I am spending this fine mid-October weekend among people who share my passions. Half of it will be spent with my fellow comic book fans at New York Comic-Con and half will be spent with my fellow perfumistas at Sniffapalooza Fall Ball. One thing both groups have in common is the willingness to spend for that which they believe to be unique and/or collectible. As I have observed this over the past few years I have begun to wonder if there is an upper limit to the price we can be asked to pay for our passion.
I rarely talk about price in my perfume reviews because I try to judge based on the quality alone. I leave it up to the reader and eventual consumer to judge whether it is “worth it”. I do talk about perfumes I think are a great “bang for the buck” and heck there is a whole category called Discount Diamonds on the sidebar to the right. There have been ultra-luxe lines exemplified by Amouage, Roja Parfums, and Clive Christian. Not to mention extrait versions from established houses like Guerlain. There are bottles of perfume in my collection which required me to pause for a moment before paying the price. I always justify it as the price for owning a piece of olfactory art. No matter how a buyer justifies paying the price the brands can still go too far.
What is beginning to concern me is that brands that previously didn’t charge high prices have started to do so. There have been numerous examples of brands in the last year charging significantly more for a new release. Some brands have charged up to four times their previous price. Sometimes I can understand the increase in price because of the choice of ingredients….and sometimes it is not so obvious. That is really where my concern lies if the much higher priced offering doesn’t differ significantly is the brand taking advantage?
Many of the brands I am talking about have spent years building a passionate base of perfumistas who await each new release. I don’t know what it must feel like to see myself, or another reviewer, wax rhapsodic about that new release only for the consumer to get sticker shock when choosing to buy it. Business principles say the market will only bear what the consumer is willing to pay. I wonder if that factors passion into that equation.
My final worry with this tactic is if the passionate supporters feel taken advantage of can this do damage to the brand as a whole? Once a consumer feels taken advantage of there is no easy way for a brand to re-capture that one time supporter. This could be a case of short-term gains at the expense of the long-term.
How much something is worth to someone is a very personal decision. Almost as personal as choosing which perfume brand commands your respect and loyalty. I don’t want to see either taken for granted in an attempt to increase the bottom line.
For as long as I have been writing reviews of perfume I have included a sentence about how long the perfume lasts on my skin and my estimation of its projection, or sillage. Even when including that bit of information one of the most common questions in my e-mail box is exactly how long does it last and does it really project? There are a group of readers who have also asked me to stop including the information because they don’t care; they are the minority. For most who read about perfume the length of time a perfume lasts on their skin and whether you can smell it a few feet away has become some indication of overall quality, but should it be?
The persistence issue is a particularly perplexing one to me how that has become correlated with quality. I think the hypothesis goes if it lasts overnight on my skin then the amount of perfume oil must be higher and so it is better. There are some lines for whom that thinking is sort of correct. If you are smelling patchouli or natural sandalwood in elevated concentrations which can last for quite a while. Those materials can be expensive to use in a concentration that lasts. When you think about it though some of the most persistent notes in all of perfume are the woody aromachemicals like Ambrox, Iso E Super, or Norlimbanol. These are among some of the cheapest ingredients in perfume but last longer than even the most precious natural oils. Those are what many people are smelling the next day even after a shower.
Rose Petal Enfleurage
A perfume which is employing a number of special ingredients that have been produced by labor-intensive procedures like enfleurage or tincturing are worth their weight in gold. When a perfumer uses these kind of ingredients it adds nuance that simple aromachemicals can’t imitate. This is why when a perfume containing large amounts of natural ingredients which might not last as long has much more appeal to me than a perfume that just finishes on a base of woody aromachemicals that last overnight. I would also venture to say that the perfume containing the natural raw materials is more expensive to produce.
When it comes to projection I am just baffled at the concept that it is an indicator of quality in any way. I have a number of extraits which are among my favorite perfumes. They wear so close to my skin you can’t smell those unless you are me, or my wife. They are true skin scents and they are incredibly compelling in their ability to convey beauty without filling the room up with a vapor trail. There are plenty of perfumes I love which fill a room up with their extroverted sillage but I have never seen it as something which means it is better. It really is like a chorus of voices and you need all levels from Bass to Soprano but if it is done well it is done well whether everyone around you can smell it, or not.
