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Yasmin: A Midsummer’s Night Dream

THE SONG OF THE JASMINE FAIRY

In heat of summer days
With sunshine all ablaze,
Here, here are cool green bowers,
Starry with Jasmine flowers;
Sweet-scented, like a dream
Of Fairyland they seem.

And when the long hot day
At length has worn away,
And twilight deepens, till
The darkness comes--then, still,
The glimmering Jasmine white
Gives fragrance to the night.





If there was a jasmine flower for every magic hour I spent with my friend Yasmin, I would have a whole garden, with jasmine in full bloom. Yasmin always listened, and despite the fact that she did not like her handwriting, both her spoken and written words always seemed magically poetic and could paint a picture that could be only seen on the hidden canvas of the mind.

With her words she has created a whole kingdom of fairies, and they all lived on a tiny machine (which really was like a piece of earth, with little flowers on it). It all started with a magic rabbit. A white rabbit, just like Alice’s – white with red eyes but no watch. He lived on the little machine, which was the size of an adult’s palm. He grew tiny carrots and tiny flowers in his garden (on the machine). Later, many good fairies appeared

When we were little girls, Yasmin’s miniature stories provided an escape from the cruel world that threatened the perfection of childhood, just as my little matchbox sized match-dolls and miniatures created a portal to a small world where everything can be controlled and can only be good. We spent hours playing with Yasmin’s miniature dolls from England (they had little tea sets, kettles and all), drawing castles in the clouds, diving into the fairy illustrations of Cicely Mary Barker, and getting lost in Mirkwood with the hobbits and elves. When we were teenagers, we spent the afternoons doing yoga on the grass until the mosquitoes chased us to the screened indoors, where we spent the rest of the evening figuring out who we are what we will become when we finally grow up, and inventing words for things that did not exist in our language’s dictionary. Now that we can call ourselves grown-ups, Yasmin moved on to bringing happiness by listening and reflecting, while I kept on creating miniature (this time odorous) universes, packed in tiny pebble-like flacons and embedded with fairies...

I could have probably dedicate a whole line of perfumes just based on jasmine notes. And in the case of developing a scent for my friend Yasmin, it seemed as if each scent that I made showed one aspect of both my friend and the flowers that bear her name.

The first perfume I made smelled exactly like her house. Her family is well known for their travels to India, and there are many Indian smells in the house: from Indian dull and curries, to incense and fragrant oils, patchouli-scented shawls, and the endless bloom of jasmine which I mentioned earlier. The first scent – a heavy concoction of amber, patchouli, frankincense, champaca, kewda and jasmine - was instantly embraced by no other than Yasmin’s mother, who adopted it immediately as her signature perfume. In an essence, this perfume smelled like her house, so it was no surprise to neither of us.

The second perfume I made for Yasmin was the one she actually adopted for herself: it was equally floral and citrus, and not as heavy. Tart citrus top notes of lemon and bergamot, soft floral heart of jasmine, orange blossom, ylang ylang and tuberose over a light base of sandalwood, benzoin and frankincense, and just the bare tinge of vanilla.

Last year, before Yasmin’s wedding, I made her a new perfume, which I thought would be even better suited for her, and equally balancing tart elements (she loves sour fruit, and hates candy!), jasmine heart and a sophisticated base. This time it was a contrast between lime, jasmine and tonka, and I thought that this time I nailed down Yasmin’s signature perfume.

But I still wanted to tell the world my little fairy story, and share my love to my friend and the flowers she is named after. To do so I wanted to create a jasmine soliflore. In case you haven’t figured it out yet, Yasmin means jasmine in both Hebrew and Arabic. And as corny as this may sound, I cannot help but think of my friend whenever I smell these white, intoxicating blossoms – particularly jasmine grandiflorum. Although it was relatively easy to come up with a Signature Perfume for my friend Yasmin – partly because I know her so well and partly because she is so easy going and loves everything that I do; it took a long time before I achieved the results I was aiming for the jasmine soliflore. It took a while before I managed to capture the scent surrounding my friend’s house – the scent of jasmine bushes, always lush, always blooming… The house is still there, the jasmines are still there. My friend’s adventurous parents are still there when they are not traveling. But now we both have grown up and we don’t live in our parents’ houses anymore. Now, instead of telling fairy stories to her friends and practice figure skating, Yasmin listens to the life stories of her clients she councils in London, and continues to study psychology and practice Kiteido around the world.

Yasmin perfume
is now complete. When I smell it, I am flashbacked into my parents home’s front stone patio, picking the scarce flowers at dawn, experimenting in turning them into a tongue-numbing tea… Or planting jasmine sambac flowers in my own dew-laden garden on an early summer morning, with my baby daughter carried on my back… Gradually, the jasmines become less green and more voluptuous, the narcotic queen of the night impregnates the nights spent on the hammock under the stars, filled with endless conversations. I am gradually lulled into sleep by voluptous jasmine, sandalwood incense, and amber. A Midsummer’s Night Dream euphoria.


THE SONG OF THE WINTER JASMINE FAIRY

All through the Summer my leaves were green,
But never a flower of mine was seen;
Now Summer is gone, that was so gay,
And my little green leaves are shed away.
In the grey of the year
What cheer, what cheer?

The Winter is come, the cold winds blow;
I shall feel the frost and the drifting snow;
But the sun can shine in December too,
And this is the time of my gift to you.
See here, see here,
My flowers appear!

