Rules for composing chords and compositions in perfumes. “Secrets of creating your own perfume from essential oils.” What is included in a perfume composition?

One of the unique features of the art of perfumery is the ability to reproduce the smells of plants. In this case, nature serves as a prototype for the perfumer, and the ability to vary mixtures of fragrant substances allows one to obtain harmonious complexes with completely original new odors that may not be found in natural conditions.

Both the reproduction of plant odors and the production of new complexes are carried out by mixing individual fragrant substances. The resulting products, in the form of concentrated mixtures of fragrant substances, are called compositions.

The compositions are intended either for direct use in the form of solutions (perfumes, colognes, toilet waters) or as an addition to various media (soaps, powders, fatty and other substances) to give them a pleasant smell.

Making compositions is the basis of all perfumery technology.

The impressions of a perfume smell are associated first of all and in the overwhelming majority of cases with the idea of ​​a plant, because in natural conditions only the latter in their mass have a smell that is clearly perceived by humans, and mankind’s acquaintance with pleasant odors occurs precisely through the plant kingdom.

Another goal is the expression of some artistic idea or mood based on one or more fragrant substances, which in the presented combination (bouquet) sometimes resemble natural combinations of odors in nature, and sometimes have only a distant resemblance to them.

The depicted combination of fragrant substances must always have as its prototype life, real nature, must be close to the smell of a real or imaginary flower or bouquet, must have a certain “florality” that conveys the impression of reality.

Compositions should be composed in such a way in the assortment and weight ratios of the constituent parts that the fragrances of the individual components are harmoniously merged and not a single typical smell of an individual component, at least at the beginning, stands out sharply. This complete fusion of individual odors into a harmonious whole that is pleasing to the sense of smell represents the highest aspiration of the perfumer. The combination of odors will last only if the weight ratios of the individual components are in agreement with the intended shade of the mixture's odor. Apart from practical experience or frequent repetition of variations and study of the classic recipe, there is not yet a way to navigate the weight ratios of individual components, especially when searching for new scents. On the contrary, if we are talking about the transmission of certain known odors, such as, for example, the reproduction of the smell of flowers, freshly cut hay, moss, etc., as well as certain odors of a special type, there are exact experimental data that are usually acquired in the process of work and studying classical copybooks.

When composing compositions with a floral scent, the perfumer is somewhat limited in the choice of fragrant substances, since their range in most cases is predetermined by the smell of the plant, which he mainly wants to convey. At the same time, the range of these substances is quite extensive, and the perfumer, imitating nature, also presents them in the form of complexes, mixtures, so-called floral compositions.

When composing fantasy scents, the perfumer is relatively free in the choice of raw materials, the range of which depends only on whether it will give a pleasant or unpleasant sensation in the mixture.

Composition of perfume compositions.

Any perfume, that is, an artificially harmoniously created composition, no matter what its scent, like natural essential oils, often consists of a very large number of individual fragrant substances.

For explanation in table. 1 we give an approximate recipe for the four most common perfume compositions: violet, heliotrope, fresh hay and trefle (clover).

Table 1.

Components of compositions.

Table 1 shows that each composition contains many different aromatic substances. So this in itself begs the question; Is it necessary to have so many fragrant substances, and if so, what mainly determines the smell of this composition, what is the role of each of the other fragrant substances in the composition, and is it possible to get by with simpler combinations?

It is useful to further find out whether the abundance of components here is chaotic, a disorderly accumulation of various fragrant substances, a random accumulation of objects torn from each other, or is it a coherent, single whole, where fragrant substances are organically connected with each other, depend on each other and determine each other friend.

With an in-depth analysis of the recipe of any perfume composition, we discover that its components obey a natural order, can be placed into a system and the functions of the composition elements can be identified.

Just like natural aromatic substances, a harmoniously assembled perfume composition consists of elementary parts - individual aromatic substances that organically gravitate towards each other. This attraction lies in the fact that these parts are grouped into natural segments (or phases, see Table 2), which give the impression of a certain, naturally occurring smell of flowers, fruits, leaves and other parts of plants. The functions of these elementary particles have an analogy in letters, which are then combined into words.

Table 2, part one.

Arrangement of fragrant substances in compositions by segments.

Table 2, part two.