Don’t worry I understand longevity and sillage is important to many readers and I will continue to add the information. Just keep in mind a whisper can often be as compelling as a scream.
I am very flattered that a number of fledgling independent perfumers ask me to try their fragrances. It is as close as I will ever get to being a perfume evaluator, which is probably a good thing. I just finished assessing a new line this past week. As I was writing up my e-mail to the perfumer I realized one part of my missive was coming out almost formulaic, as if I had written it many times before. I then realized that maybe this was good advice to be able to find before beginning your independent perfumery. What is most often lacking from early efforts is the proper base.
When I use the word base I am not speaking of base notes. A perfume base is a mixture of notes which are meant to form the foundation of a fragrance. The most famous example of a perfume base is one called Mousse de Saxe which was the signature finish to all of the Caron perfumes. By having a consistent place to start perfumer Ernest Daltroff would build many diverse olfactory architectures. That is a key point to also understand; a great perfume starts from the base upward not the top down. It is that thinking which I run into most often when trying a new perfumer’s early efforts as they spend a lot of effort getting the top right but end up just leaving it hanging. It is also the answer to many early perfumes’ longevity issues, as a proper base can also be the last thing left at the end of the drydown.
A perfumer for a commercial firm spends years doing nothing but making bases as they train. By the time they are given their first commercial brief starting from a base is second nature to them. It is precisely the raw talent and unregimented vision that sets the independent perfumer apart from those more corporate perfumers and it is what makes independent perfumery such fun to experience. The principle still remains the same you need a base to start to build your perfumes upon.
Another reason for doing this is to give your perfumes a signature. I smell Mousse de Saxe and it is hard not to think of many of my favorite Caron perfumes. Guerlain has its own base called Guerlinade which is the thread which connects every Guerlain fragrance. They even bottled it and sold it as a perfume, too. Andy Tauer of Tauer Perfumes has had his characteristic woody incense base dubbed Tauerade. As a perfumer it is a way to add your figurative John Hancock to every perfume you make.
Usually after one of these e-mails I get a question on where to start. My advice is something I have learned from two of my favorite people in perfume, Michael Edwards and Dawn Spencer Hurwitz. Ms. Hurwitz spent the early years of her independent career trying to make the classic perfumes herself. It was a valuable exercise because she came to understand the value of each ingredient and how they impacted each other. That is the best, more laborious, way. Mr. Edwards has the easier way. Just go to the mall and take a few small Ziploc bags and spray a bunch of strips all from one perfume brand and lock each of them away in their own Ziploc bag. After a few hours go back open the Ziploc and sniff. What you should be left with is the base used for those perfumes. From there you will gain an understanding of what this particular perfumer used as their starting point and you will be surprised to find out how different they smell at this point.
If you start from a good base it is much easier to create a memorable perfume, and you’ll save me from writing the same words to another young independent perfumer.
There are many things about the current state of artistic perfumery that irritate me but there is one thing that is top of my list. I genuinely look forward to seeing what has come in the mail every day. I live for the potential of trying that next new great fragrance. There is a dark side to that and it happens when I open the envelope and see it half-filled with multiple vials. I emit a sigh because another “collection” has found its way to me.
My biggest objection to the term, and the practice. is I think it is 99% marketing and 1% inspiration. The majority of these collections have only one thing connecting them, the name on the bottle. What is even more frustrating is it is apparent there was zero effort in trying to have a coherent aesthetic or theme. Heck I would even accept if it was made up of connected pairs. Instead it feels like a box checking exercise where the perfume line covers all of the expected bases. This would be great if the creative direction was focused enough to provide an interesting viewpoint. The other collateral damage to this collection obsession is it feels like the line can’t be bothered to make up their mind what is polished and ready to be released. Which is why within a collection there are many entries where my reaction is, “Why didn’t you take the time to get some feedback and really add a final edit?” Many of these feel like the perfume equivalent of reading the first draft of a novel before an editor gets a hold of it to tighten it up.
