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Narcissus, Third Round



While the starting point for this was clearly and simply winter, rain and narcissus, it strayed a bit and became more floral. A turn of events that was most welcome.

I began with a core statement of narcissus absolute, on a backdrop of wet-woody, mushroomy and unusual tree notes: pinewood, fire tree, green spikenard, pinemoss and a tinge of bourbon vetiver. To add more body to the narcissus heart, and make it more floral and less spicy-green, I've decorated it with a hint of rose and ylang ylang. Palmarosa and Szechuan pepper add a lift, and also a unique floralcy to the top notes. In addition, I've utilized liatrix absolute in the base, to give a diffusive sweetness. The latter made it feel too "perfumey" in an old-fashioned, powdery way*. So I had to start another bottle, again.

But I have to admit: coming back to it now, many months after its creation (it was made in early March 2014), the liatrix mellowed a bit, which is nice of her. It has a more distinctive, green-floral yet a little juicy-sweet and almost refreshing at the same time. Together with the Szechuan pepper, it gives off more of the crushed-leaves feel in the beginning, despite the lack of glabanum - which is a nice surprise in my book.

* Kinda like Rive Gauche or Je Reviens - great perfumes, but with loads of coumarin that makes them feel quite dated and heavy for today's tastes.

Narkiss, Second Round



In 2014, I decided it was time to get back to my narcissus experiements. I wanted to try a new direction with this flower, after I've received a generous amount of Narcisse de Montagnes (wild, mountain narcissus) from my friend and colleague Jessica September.

With this being a mountain narcissus, I wanted the perfume to link more into my childhood memories of the flower, and the special smells of the Mediterranean winter.

Brief:
Narcissi and puddles. Picking mushrooms the day after the rain.

Notes:
Bois des Lands (Pinewood)
Spikenard
Angelica Root
Fire Tree
Narcissus Absolute

To these I later added:
Pinemoss
Vetiver, Bourbon
Africa Stone Tincture
Ylang Ylang Absolute
Palmarosa

The result was disturbingly earthy, with the feeling of rain getting lost to awkward woods and musky greenness. That's what happens when you're creating an unbalanced composition, even if the idea is great... So I had to toss this flower behind me, and start another fresh bottle...

Narkiss, First Round



The Narkiss creation journey started as early as 2007, with a name, and a sketch based on the natural raw materials that W.A. Poucher lists in his 2nd volume of "Perfumes, Cosmetics and Soaps". These were composed much later (in 2011) into 2 mods that I refer to as "First Round" - because they both represent the same concept, and are in fact a continuation of each other. In fact, I didn't even bother making them in separate bottles*.

This round was all about exploring narcissus absolute, which I had in only extremely limited quantity, and just have fun with it. It was created in what I like to call "intuitive approach": just following my nose, and working with the essences that seems most fitting for make this precious extract truly shine. Perhaps it's not purely intuitive, because I did have a list of per-selected notes to choose from.  But still, many of them were screened out purely based on what my nose and my heart were telling me in the process.

To start with, I didn't really have a concept in mind, besides that of wanting to work with narcissus absolute, and calling the perfume "Narkiss". I wanted to bring out the richness of this essence, and worked with notes that were some of the most elusive and unique on my palette: costus root, Africa stone, galbanum absolute, absolute from oak wood barrels, and last but not least - Jonquille (which extends the narcissus, being very closely related both botanically and in odour profile). 

While the perfume ended up quite minimalist in the number of raw materials (12), the mood of this perfume is anything but minimal. It has a richness to it that really made me think of a candle-lit flower. A little waxy and golden, honeyed and glowing like beeswax candle; but also very richly floral and seductive, like a dim-lit bouquet in a vase. Romantic, but also mysteriously melancholy.

In my fear of destroying what I've created, I didn't add any top notes to my composition. And I also didn't touch it and didn't get back to it till several years later.

