Before I went on to another bottle, I made some adjustments to what I told you about earlier. I sharpened and accentuated a few ideas – i.e.: increasing the seaweed a bit, as well as the spruce absolute and added some cypress to flesh out the woody element and in hopes of making it more “masculine” so to speak. I also increased the violety presence by adding a smidgeon of cassie absolute. I also added some citrus notes – bergamot and lemon – to brighten things up a bit and give the whole thing a lift. Egyptian geranium was necessary for added body at the heart notes, and to accompany it - a bit of a very high quality palmarosa, which added a clean yet floral freshness, expansive airiness to the composition. This still remained true to the original concept but just a little more developed.

I was also hoping to increase the salty levels in the composition by adding some atranol-free oakmoss, which I find to be more sheer and marine-like than the nearly ambery-musky full-profile oakmoss absolute (all oakmoss absolute sold these days have the atranol removed. It’s part of EU regulations, and since all oakmoss is produced in Europe – usually harvested in former Yugoslavia and extracted in Grasse) that’s all we’ve got, unless we stashed some oakmoss away.

At the same time, I felt that the rosemary was still quite strong, and the seaweed was not enough present. Which is quite strange given how potent it always seems on its own and how light the rest of the notes were.

My visit to Tofino last summer left a lasting impression on me, and I was determined to turn it into perfume one day. The scents of the ocean never cease to amaze me, and fortunately, there are some raw materials in my palette that are authentic in both their origin and their manifestation. Take seaweed, for instance (which comes in oil, absolute and more recently - molecular distillation). It is so true to the scent of seashore and ocean breeze that it makes my heart skip a beat every single time, just like when the sea line approaches on the horizon on a Beach Day and you can see the lifeguard’s red flag saying swimming is not forbidden but a still a little dangerous…

Tofino, for those of you who aren’t familiar, is a little town on the west coast of Vancouver Island, which faces the great Pacific Ocean. Unlike the beaches within the Georgia Straight – the waves there are high and forceful. There is a high risk of tsunami there, because it is not too far from the “junction” of no less than three tectonic plates!

There are many magical spots in that area, which is almost continuously draped in mist regardless of season. The iconic big rock at Long Beach, which looks like a giant altar for sacrifice for the gods of the sea; The rainforest there are so clear, that moss grows on the trees in abundance, moss that I’ve never seen anywhere else. Every place you turn is like pure magic, even the hundreds of dead squids that were washed to shore and made some of the beaches reek of rotting marine carcasses. But certainly, the most memorable thing was the Wild Pacific Trail, where we spotted whales blowing and gasping for fresh misty air above sunken ships from centuries past.

In my very early days of perfumery, I created Orcas. It was a strange oceanic that smells a lot like Coca Cola – because besides the seaweed and the rosemary, which provided the core of the “ocean breeze” theme, I also put some lime, rose geranium, litsea cubeba, cinnamon and cloves. I liked Orcas, but it never really made it. I phased it out when I did the name switch (from Quinta Essentia to Ayala Moriel). I felt it’s time to update this perfume and give it a new spin, and that’s what I’ve been working on in the past month. I Love the name and wanted to keep it that way. I want the new Orcas to be more on the masculine side, very expansive and light, and distinctively oceanic.

Oceanic, Aquatic and Ozone notes have probably began with Dune by Maurice Roger (created in 1991 for Christian Dior). Although rather complex with its array of notes (Broom, Wallflower, Bergamot, Mandarin, Lily, Peony, Jasmine, Rose, Amber, Lichen, Musk, Sandalwood, Vanilla) - it was more about creating the impression of sand, seashore and ocean air rather than an evolution of notes. It is also the first in the genre of oceanic perfumes, later on expanded into the ozonic/oceanic and aquatic-floral fragrance family, with the introduction of the man-made molecule calone.

Creating a marine or oceanic natural scent poses a challenge because the palette of oceanic notes is limited and narrow – primarily the seaweed essences I’ve mentioned. What can be built on top of that relies heavily on the perfumer’s imagination, creativity and their own association with seashore and ocean.

For some reason, I find rosemary to fit in perfectly with that theme. And so I’m quite set on focusing my attention on the seaweed and rosemary accord, which is quite lovely. My first version (or my second, counting the original Orcas) is very simple and minimalist, with blue spruce absolute, seaweed, Haitian vetiver (which has a certain ‘saltiness’ to it), angelica, violet leaves, clary sage, rosemary and fresh ginger. These notes to fit in together quite nicely into a Pacific mist meets rainforest kind of accord, and the rosemary (usually a top note) gets a surprisingly long appearance. But it’s not a perfume quite yet. There is a lot missing – a heart, for example.

To be continued…

My brief yet effective encounter with Shaw TV's Urban Rush hosts Mike and Fiona is an example for how different creating custom perfume for different people can be. Among custom-perfume seekers, I think there are two main kinds of people: There is the fragrance connoisseur (knowingly or unknowingly) that indulges in every moment of the process without necessarily knowing what they want the perfume to smell in the end; and than there is the very determined, goal-oriented person who know exactly what they want to achieve by the end of the process.

Fiona knew exactly what she wanted: a perfume to replace her favourite of 11 years, now sadly discontinued. She researched the notes, and came up with top notes of citron, rosewood and cardamom, heart notes of jasmine and lily of the valley, and a base of musk, vanilla and amber. And sure enough, a fan containing these notes (except for the lily of the valley, which does not yield its scent successfully to any form of distillation) brought back some of the spicy floriental characteristics of her signature scent. Sweet yet spicy and bold and delicious.

Mike, on the other hand, always goes au naturelle and seemed to be generally unaware of having any particular interest in fragrance (unless someone else is wearing it). From lack of a better word, he guessed he likes “musky” scents. But we quickly found out that he really “clicked” with my archetypal masculine scents ArbitRary and l’Herbe Rouge, and fell in love instantly with juniper, key lime, Seville and Kashmir lavender and liatrix. Even though there was hay and oakmoss and patchouli in both ArbitRary and l’Herbe Rouge he did not enjoy the notes on their own. Just before we run out of time, I decided to pull out a little unusual note - seaweed essential oil. To everyone’s surprise, this was an immediate love, and added an incredible lightness of sea breeze to the other herbaceous and woody notes.

There is never a right way or a wrong way in making your own custom scent. But each way is different, and walking a different path or following a different approach will definitely create a completely different scent in the end. The result depends on the person's sense of adventure and willingness to take olfactory risks; and ultimately - on the perfumer's listening abilities and attention to detail as well as intuition. I'm very curious to see how these two perfumes might turn out!

Now to the “contest”: Guess Fiona’s lost perfume correctly and you’ll be entered to win a bottle of hand-painted Magnolia Petal 30ml spray bottle.

* Enter the contest simply by adding a comment to this post. Contest closes March 21st.