This leads to the second issue they are asking the consumers, us, to be their evaluators for them; at full price. Over the last three years as this ploy of releasing multiple perfumes in a collection has become more prevalent I’ve noticed a couple years on there are only a couple of them still on the shelf. I believe those are the ones which sold well and the majority were discontinued because they didn’t sell. This means they make us pay for the right to beta test their perfume and that should be their job not ours.
From a store perspective this also puts them under tremendous pressure to decide whether they have enough shelf space for a dozen new perfumes. The lifeblood of the indie and artistic perfume community are the small stores which cultivate customers who return to find out what the store owner has identified as worth trying. These new lines approach the stores and ask them to carry all of them or none of them. There is a bit of fallacious thinking that these lines are just on the cusp of being added to Bergdorfs, Neiman’s, or Saks by the line owners. They fail to see that success in those venues has almost invariably happened from a more conservative approach where you build the line over a number of years. These small stores which the purveyors of these collections hold hostage are the very people who will create the repeat customer and buzz for the brand that will open those magic retail doors they dream of.
I am sure there is a collection heading my way which I will be thrilled to explore fully but I expect to be sighing a lot more before that happens.
One of the many barriers to having fragrance breakthrough as an accepted art form is the need for a consistent vocabulary to evolve from the discussion of perfume. The perfume community doesn’t even have consensus on how to describe a specific fragrance. Consumers rely on the list of notes to help them decide whether they want to give a perfume a try. If they don’t like jasmine they are unlikely to try something as soon as they see jasmine in the list of ingredients. But should they? There are perfumes where the jasmine is used as a note of contrast and foundation never rising to noticeable levels. By just reading a note list a consumer might miss out on something they would really like because they see the note they don’t like in the list. The companies have become skilled in the art of describing accords in ever more flowery terms. There is one perfume I got the press materials for which called it “The Elixir of Love” accord. I have no idea what that means and depending on my interpretation it could go in so many different directions. In the end these descriptions are no more illuminating than a list of ingredients.
This has come to mind again as Chandler Burr has re-started his Untitled Series on Luckyscent. Mr. Burr is one of the most active proponents of making olfactory art something substantial. Towards that end he has used the language of other arts to describe those perfumes he considers worthy of being called olfactory art. Mr. Burr described specific “schools” of perfume and showed examples of each during his exhibit at the Museum of Arts and Design in NYC. Mr. Burr is also very steadfast in his insistence that fragrances should not be broken down into a list of its components when describing it. He likens it to looking at a painting and describing it only as the colors displayed on the canvas without describing the overall artistic display.
When taken to the extreme I agree with him; a simple listing of the notes does not convey anything special about the overall composition. Where I disagree is that notes have no place in the description of a fragrance I think is olfactory art. I would never write about Thierry Mugler Angel and not mention the use of ethyl maltol Olivier Cresp used to create the cotton candy smell within this game-changing perfume. You can’t talk about Chanel No. 5 without talking about the aldehydes or Lancome Tresor without considering Sophia Grojsman’s use of an overdose of galaxolide. The very use of these materials in unique ways, I believe, requires us as writers to point them out. It is the ingenuity of the perfumer and their intuitive way of taking a raw material into a heretofore unimagined direction which often sets apart a fragrance as something worthy of the label olfactory art.
Here is where it gets a little tricky though. There are some fragrances which are so intricately composed to create a desired effect that trying to pick it apart into its component notes is completely irrelevant. Calice Becker’s By Kilian Back to Black, Bertrand Duchaufour’s Sienne L’Hiver, and Marc-Antoine Corticchiato’s Parfum D’Empire Musc Tonkin are such amazing still lifes that I always just experience them on that level without overanalyzing the notes which bring these exquisite perfumes to life. This is where I and Mr. Burr are in complete agreement but this can’t apply to every fragrance.