* This is something I often do - when I know that the mod is just a beginning of something else. This is also a good way to save space in my overstuffed archives of experimental scents, and also saves on the time of re-blending the first portion, only to be adding more things to it that I already know are lacking in the first formula. It may not be scientific, but it works for me.


Anatomy of a Flower



Narcissus is an elusive flower that has been possessing this perfumer's imagination for as long as could be. Vivid memories of the fresh wild flower begin with a folk song about picking narcissi in the fields, and encountering a white horse. The rhyme does not end too well.  

לַשָּׂדֶה יָצֹא יָצָאתִי
נַרְקִיסִים קָטַפְתִּי,
סוּס לָבָן רָאֹה רָאִיתִי
וְעָלָיו רָכַבְתִּי.

וְהַסּוֹס דָּהַר דָּהַר
וַאֲנִי נָפַלְתִּי,
וְאֶת כָּל הַנַּרְקִיסִים
בַּשָּׂדֶה הִשְׁאַרְתִּי.
Living wild narcissus flowers have an unusual scent, heady and intoxicating, both freshly green and white-floral in character. Native to the Mediterranean basin, these bulb flowers for Narcissus tazetta come to bloom in the late fall and wintertime, in different months depending on when the rainy season begins, and also depending on the particular habitat. It is grown commercially for perfumery, primarily in Southern France, where the method of enfleurage was discovered first to extract its precious aroma. Nowadays it is processed by solvent extraction, to produce an absolute. This particular type of narcissus is also referred to as "Narcisse des Montagne" (Narcissus of the Mountain), which grows in the Esterel area (vs. Narcisse des Plaines" which grows in Grasse area, and is sweeter, more honeyed but also quite faint fragrance). Narcissus poeticus, also known as Poet's Daffodil is another sub-species that is grown for the fragrance industry, both in the Netherlands and Southern France. Jonquil (Narcissus jonquilla) is native to the Western Mediterranean countries, and is also grown for extraction purposes, but in even lesser quantities, as it is rarely used - case in point is Vol de Nuit.

Paperwhite (Narcissus papyraceus) are a cultivar of this wild narcissus species as well, forced to flower around Christmas time, for their symbolic purity of Virgin Mary. In the Language of Flowers, narcissus symbolizes unrequited love and selfishness

Wild narcissus (Narcissus tazetta) smells both green and fresh, and also heady and almost sickeningly sweet. The scent invites from afar, with this heady melange that permeates the air around its modest surrounding among thorny bushes and garrigue shrubs. It invites you from afar, but if you get very close to smell it - you'll be hit by its lethally rotten aroma of excrement and dying flesh. This is due to the presence of two molecules - indole (not surprisingly, also present in jasmine and civet); and paracresol, which is reminiscent of leather (and is responsible for sickeningly sweet, intensely fecal notes that permeate Youth Dew).

Narcissus has a very complex, unusual and sophisticated odour. According to Bo Jensen, while many odorants have been identified as common to narcissi (benzyl acetate, methyl benzoate, p-cresol, phenethyl alcohol and indole), none are unique to this flower. Van Dort et al. attempted to identify the characteristic compounds of narcissus, but while they found additional molecules (8-oxolinalool, 3,7-dimethyl-1,3,5-octatriene-7-ol, methyl 2-methyl-6-methylene-2,7-octadienoate, 8-hydroxylinalool, 2-methoxy-2,6-dimethyl-3,5,7-octatriene and lilac aldehyde), neither could be held responsible for the flower's personality.

Poucher delves deeper into the world of narcissus compounding, and offers an extensive list of no less than 73 raw materials to recreate the living flower's impressive aroma, including (in addition to narcissus and jonquille absolutes), natural essences such as bergamot, orris, rose otto, styrax, orange flower water absolute, ylang ylang, ambrette, and many other floral absolutes (orange flower, jasmine, rose, tuberose), sandalwood, labdanum, civet, costus and benzoin. Key synthetic materials revolve around various paracresyls (p-acetate, p-iso-butyrate, p-phenylacetate), floral molecules (methyl anthranilate, phenylethyl acetate and benzyl acetate), coumarin, vanillin, heliotropin, musk ketone, and the peach aldehyde undecalactone, among others.