The swallows have flown beyond the sea,
But friendly Robin, he stays with me;
And little Tom-Tit, so busy and small,
Hops where the jasmine is thick on the wall;
And we say: "Good cheer!
We're here! We're here!"

* Ilustrations and poems by Cicely Mary Barker
Photos and poems found on this site

Osmanthus Whispers

I am going to let you in to my secret osmanthus experiments. That is, of course, if you promise not to disclose any of my trade secrets whispered through SmellyBlog…

I find it quite difficult, generally speaking, to document my progress during the process of designing a fragrance (except for, obvioiusly, documenting the actual formulas, for technical reasons). I usually start with a concept – an inspiration. I obsess about it for a while (anywhere between a day and a few years) before I start to actually, physically, blend and marry the essences I have chosen. There process is rather internal for the most part, but can be also viewed on my endless notebooks, sticky notes, index cards, napkins, anything that one can write on (that is only if I don’t have my note book with me – which is very rare: I carry a note book everywhere I go, just like a photographer must carry a camera, I need a tool to capture my olfactory visions whenever they occur). My formulas are written in a secret arcane language of mythical alchemical hieroglyphs, so that only few can understand. When I go to my pyramid, I will take them with me and everybody will have to try and decipher my formulas from scratch (with a little help from a mystical chromatograph).

This kind of documentation is part of the process. But it’s difficult for me to go beyond that. I find it distracting. Rather, I prefer to share whatever internal process it is that I go through in the more abstract way, that brought me to experiment with one material or the other. I spend more time conceiving perfumes than blending them, and so I find that usually, the technical part, of actually blending the essences into alcohol in certain quantities is just the very end of a long mental process. Just like a baby’s head popping out of a mother does not reveal much about the conception and the long months spent in the womb. I can’t imagine myself documenting myself when in labour – anyways, not on my blog…

Another thing there is to say – I am trying not to create new scents. My line has many already. I should try sell more of them first. It is really hard to step back, and I am trying hard… Most of my perfumes were created before I even knew how to blog, and when I had no intention of keeping a diary. So any documentation is going to be in retrospect. And I do intend to tell the stories of each of my scents one day, despite the fact that I feel they already do tell a story. My perfumes are created in an overwhelming abundance and spontaneity. To document that would be quite overwhelming, but I am looking forward to that. Most of them have a strong connection to a person or a memory. Others were inspired by the essences themselves, and when I smell them a few months later – I realize they have created a memory already. I feel really lucky to be able to

I have decided, though, because I have shared with you some of my soliflore thoughts, and I am in the midst of creating a new soliflore (which I probably shouldn’t!) - to try something new. So I will share with you the evolution of my osmanthus soliflore, which I haven’t yet decided how to call it (which is one part of the problem). It’s an interesting experiment for me, in seeing how recording the physical phases helps me out with achieving my goals for the perfume. But also it’s an interesting spin on the observer’s effect. Will sharing my process interfere with the result? We will see.

July 6th 2006 Osmanthus Phase One


fenugreek_seeds, originally uploaded by garu2000.

This is my first try. I went bold and daring, and put in the greediest ingredients I had in terms of olfactory space. Including two that I am not at all familiar with, and that are not particularly accommodating. I hoped that helicrysum absolute (a material I am using for the first time) will provide a dark, tea-like base, and that davana will add fruitiness. Well, I was not far off. At first it seemed to go rather well and smell osmanthusy and full bodied. However, after a very short period of time, the osmanthus and fruit wears off, and a pungent, persistent body odour creeps at me. As if I was taking my food with Hilbah - a Yemenite fenugreek condiment (this can happen also after eating certain East Indian curries, also made sometimes with fenugreek). For the same reason I avoid Hilbah in all its forms, I am tempted to avoid this phase one. It’s dark alright! But not what I want. The davana adds a somewhat repelling winey note, but if you bear with it for a while you got to like it for what it has to offer. It does steal the show now, though, after maturing for about a week. It will be interesting to see what it turns into in a few more days. Nice try though.

July 7th 2006, Osmanthus Phase Two


Clementine, originally uploaded by Supriya O.

No helicrysum in this cup of tea. I will need to find another use for this note, and I am sure I will. Helicrysum essential oil, by the way, is a completely different story: it’s like an eternal sun of honey. This time I kept the base rather light, staying cautious to not overpower the osmanthus. The top was lightened with Clementine CO2. The result is fruity and bright, but not very long lasting. Although the Clementine and citrus notes complement the osmanthus, the result is sunny. I wanted a dark osmantus. The base is yet to reveal how substantial it is. But I am not happy with the lasting power, not at this concentration, anyways.

July 12th 2006, Osmanthus Phase Three


Green tea with Osmanthus, originally uploaded by tyneejash.

More osmanthus absolute this time, to assert the osmanthisism of the composition. I decided to be a bit daring again, but this time go with a material I am more familiar with: tabac blond. It has an earthy, dry leaf quality that is not unlike tea. It creates an illusion of black tea. I also doubled up the other base notes (used in the previous versions) – ambrette, sandalwood, green tea. The heart remains basically the same, focusing on osmanthus, with a couple of supporting notes that share some similarities: a tad of lavender Seville absolute and linden blossom absolute. This time I used only the ethereal wild orange top note, and omitted the clementine. It is just fruity enough to help the osmanthus out, but not too sweet to distract from the darkness of the osmanthus. It really showcases the phases of osmanthus – from peach/apricot, to leather and finally to a smooth green tea. The only thing I am not happy with yet is the lasting power, and so I will increase the concentration and see how it improves the perfume.

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