Where Next? by Edward Frederick Brewtnall (1846-1902)
Every writer has to make the decision on how best to communicate their experience with a perfume. I decided early on to plant my flag firmly in the middle. I always try to communicate the way a perfume makes me feel without relying overmuch on the individual notes. Then I usually spend the next paragraph exercising my analytical skills tearing it apart into the notes. This captures my two-sided love of olfactory art. I want to be transported by a great fragrance as any art lover does and hope to communicate that. The scientist wants to know how that was achieved and so that part of my psyche delves deep looking to figure out the inner workings of that which I admire.
Which is correct? I don’t think anyone can answer that for sure at the moment. What I can say unequivocally that the more conversation we have about the perfumes we think rise to the level of olfactory art the closer we will become to creating a uniform language of perfume. So to all who write about perfume whether on Facebook, a blog, or a forum pick the way you want to describe your favorite fragrances and add to the conversation; together we will create a language of perfume.
One of my favorite British terms is describing a situation as having gone “pear shaped” which means it has gone terribly wrong, usually from good intentions. This phrase is particularly apropos when it comes to the latest release from Penhaligon’s called Tralala.
Penhaligon’s is a venerable old school English perfume line and in the last five years or so has really reclaimed a vital spot in the niche world. Perfumer Bertrand Duchaufour has been creating new perfumes and reformulating some of the historical ones. It is in my estimation a great success story but the latest release is a good example of when a brand forgets what makes it special and attempts to reach out for a different audience.
For Tralala Penhaligon’s wanted to up their hipster credibility and the first step to doing that was asking fashion designers Meadham Kirchoff to act as creative directors. Penhaligon’s has scented their runway shows at London Fashion Week and so they had some familiarity with the line. The latest collection for Fall 2014 recalled prewar Parisian fashion. M. Duchaufour has a way with Retro Nouveau fragrances. Seems like a team made for success, except for the name. The name is where it all begins to go south.
Jennifer Jason Leigh as Tralala in Last Exit to Brooklyn
In an article in Cosmopolitan announcing the fragrance Meadham Kirchoff alluded to the name being taken from the character in the movie “Last Exit to Brooklyn”. For those unfamiliar with that movie or the character Tralala, played by Jennifer Jason Leigh, ends up in a horrific plight and it is something nobody would want to associate with perfume. If you need to know more check out the Wikipedia entry for the novel and under synopsis read the description for Tralala. This is where the attempt to reach for that desired hipster credibility fell apart around them. I am pretty sure they just saw a picture of Tralala like the one above and thought “Yeah there’s our poster girl.” Until people started mentioning this after the Cosmopolitan article came out. On both Now Smell This and Basenotes, Matthew Huband of Penhaligon’s PR department went into spin mode and released this statement; "Hello all, I’m the head of marketing at Penhaligon’s, We’d just like to clarify that the name Tralala is simply an innocent and musical expression which reflects the fragrance. The perfume is rich, whimsical and nostalgic in Penhaligon’s best tradition, as you’d expect.”
Except I’ve smelled the fragrance and “rich, whimsical, and nostalgic” doesn’t accurately describe it. The adjectives I would use are “dangerous, edgy, and retro”. Which is where the disconnect happens; this fragrance clearly is going for this danger as whisky, leather, and patchouli are not the ingredients of nostalgic whimsy. They are exactly as was stated the milieu of Tralala, the fictional character.
This is what happens when a brand forgets about its brand identity and heads off into uncharted territory. All too often a trap door is lurking and everyone involved falls through looking foolish. The most successful perfume brands know that too many missteps like this turn their customers off and I’m pretty sure Tralala will disappear with as little notice as can be managed. I hope that the next time someone at Penhaligon’s wants to go for hipster cred they just remember that isn’t where their success lies.
Just as there is awards season for the performing arts we are smack dab in the middle of awards season for the olfactory arts. On Thursday night the French Fragrance Foundation awards were handed out and the following day in New York City The Fragrance Foundation announced their finalists and the winner of the Indie Perfume of the Year. There is an organization of French bloggers who give out the Olfactorama Awards. The new kid on the red carpet is the Los Angeles-based The Institute for Art and Olfaction Awards.