These segments can be of two types:

1) completely conveying the smell of flowers, fruits, leaves or other parts of plants, i.e. from pre-prepared perfume compositions;

2) and transmitting only their main smell.

Ready-made perfume compositions consist either of phases of one first group or of some phases of the second group, or, finally, of a combination of both.

If we, in turn, analyze the phases of the first group, that is, those that completely convey the smell of various fragrant parts of plants, then we will find that they, in turn, consist of individual elements that convey only the main tone, the main smell of other types of plants .

Suppose we analyze the composition of violet: then we will also find in it the elements of the smell of jasmine, rose, heliotrope and lilac, and in the smell of white acacia - jasmine, orange flowers, lily of the valley, etc. Moreover, these elements of smell exist not only in artificial perfume compositions, but also in the odors of natural products.

In addition, if we take, for example, the smell of lilac, then under natural conditions we find in it quite strong signs of jasmine, lily of the valley, heliotrope and, in part, violets, larger or smaller, depending on the type of lilac (white, Persian, etc. ), and sometimes it comes to the point that some, especially those grown in greenhouses, varieties of lilac already smell like pure jasmine and generally bear little resemblance to lilac in smell.

The smell of jasmine and orange flowers is strongly felt in white acacia flowers, the smell of violets is in mateol, heliotrope, mimosa, the smell of lilac is in lily of the valley, etc., and many flowers somewhat resemble each other in smell.

As, for example, the repetition of smells in nature, where plants smell strongly reminiscent of each other, one can point to representatives of various botanical species: rose and geranium flowers, violet flowers and iris root, cloves and some types of gillyflowers, white acacia flowers and orange flowers, violet leaf and green cucumbers, and many others. Thus, in perfume compositions we observe the same phenomenon that exists in natural conditions: the entire amount of chemically individual substances from which the perfumer builds numerous compositions is limited, but these substances, changed quantitatively and in various combinations, give us a huge variety of odors.

The perfumer has the opportunity to create an almost unlimited number of different scents of compositions by appropriate selection of fragrant substances. It all depends on the nature of the combinations and weight ratios. Sometimes this is achieved only by a slight shift of the smell in one direction or another, which is why some smells, although somewhat reminiscent of each other, are still completely different: for example, based on the smell of lily of the valley, compositions with the smell of lilac, linden, and cyclamen are created; from the smell of cloves - the smell of gilly leaves; from jasmine - magnolia, begonia, gardenia; from violets - flower cassia and mignonette; from clover - orchids, fresh hay; from hyacinth - sweet pea; from heliotrope - white acacia, mimosa, hawthorn, etc.

It should be noted that there is often a huge difference between the chemical components present in the smell of a natural flower, that is, in compositions created by nature itself, and the artificially reproduced smells of the same flower. In order to create the smell of a particular flower, fruit, etc., the perfumer takes advantage of the fact that the elements of the smell, its typical features, are repeated in nature, just as sounds, colors and lines are repeated. By using these elements in his creative combinations, the perfumer is able to evoke the corresponding impressions.

From here it will become clear why in the compositions given and in Table. 1 and 2, the scent of violets also includes jasmine, rose, heliotrope, and lilac; in heliotrope - jasmine, rose and violet, etc., and in all the given compositions the elements of smell are repeated.

Let's try to divide into segments the compositions of four different odors given in table. 1, in the form in which they are organically connected with each other, depend on each other and condition each other; Let’s try to collect these “letters” into “words” and we will get the picture in which they are presented in the table. 2.

From this table it is clear that by arranging fragrant substances in their proper places, accordingly grouping the components of these compositions, removing the “chaos”, the accumulation of fragrant substances, and by bringing them into the appropriate order, it turns out that they are subject to a regular distribution into combinations (segments ), each of which has one function, one typical feature, one specific smell, repeated in a whole group of different compositions. Individual aromatic substances, isolated in themselves, are grouped into more meaningful combinations; From these combinations a ready-made perfume scent is already formed. So sounds, forming melodies, give birth to music.

The question arises: how are several different floral compositions created from the same segments, from related typical scents?

