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The Scent of the Nile: Jean-Claude Ellena creates a new perfume

This post on choosing Un Jardin Sur Le Nil made me recall an article I read about its creation. Excerpted:
Finally, after consulting Dumas Hermès, Gautier chose the Nile, and a title: Un Jardin sur le Nil. That was the entire brief.
In early May, Gautier, Dubrule, and Ellena flew from France to Egypt. “When I am in the process of creating a perfume, I never know how things will start,” Ellena said. “So when they say to me, ‘You’re coming with us up the Nile,’ I find that agonizing. Because, right there, they’re delimiting my space. I experience it as a loss.”
Sitting outside, Ellena sniffed the air of the Sahara and found it disconcertingly blank; he was so nervous that he couldn’t sleep that night.
In the morning, they went to Kitchener, where there were few flowers in bloom. Gautier, Dubrule, and Ellena were disappointed, but they nevertheless started smelling. They sniffed nasturtium, a salad green with an anodyne watercress scent. Ellena ate some. They tried lantana, a perennial whose flowers smell, rather limply, of banana and passion fruit. They avoided looking at one another. Ellena smelled the flowers of the acacia tree, which have a soft, frangipani-like scent. He turned to Gautier and said, “That’s not our story.” She smelled it and agreed, dismissing it in her forceful manner. As Ellena walked through Kitchener, the perfume he had built in his head disintegrated and blew away; now he had nothing.
After they visited the market in Aswan Ellena still had nothing.
He wrote his observations down in a small orange notebook. Ellena later told me, “The painter learns to see, the pianist learns to listen, I learned to smell. But it’s a question of the brain, not of the nose, and you learn it simply by experience. Everyone can smell everything I can smell, but they don’t know how to understand it, distinguish elements, or how to speak about it. That’s why I’m a perfumer.” He added, “I would say it took ten years to know, twenty to master.”
One morning, Ellena and his companions went for a trip on the Nile in an aged wooden motorboat; ancient ruins on the surrounding rock cliffs loomed over them as Ellena steered the party upstream. The Nile has an opalescent black hue that, in shallow depths, becomes transparent. It has a fresh smell. They motored past wild reeds and feluccas—narrow boats with tall triangular sails—until they reached a small island. Walking ashore, they began following a street that led to a Nubian village. It was during this stroll that Ellena saw, hanging low in the trees that lined the street, plump green mangoes.
The fruit has a complex, authentically exotic smell: it is rich and fresh simultaneously, a rare combination. The scent is also ephemeral. The fruit exudes an odor only when it is on the tree. Once you pick it, the smell deteriorates; within sixty seconds, it is essentially gone. Ellena was beguiled by this elusive fragrance. Green mango, he suggested to his companions, could form the base of Nil.
Dubrule pressed her nose into the branches, finding a hint of apricot and grapefruit. At one point, Gautier frowned; she detected the smell of nail-polish remover. Indeed, green mango contains acetone, the solvent’s active ingredient.
“You will, above all, not put nail-polish remover in the perfume!” Dubrule later commanded Ellena.
“Above all!” Gautier concurred.
Ellena promised the women that he wouldn’t, knowing full well that he would. Acetone is often used in perfumery, he told me; it provides a lightning-like jolt. He would fold in some acetone, he explained, “but in such a manner that you won’t feel it.” Ellena said that he wasn’t worried about ignoring his clients’ demands. “There’s always a décodage between what they say and what I am actually constructing,” he said.
When Dubrule had held a green mango outside the Nubian village, she had detected a carroty tinge. “A fruit that smells of a vegetable!” she had exclaimed.
A master perfumer like Ellena has memorized hundreds, if not thousands, of recipes for manufacturing smells. Many complex natural scents can be conjured with only a few ingredients. The scent of freesia, he explained, is created by combining two simple molecules: beta-ionone and linalool, both synthetics. (To give freesia a cold, metallic edge, a touch of allyl amyl glycolate is added.) The smell of orange blossom is made by combining linalool and methyl anthranilate, which smells like Concord grapes.
In my presence, Ellena once dipped a touche into a molecule called isobutyl phenal acetate, which has a purely chemical smell, and another touche into vanillin, a synthetic version of vanilla. He placed the two paper strips together, waved them, and chocolate appeared in the air. “My métier is to find shortcuts to express as strongly as possible a smell,” he explained. “For chocolate, nature uses eight hundred molecules. I use two.” He handed me four touches—vanillin plus the natural essences of cinnamon, orange, and lime. The combined smell was a precise simulation of Coca-Cola. “With me, one plus one equals three,” Ellena said. “When I add two things, you get much more than two things.”