Each of these awards have their own personality and the winners can be schizophrenic and you wonder how, in the case of the French Fragrance Foundation, Jour D’Hermes (Best Feminine Fragrance in Selective Distribution) shared a podium with Invictus by Paco Rabanne (Best Masculine Fragrance in Selective Distribution). The Expert’s Award choices, from a committee of people from throughout the industry, honored Comme des Garcons Black and Tom Ford Private Blend Tobacco Oud. This kind of dichotomy gave rise to the Olfactorama Awards as a group of French bloggers thought they could do better and here is the list of perfumes they honored: Serge Lutens La Fille de Berlin, Hermes L’Eau de Narcisse Bleu, Vero Profumo Mito Voile D’Extrait, and Le Labo Ylang 49.
I look at those winners and can say that each list of winners represents its organization’s view point and as it is with the performing arts I am happy there are writer’s awards as there are industry-based awards. In my opinion the French Fragrance Foundation Expert’s Award is the one I respect the most because they really go the extra kilometer to gather a representative panel who all work very hard to come to consensus. The last two years has seen them honor fragrances I think would not have received any accolades at all.
Which comes to the independent perfume movement particularly in the US. Ever since I have published a yearly Top 25 new perfumes list there have never been less than five indie perfumers represented on that list. The Fragrance Foundation made an attempt to recognize that community but through three iterations of that award it has gone, respectively, to Odin 06 Amanu, By Kilian Amber Oud, and this year to By Kilian Playing with the Devil. I like all of these perfumes but The Fragrance Foundation and I have very different ideas about what an indie perfume is. Which is why I am excited about the new The Institute for Art and Olfaction Awards which will name their winners on April 25, 2014. They have two categories with ten finalists in each. The Independent Category which honors privately-owned brands operated with the owner’s direct oversight and often employing professional perfumers. Included in this year’s nominees are brands: Neela Vermeire Creations, Charenton Macerations, Friedemodin, and Yosh. The Artisan Category honors a perfumer-led business where the perfumer does everything from A-to-Z. The nominees are again another fine list which include Olympic Orchids, April Aromatics, Aether Arts, Imaginary Authors, and Mikmoi. All of the nominees are finally going to receive some attention that has been a long time in coming. The entire list of nominees can be found here.
If I was comparing these awards to those given out for motion pictures I would do it this way. The US Fragrance Foundation Awards are the Oscars. The French Fragrance Foundation Awards are the BAFTA’s. The Olfactorama Awards are The Golden Globes. The Institute of Art and Olfaction Awards are the Spirit Awards. What I believe is this kind of breadth of attention paid to the best of olfactory art Is a good thing and every perfume on any of the nomination lists as well as the winners should bask in the glow of the recognition of a jury of aficionados finding their perfume to be among the best of 2013. Just as it is with the movie awards I have my favorites I am rooting for but 2014 is the first year where every perfume I think was award worthy had a place where that could actually come true. That makes the entire perfume community winners.
Just before Valentine’s Day a set of recommendations were presented to the European Union (EU) by the Scientific Committee on Consumer Safety (SCCS) to ban or restrict 23 fragrance raw materials. A few days after that I wrote an editorial about the lack of scientific rigor that was applied to that decision and asked for a real scientific clinical study with appropriate controls to be performed to truly determine the real potential of these materials to produce an allergic effect. About a week after that editorial I was pointed to a website called IDEA (International Dialogue for the Evaluation of Allergens) and once I spent some time reading what was there much of my concern for the future of raw materials has been alleviated.
IDEA was formed in May of 2013 and has had four separate workshops since then about how to classify, test, and unequivocally determine which materials are allergens. Their Annual Report (click here to read it) was released a week after the SCCS made their recommendation to the EU. While the SCCS recommendations caused a lot of people, I included, to exercise our best Chicken Little impressions. After spending the last couple days reading the IDEA Annual Report I am no longer worried.