The fact is that by generalizing some typical features, we receive only a diagram, that is, a preliminary sketch of general features found as a result of studying the odors of many specific individual types of flowers and herbs. But in order to create a living, artistic, typical image that has all the diverse features of an individual object (for example, lilac, lily of the valley, jasmine, violet), we add to this scheme some fragrant substances that impart individual features to the overall composition. Such substances in violet are mainly ionone; in heliotrope - heliotropin; in fresh hay - coumarin; in trefle - salicylates (esters of salicylic acid). Each of these substances, by its predominance over the overall mixture, is, as it were, its highest point, determining the type of composition. These substances in perfumery are called leading odors.

Hence it is clear why the perfumer, when composing floral compositions, is somewhat limited in the choice of fragrant substances, the selection of which is predetermined by the smell of the type that he wants to convey.

At the same time, this limitation is not an obstacle to the manifestation of artistic creativity and the formulation of certain compositions with a certain floral (and equivalent) smell is not something stable and unchangeable. On the contrary, if we compare different, precisely defined floral perfumes, for example, lilac, lily of the valley, violet, etc., created by different perfumers, we will find that for the same tone they have different and sometimes quite significant deviations from the smell prototype. This does not always depend on the cost of the product or the inability of the perfumer to reproduce the exact smell of the flower, but no less on the fact that different perfumers understand this or that smell differently and therefore reproduce it differently. Therefore, by the general design of the smell, one can often recognize the “handwriting” of the perfumer.

The perfumer's "handwriting", however, is manifested to an incomparably greater extent when creating so-called fantasy compositions. Fantasy compositions, just like floral ones, are built mainly from the same floral segments, but differ in the originality of their arrangement. Here the perfumer creates new images that do not exist in life, based on a fantastic synthesis of elements of reality, based on imagination, that is, he creates new images based on the material of past perceptions. In the same way, all sorts of fantasy perfume compositions ("Chypre", "Blue Casket", "Wait for Me", "Camellia", etc.) are images that do not exist in life, created on the basis of a fantastic synthesis, but built on elements taken from reality (i.e., segments of different odors). A striking example of fantasy perfumes is "Pau d'Espagne" ("Spanish Leather"), "Russian Leather" and similar scents, "Jockey Club", and then "Fougere" ("Fern"), etc. From practice, we We know that neither Spanish leather (saddle leather) nor Russian leather (yuft) can be called “fragrant”, since they mainly smell of tar. But if you perfume these leathers with substances that are in harmony with their smell (musk, amber, sandalwood). oil, etc.), then the result is a unique, piercing, but warm, pleasant and very rich combination.

Almost the same combination of smells is used for the Jockey Club perfume, because riding in the saddle is always accompanied by the smells of tar (saddle) and body (horse), so these perfumes are based on tar (saddle smell) and musk with amber, transmitting the so-called “animal” odor, body odor, especially strong when the horse is walking.

Of all the species of ferns existing in nature, we probably do not know of any that would have a more or less significant or attractive smell. However, perfumes of this name are produced by perfumers. In this case, the perfumer conveys not the smell of the fern, but the surrounding environment - a shady deciduous forest, where the fern grows in natural conditions, surrounding wild and forest flowers. The smell of a shady forest is conveyed mainly by oak moss extract, the smell of wild and forest flowers by coumarin (reminiscent of the smell of fresh hay), and the “darkness” by patchouli, vetiver and other oils.

Chords.

Any perfume composition consists of elementary particles in the form of individual fragrant substances. These fragrant substances are used because of the inherent tone, strength and shade of each of them, and just like sounds in music, they serve as material for constructing perfumery works. In a meaningful combination, these aromatic substances, by analogy with music, give us the aesthetic feeling that we experience from a perfume smell.

If we perceive individual fragrant substances (for example, those given in Table 1) similarly to simple sounds, then the simplest combinations of them (segments, Table 2) are like unity of sounds, i.e. in simultaneous “sounding”. Combinations in which several tones are juxtaposed at the same time, by analogy with music, can be called chords. Here, as in music, three sounds, four sounds and five sounds predominate.

Thus, as far as the construction of works is concerned, the analogy between simple sounds and elementary aromatic substances, between segments and chords, between a perfume composition and a musical thought, a musical phase is confirmed.

In table 2 shows a significant number of segments of compositions. These will be the primary chords. They serve mainly as phases for building a complete scent based on them.

