and add fantasy elements. When Leo’s concept for Terror & Magnificence landed on my desk, I immediately felt what the idea’s texture had to be. Darkness of the kind that makes you doubt your own senses. The new scent is based on the architect Nicholas Hawksmoor – and Leo’s brief introduced semi-mythologised elements of Egyptology into church settings; the fantasy elements of mummies about to crawl out of the ground just beneath the apparently civilised surface.

I used smells of the church itself – incense, the wooden pews, the stone floors, and added a sinister, unsettling presence with an accord of a stone cellar that has a whisper of decay. The brief contained a wonderfully evocative sentence: “And one is caught off guard by a vision of Rameses II, almost as if his spirit is trapped somehow beneath the church floor.”

Terror & Magnificence by BeauFort London
Hawksmoor’s Christ Church features on the bottle of Terror & Magnificence

For the darkness, I blended the smoke accord from our earlier meetings with tar, myrrh, benzoin, styrax and a kyphi accord I’d been researching for a while. I like to build individual pieces of the perfume like scenes in a story, and then do multiple trials of them together at different proportions, and once I’m set on an overall harmony, I’ll tinker with the composition to fine tune it until the idea is fully realised. In working with Leo, there is definitely a case of two creative minds trying to bring something into the world, rather than one artist who is being instructed. Leo’s direction and his instinct for what would communicate his vision perfectly was very important.

I listened to a lot of music that set the mood for me during the creative process for this – I think especially Sunn O))) and Mammoth Weed Wizard Bastard both had the kinds of tracks that felt right for this perfume’s mood.

The perfume that we created feels like it always existed, as though we’ve conjured a myth into being from the ether. It evolves on each skin I’ve tried it on – some bring out more of the incense, for some the resins and leather, some the myrrh and smoke.

Terror & Magnificence will be available at BeauFort London stockists in the coming weeks.

Filed Under: Case Study, Creative, Perfumery Tagged With: BeauFort, BeauFort London, British Perfumery, Pia Long, Pitti Fragranze, Terror & Magnificence

Olfiction Creates The Signature Scent for Beached Beauty Products

2 May 2019 by wpolfiction

Beached is an all-natural beauty brand founded by Australian entrepreneur Meg Gallagher. For Beached, Meg has captured the easy-breezy beach culture of her homeland in a trio of products for hair, skin and body, that celebrate a natural approach, both in terms of their effect (the brand’s strap line is “bare beauty”) but also the ingredients used. Whilst Beached seems cheeky and fun (and it is) it’s also a brand that takes a serious approach to quality, blending excellent, purposeful ingredients to make exceptional products that firm, texturise and bronze.

To scent the Beached products, Meg approached Olfiction, briefing our perfumer, Pia Long, to create an all-natural fragrance that matched the vibe and ethos of the brand. Pia worked closely with Meg to compose a beachy-floral scent that blends the hot, tropical nuances of ylang ylang with the zesty, juicy quality of yellow mandarin and the warmth of Australian sandalwood, which pays homage to Meg’s Aussie roots, but also adds a touch of sunkissed skin. Incorporated into the products (specifically the Bondi Bum body firmer and Urban Waves hair texturiser), this fragrance brings Beached to life, evoking endless days spent at the beach under the sea spray and hot sun.

The Beached fragrance contains notes of:

Bergamot
Mandarin yellow
Roman chamomile
Australian sandalwood
Ylang extra

“Meg’s brand ethos really resonated with me because she wanted to create lovely, effective products that felt good to use – and that was entirely her focus, not the naturalness of the brand; the natural part just “is” because those were the materials in the formulas that appealed to her aesthetically. So, I wanted to go along with this concept, too, and create a fragrance that mirrors this feeling.

The perfumery challenges were mainly that to get something recognisable as a signature scent but still conveying the natural brand signals that you’d expect to find meant working with some key notes and clever twists to combine the best of both worlds. Additionally, Meg was in love with some citrus accords I’d created but citrus is problematic for anything to be used in the sun, so I chose furanocoumarin-free materials and used them at the maximum sensible level. I wanted to send out a subliminal message about being on the beach – that’s the theme after all! – so the floral aspect being ylang ylang made complete sense as a natural component of ylang oil is benzyl salicylate which was traditionally used in suntan lotion as a core ingredient, and so people associate the smell of it with being on the beach.

We’ve ended up with a sophisticated, caring natural fragrance that matches the feel of the products really well.”

Pia Long, Olfiction Perfumer

The Beached collection consists of three products:

Bondi Bum, Natural Body Firmer (£21.95/175ml), a body lotion designed to naturally firm skin, leaving it smoother and tighter. Featuring a fragrance created by Olfiction.

Urban Waves, Natural Hair Texturiser (£18.95/175ml), a sea salt spray that adds volume to hair as well as conditions featuring a fragrance created by Olfiction.

Rays for Days, Natural Bronzing Serum (£22.95/45ml) to be used on its own, mixed with a base or as a highlighter.

To read more about Beached head on over to beached.com.

At Olfiction, we specialise in perfumery and can work with you to create a unique fragrance for your brand, whether that be for a fine fragrance, home fragrance or cosmetic product. If you’d like to talk to us about how we can develop a fragrance for your brand, drop us a line to get in touch.

Filed Under: Case Study, Creative, Perfumery Tagged With: Australia, Beached, beauty, Body, Fragrance, Natural, Perfume

Green & Black’s Dark Chocolate Velvet Edition Launch

25 January 2018 by wpolfiction

Olfiction were invited to create two fragrances for the launch event of Green & Black’s new 70% dark chocolate Velvet Edition bars. [Read more…]

Filed Under: Creative, Perfumery

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