IDEA has representation from every stakeholder in this; IFRA, SCCS, EU, the big perfume firms, the big perfume producers, and particularly important dermatologists and clinicians. They have been spending this first year doing workshops with participation from all involved and they are evolving an action plan which will once and for all determine in a scientific and statistically sound manner whether any specific material is an allergen. This is what any of us who have looked at this data from a scientific point of view have asked for and it is now happening.
I also spoke with a few of my contacts within the industry and they all seem to think that if the EU takes any action at all in May, when the 90-Day comment period is up, it will be increased labelling. Something which alerts a consumer to the presence of a potential allergen without making it seem like the Surgeon General’s warning on a pack of cigarettes.
A month after I was busy running around yelling “The Sky is Falling!” it looks like the solutions are all in place to make sure that only the best scientific data will eventually determine which raw materials will be banned or restricted and that is the best outcome I could have asked for. Which leaves perfumery, like Mark Twain, to say, “The reports of my death have been greatly exaggerated.”
A number of perfume companies have looked to the Asian markets of Japan and China as the next growth opportunities for their brands. As a result you have seen the niche companies also follow that lead, trying to establish their own beachhead in those territories. I know my first impression of the difference between the way Japanese and Western tastes were different came from a 2005 column by Chandler Burr for the NY Times magazine. Where he described a culture where perfume was frequently given as a gift but never worn. This also went along with an anecdote from a sales associate where test strips were left out next to their bottles so that top notes would be gone because according to the article “apparently the Japanese dislike top notes”. The article also touched on other market forces in the Japanese market which were tied to luxury brands like Bvlgari where the jewelry image has a halo effect on the fragrance.
Beijing Perfume Counter (Photo:Alan Chin/NYT)
The Chinese market is much less understood but it does seem like the same considerations that are good for the Japanese market are also good for the Chinese market. The overall beauty sector in China has been growing consistently year-by-year. By Kilian and Serge Lutens, among others, have made series of fragrances meant to target these potential fragrance consumers. It seems the agreed upon design aesthetic is for something which is lighter in nature than typical releases from those lines. They also seem to be designed to not last as long as the other releases. What I don’t understand is why the great majority of these fragrances I have tried to date have been so disappointing.
I am also suspicious of the hypothesis that this aesthetic truly exists. At the Elements Showcase two years ago I was intorduced to a perfume line called Kaze which is created and sold in Japan. As I stepped up I expected to find a collection which matched my assumptions. I couldn't have been more worng and I kept saying over and over, "these sell well?" The only apparent eastern influence was the use of particular indigenous ingredients.
I am a big fan of perfumes with a lighter touch. Le Labo’s Tokyo exclusive Gaiac 10 seems to be the pinnacle of the kind of perfume which should be successful in Japan if the above assumptions are true. Comme des Garcons X Monocle Scent One: Hinoki is another example of this desired aesthetic. I know both of these fragrances are widely appreciated by the western fragrance community.
This is contrasted with the Asian Tales collection from By Kilian which feels like it was so calculated in design that somewhere along the assembly line it lost its joie de vivre. What has really brought this point home for me is the third of the Serge Lutens’ L’Eaus which has just been released. The newest one is called Laine de Verre and after sniffing it on a strip and a patch of skin I just can’t bring myself to wear it for a couple of days to properly review it. It is wan and anemic and yet has some irritating sharp aspects to it as well. I am completely flummoxed how two of my favorite perfumers in Calice Becker who did the By Kilians, and Serge Lutens’ Christopher Sheldrake can miss the target so completely.
I haven’t been able to get any current sales figures on these markets but the blog Kafkaesque recently published a very comprehensive worldwide economic review of the fragrance sector using the best available data to the public. In that article there is a very sobering statistic she reported from a Euromonitor study of the Chinese market, “No remarkable changes have been seen in consumers’ acceptance of fragrances – the Chinese account for 20% of the world’s population, but only contribute 1% to value sales of fragrances.” This seems to indicate that despite all of the targeting by adhering to a, perhaps, non-existent Asian aesthetic the perfume houses are making no headway.