To depict one or another of those indicated in the table. 1 and 2 smells, it is not necessary to take combinations of all substances indicated for a given chord: the main smell of heliotrope will be determined by one heliotropin, violets - by one ionone; jasmine - one benzyl acetate; clover - one amyl salicylate, but then this basis will turn out to be monophonic, too primitive. More harmonious are combinations of several primary chords, similar to those indicated above, from a mixture of several natural essential oils or their imitation with or without the addition of individual aromatic substances, or from one essential oil with the addition of individual aromatic substances. The essential oils themselves, for example, jasmine, rose, are primary chords for the perfumer, since they consist of combinations of several individual chemical substances created by nature itself and are perceived by our sense of smell as a single smell, but by their nature and their “elementary” nature they are not can satisfy us as a ready-made perfume scent, but only one of the components of a future composition (“sound scale”).

Finally, ready-made perfume mixtures are developed chords, created from a combination of elementary or complex chords, or from the sum of both.

Leading smells (leitmotifs).

If we turn to painting, we will find that among the whole mass of paints, lines, colors and shades of any picture, any drawing, among the main and minor details we will find some detail, some segment, which is the main semantic, main point, the leading part of the whole picture. If we remove this segment, the work will sometimes partially, and for the most part completely, lose its meaning, and hence its value.

In music, we have a meaningful sequential series of sounds of different or equal heights, expressing the main idea of ​​the work, the so-called melody. This melodious sequence of sounds belongs to some scale or mode.

Melody is the main element in music, and not a single piece of music can do without it. Melody is the main semantic part of music and occupies a leading place in a number of elements of musical expressiveness, mainly determining the content of a musical work. Melody is the most important thing in a piece of music, its basis, its melody, which can be sung by one voice. This is a monophonic musical thought expressed.

What is the nature of the leading part or melody in perfumery?

Let's try to sniff an individual fragrant substance, for example, ionone, vanillin, terpineol, and we will find that we have here elementary odors, one note, and no matter how much we sniff, even with a very trained sense of smell, we will not find anything other than this note .

Let's try to sniff for a longer time any fresh flower that has a scent, for example, flowers of lily of the valley, lilac, violet, and make sure that we have here some amount, some combination of odors, of which one particular part stands out - in the overwhelming majority a complex , basically determining the smell of a given flower. This is especially vivid when we smell not just the petals, but together with the cups, leaves, and stem, which have their own odors that are different from the smell of the flower. These odors impart a special charm to a freshly picked branch with flowers, which greatly surpasses the smell of the petals alone. But we remove the petals and leave the remaining parts of the flower (calyxes, stamens, pistils, leaves, twigs), and then all the specific smell inherent in this flower will disappear. At the same time, sniffing a flower, we discover that it does not have a frozen, but a moving scent, in which its elements alternate (oscillate) with great speed, and first one tone or another slips through them. When sniffing the smell of even a single flower or leaf for a long time, you can establish that it changes many times within a minute, but some tone or group of tones stands out especially clearly and, basically, characterizes the smell that is specific to it.

Exactly the same thing is observed with perfumes. A good example is the composition “Violet”, in which the main tone, the main character is determined by a mixture of ionone, methyl ionone (or violet rhizome oil), iris oil and violet leaf oil. Without this complex, the rest of the composition will be inexpressive, it will not smell like violet and its character will be lost.

It is useful to touch upon this fact. Based on the bouquet of wines, tasters determine not only the brand, but also the year of production of the wine. At the same time, experienced tasters establish these points for very rare and old varieties of wine. How can this be explained? To do this, it is best to turn to the wine tasters themselves, and they will answer us that they remember individual smells of wines, even if only once heard, in the same way as we remember individual motives. It goes without saying that repeating one note in a bouquet cannot give anything, since the elements of smell are often repeated in nature, and of course, also in the wines themselves. Only the overall bouquet of the wine with its characteristic shade, especially together with the additional aromas accompanying it, can make it possible to make an appropriate conclusion.

It should be taken into account that bouquets of wines are also natural compositions in some cases, depending on the grape variety and the method of its processing, and in others artificial, created by blending, i.e. mixing several varieties.