On the flight back from Aswan, Ellena had jotted down a formula of thirteen ingredients, which had become his rough sketch for AD2. A natural essence of bitter orange, he had decided, would simulate the freshness of the green mango. And a synthetic grapefruit would evoke mango’s acidity. (Perfumers don’t use natural grapefruit, because it contains many sulfur atoms, which disintegrate to form malodors; the synthetic also has better persistance.) He would also add rosin, the resin that musicians rub on violin bows. Of his original thirteen ingredients, he eventually eliminated two. Opopanax, a synthetic that he had expected to produce a resinous smell, ended up evoking mushrooms. Another chemical, lionone, was supposed to help convey the smell of mango, but it interacted with the other materials to create the illusion of apricot. He had replaced the lionone with carrot, and it had worked: AD2.
She stood up sharply. “Now, on the skin,” she said.
Ellena rolled up his sleeves. Dubrule sprayed his forearms with puffs of his three viscous assemblages; they settled onto his skin in small slicks.
“They smell completely different,” Dubrule said, hovering over Ellena’s outstretched arms.
“Completely,” Ellena said.
“Much less mango,” Dubrule said.
Now he began responding to Gautier’s criticisms of AD2. He added several elements that, when combined, would heighten the scent of mango: hedione, a synthetic that simulates jasmine; methyl anthranilate, which is used prominently in Calvin Klein’s Eternity; and neroli oil, which is derived from sour-orange flowers.
He then created three additional variants of the original AD2, which his lab assistant mixed and lined up on his desk in tiny vials: AJ1, AJ2, AJ3. He smelled them on the touches, and was dissatisfied. All were too citrusy. He lowered the grapefruit synthetic in all of them; to all except AJ3, he added varying amounts of hexanal trans 2, a synthetic that smells simultaneously of golden apple and glue paste. He smelled his iterations again. “At the moment, I like AJ3,” he told me. “It’s the freshest.”
Just before joining Hermès, he had created L’Eau d’Hiver for Frédéric Malle’s élite collection, Éditions de Parfums. The scent was inspired by an aspect of the great 1906 Guerlain perfume Après l’Ondée. He said, “The problem—well, you can’t say there’s a problem with Après l’Ondée—but, bon, voilà, it is too opulent. Guerlain is baroque: put this in, and this, and this.” On the other hand, he said admiringly, the Guerlain scent had a marvellous sillage—the olfactory wake that trails behind a wearer of perfume. Someone once defined sillage to me, rather metaphysically, as the sense of a person being present in the room after she has left. Creating a sillage that is potent but not overpowering is tricky. With L’Eau d’Hiver, Ellena said, he wanted to pay homage to the Guerlain scent’s sillage—“but in enlightened form.” He selected elements from Après l’Ondée that were “soft, comfortable, light.” One of these was the natural essence of hay. He took some aubépine, an olfactory blend of finger paint and the wax used to clean linoleum floors, and added it to methyl ionone, a synthetic whose smell suggests iris.
Ellena began his career among these machines as a teen-ager, extracting jasmine. His boss had a Ph.D. in chemistry and taught Ellena the science of scent. By taking just one sniff of a jasmine essence or absolute, he can tell you not only the flower’s country of origin but what kind of machine distilled it—stainless steel, aluminum, or steel.
And so Ellena returned to his lab, balancing millilitres of molecules against millilitres of other molecules. He began creating A*.
For Ellena, A* marked a gentle turn toward the woods. Among the natural materials, he lowered the citrus and excised a third of the bitter orange, then welded on a few Monique Rémy materials, including an incense redolent of pine trees, which costs nearly a hundred dollars per pound, and an absolute of honey, which costs a thousand dollars per pound.... He smelled it. It was green mango, the very instant before being picked, though it was not the fruit itself. It was an idea he had created of green mango, a dreamy abstraction. And its sillage suggested the unblemished peel of the freshest, greenest sweet fruit.
In August, he returned to Paris and presented A* to Gautier and Dubrule. It was almost a month after the initial deadline.... Ellena heard nothing. Finally, Gautier telephoned him. A* smelled fantastic, she said, and it had more body and lasted longer than previous iterations. “It’s always ‘Longer, longer, longer,’ ” Ellena said, chuckling. “She’s terrible about that.”
By late summer, Ellena was installed in his new lab. With Gautier’s blessing, he had chosen to set up his workspace in an opulent glass-walled house outside the medieval French town of Cabris.
“Today, as far as I’m concerned, Un Jardin sur le Nil is finished,” Ellena said, though he was still tweaking it, “just for the pleasure.”
Article by Chandler Burr
submitted by Anatolysdream to fragrance

Le Vieux Mot du Jour: 'cabri'

cabri [kabri] n.masc. goat (regardless of age or sex)
Il élève des cabris. | He raises goats. (Paroisse de Jefferson)
Le monde avait des cabris plus pour tiendre [=tenir] les herbes en bas. On mettait trois ou quatre cabris dans la cour d'en avant, c'était parqué, tu vois. | People had goats mostly to keep the grass low. We put three or four goats in the front yard, it was fenced in, you see. (Paroisse Terrebonne)
Derived phrases
  • Comment le cabri apporte sa queue? How are you? How are things?
  • Il y a un cabri dans le maïs. said when someone's underpants have crawled up and become stuck between the buttocks
(Original post)
submitted by Hormisdas to CajunFrench