That is the source of this Eastern Paradox, instead of trying to design a specific fragrance for the market; try and just design a good fragrance. I believe the free market principles will let the brands be guided by what sells in those markets. The idea that you can cobble together a fragrance for Japanese or Chinese markets which will make a culture of people who don’t wear perfume all of a sudden start wearing it seems like something out of a novel. As I sit here disappointed in yet another attempt to create this magical Eastern Elixir I just hope for a little less focus group thinking and more free artistic expression from these brands I like so much.
I was wanting to wait a little bit longer before tackling this subject but recent events have forced me to comment a little sooner than I expected. Last Thursday February 13, 2014 the European Union (EU) has announced a three-month period of consultation on fragrance allergens. The regulations under review are recommendations by the Scientific Committee on Consumer Safety (SCCS) to ban three substances from being used in perfume; two of the molecules found in oak moss and tree moss, and a lily-of-the-valley chemical called Lyral. There are an additional 12 molecules and 8 naturals which would be severely restricted in concentration and require labelling on the perfume it was contained in. The reasoning behind the SCCS’ recommendation is these are allergens and removing them from fragrance is in the interest of public health. As a scientist who works on the pharmaceutical side of things I’ve watched this debate and have been amazed at many aspects of it.
A Skin Irritation test with 2 controls and and 4 concentrations of the test molecule
The data used to determine the allergen potential of these molecules is scientifically and statistically unsound. Many of the studies used to determine these molecules as skin irritants lacked the necessary statistical and scientific structure to come to the conclusions they have reached. The studies conducted on the three banned molecules that have been published were done with small groups of patients with no control. When I am developing a topical drug formulation I would have to have multiple groups of 30 patients treated with the drug in varying concentrations in one place on each patient as well as what we call a control patch of skin on the same patient. You usually use a negative control you expect to cause no effect, like water, and a positive control that you do expect to cause an irritation. These are used to calibrate the skin of the patient being tested. If the patient shows a reaction to the negative control, which remember is just water, any other result would have to be thrown out because the patient has responded to only water. This is called a placebo effect and it occurs in 15-20% of patients. For a molecule to have a statistically relevant response it would have to have a response rate 20% greater than the placebo effect. The studies these bans and restrictions have been based on were performed one time at one concentration on 25 patients with no controls, positive or negative! This is what makes me shake my head as this is not good scientific practice and the conclusions made are very preliminary and possibly incorrect.
An even bigger flaw is the idea that it’s really only 23 molecules, so what? If these single molecules are restricted and banned it will have a ripple effect throughout many more raw materials. A natural oil is not a single molecule it is a combination of as many as hundreds of individual molecules. Any one of which could be identified as one of the “bad 23” which would then make that natural oil unusable as well. In Denyse Beaulieu’s blog Grain de Musc, The Different Company CEO and Creative Director Luc Gabriel expands on this thought as he worries at the impact of these changes on the industry.
All of this is complicated by the fact that there is no unified response. According to some sources LVMH and Chanel are extremely concerned. Other brands like Coty and L’Oreal seemingly stand on the sidelines. The Fragrance Foundation has stayed away from this debate with a ten-foot pole. Some of the raw material houses like Robertet have tried to get their lavender fields and products protected under French heritage law.
Until last Thursday this mix of concern and apathy was the norm now a 90-day clock has been turned on. Let me offer a solution to propose to the EU. Let LVMH, Chanel, and any other company that wants to participate, fund a full-blown study of these 23 substances under the highest scientific and statistical standards. Multiple controls, multiple concentrations, multiple patient groups spanning different ethnicities. In other words prove that these molecules are as “bad” as they are reported to be. This is a study that could easily be performed in 12-18 months to add a level of scientific rigor sadly lacking in the process so far.
If you also want to read more about this let me point you to this excellent post on the blog Kafkaesque where she has been diligently reporting on this issue for the past year.
The time to offer solutions is now and the time for discussion has been forced upon us by the EU. Together the industry and those of us who love perfume need to stand up and be heard or we will pay a price I think none of us wants to pay.