I've been meddling with a beautiful narcissus absolute that my friend Jessica September Buchanan has sent me from France and to me, it is dense, rich, not nearly as heady as the fresh flower, but rather leaning onto the green side. It is reminiscent of hay fields, honey, waxy tuberose, and is both woody, sweet, green and powdery. In my search for the perfect narcissus companions that will accentuate its eccentric and subtle beauty, I have selected angelica, ylang ylang, clary sage absolute, liatrix, pinewood, pine moss, pine needle absolute, palmarosa, cabreuva, szechuan pepper, balsam poplar buds and fire tree. It's been a great challenge to work with this absolute, and neither of these complementary essences is particularly easy either, but it's been a rewarding journey which I will share with you over the next few days, leading up to launching the new creations that resulted from this process.

Fall



"It is deadly to be without a confidante, without a guide, without even a tiny cheering section". (Clarissa Pinkola-Estes).

Being a transitional season from abundance to constriction, fall is time of reflection, contemplation, checking the balances in both the physical world and spiritual world. Taking stock of harvests, planning for a long winter. And also - taking note of what's missing from one's spiritual life, seeking it out, and nourishing what is there. These supplies would sustain the soul in a long, harsh, cold and dark winter.

Fall is also a season for sorting. This fall I've been doing a lot of re-structuring for my business, creating a new website which is to be hosted on a new server. Through this process, there was the inevitable weeding out of many fragrances that were not sustainable enough to keep in stock regularly, and get rid of a lot of language that was no longer useful on the website, weeding out not only stale content, but also eliminating things that are taking away from the core of what I do, shifting my focus and taking away energy and attention from what's really important. The new website will be a lot more user-friendly, and all my musings on this blog are integrated into the website as well, which is quite wonderful (all the way back to the first blog posts from 2006!).

The other focus of attention for me this fall has been wrapping up my book project. While it is a new edition of an existing book, it has a lot of new material added (almost double in size). The new book is 218 pages long, printed locally in perfect binding, with ISBN and all... It's bulk of new material includes a glossary for over 250 terms; and 55 original formulae for learning in a very concrete manner about all the different fragrance families and their sub-categories. I really cannot wait for it to be ready so that I can share it with you. But it also brings to a close a very long chapter of procrastination in my life. I am the type of person who sits on an idea for prolonged periods of time, stewing over them so to speak, and then in a very concentrated effort I push it forward to completion. Not unlike birth, now that I come to think of it... The pushing part is the part when progress is visible. But most of the hard work was really done in the procrastination phase, when the ideas just "cook" and morph in my head, undergoing an alchemical process (or perhaps it is me who goes through this process).

But this is already digressing from the topic that I'm set to tackle here. Which brings me back to the quote from Pinkola-Estes' life-changing book "Women Who Run with the Wolves". I've been reading it on and off for a couple of years now, as the ideas in it are really difficult to digest and require integrating in one's psyche to really have an impact and understand the meaning behind her stories and wise feminine lore. That particular quote really struck a chord with me. And since this is a time of reflection, it reminded me of how important it is for someone to have support. It takes a village not just to raise a child; but also to keep that child healthy, connected, vibrant through life. We can't live in a vacuum, and we can't create in a hollow space that occupies nothing but our hearts. An artist needs his audience just as much as my perfumes need your skin to really bloom, breathe, and make a change. So thank you for being my little cheering section. And thank you to SmellyBlog readers to being my confidantes - because this blog is a journal of sorts. Lastly, thank you to all of my colleagues, mentors and students for teaching me, inspiring me and forcing me to move forward and share my  knowledge. It is one of those few things that really keeps me going...

I meant to post this for Thanksgiving (in Canada we celebrated it this past weekend), so I hope this is not too late! Thank you, thank you, thank you!

Wishing you all a fragrant fall, a joyous harvest season, and many blessings for the new Jewish year, the new school year, and beyond!
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