Thus, it can be established that in perfume compositions, as in natural fragrant parts of plants, we
we have some kind of core, a central core, which determines the smell of the entire composition, and that the core consists for the most part not of one, but of several elementary fragrant substances (several simple sounds), which are not perceived by us immediately, but in the form of a certain sequence, and which can be called the leitmotif of this complex.

In perfumery, the term “leitmotif” or “leading smell” should be understood as a number of similar or different scented fragrant substances that occupy a leading place and determine the main content, main smell or character of the composition.

This is its own main note or upper register, which, for example in floral compositions, embodies all the aromatic substances that convey the main smell of the corresponding plant. These fragrant substances can be composed of complexes or very rarely from one substance (for example, ylang-ylang oil for perfumes of the same name), moreover, this substance itself is already a natural combination of various individual substances with its own leading smell.

Of course, not every combination of fragrant substances can serve as a leading smell: a random combination of fragrant substances taken together cannot be called a leading smell, just as a random set of sounds, respectively, not connected together and not giving a musical idea, cannot be considered a melody.

Stages of smell.

In perfumery, there are three stages of smell, depending both on the rate of volatilization of the fragrant substances included in the composition and on the phenomenon of adaptation - initial, middle and residual.

The initial smell, or stage I, is considered to be the one that is felt before and shortly after the evaporation of alcohol from the perfume. This step is not decisive.

The most important thing is the smell of perfume in the first 10-12 hours after the complete evaporation of alcohol and volatile substances (benzyl acetate, etc.). At the same time, perfumes must show maximum durability, integrity and beauty, and should not often and dramatically change their scent. At this time, there is, so to speak, a harmony of evaporation. This will be the middle smell, or stage II. The duration of preservation of the central odor depends on the degree of volatility of the fragrant substances that were introduced into the composition. The most durable, such as patchouli, vetiver, sandalwood oils and oak moss extract, absolute essences, crystalline aromatic substances (heliotropin, coumarin, artificial musks), resinous substances (benzoin, styrax) and animal products (natural amber, civet, musk, beaver jet, etc.), depending on their quantity in the compositions, can influence the duration of stage II. The increase in this stage is proportional to the increase in the content of these substances in the composition. The perfumer's task is to achieve the maximum possible duration of this stage.

After this, a period of more or less profound change (decay) of the smell begins, and it is no longer the full bouquet that is felt, but a pleasantly smelling residue, often having little in common with the middle smell, but harmonizing with it. In this third stage the smell is called residual.

Thus, in stages I and II the smell increases, and in stages III it fades away.

From the point of view of practical application, the characteristic note (base) of a perfume is the one that, under the action of body heat (since we are not talking about a special use, for example, as a smoking aid, soap, etc.) in stage II, gives a lasting impression. A test on paper does not achieve the goal, and the actual ability of manifestation, that is, the development of the effect of a mixture of fragrant substances, can only be correctly established in contact with human skin under the influence of body heat. At the same time, some odors are significantly enhanced by the thermal radiation of the body (musk, etc.), others are changed or weakened.

The indisputably established fact of uneven perceptibility of smell when different persons use the same perfume becomes clear. The volatility of the fragrant substance also varies significantly depending on air humidity and atmospheric pressure. This explains the well-known effect of the smell of perfume, often observed not only at the first impression, but also during the further process of volatilization of the constituent parts.

The designations of stages I, II and III are somewhat arbitrary, collective, since one stage never jumps into another, does not pass in such a way that it is immediately felt by the sense of smell, and due to the relative slowness of the transitions, the latter occur gradually, and therefore there are always boundaries between them, elusive to the sense of smell.

The successive change of impressions should be without jumps, smooth and so gradual that the stages of transition cannot be sharply felt by our sense of smell.
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1. Iris oil - oil of violet rhizome.
2. Orange flower oil - fleur d'orange or neroli oil.

When you buy perfume, you hardly think about the fact that the art of composing perfume compositions is a complex science that takes many years to master. Of course, it is impossible to become a professional in perfumery in a few minutes, but it is quite possible to understand how aromas are created, what notes they consist of, and how the group to which they belong is determined.

How the base of perfume is created

In the descriptions It is customary to use the musical term “three-note chord.” Indeed, any perfume bouquet, like a chord, includes three main notes: base, middle and top. At the beginning of work on a fragrance, its base is compiled. Traditional perfumes are usually made with 95% high-quality alcohol and essential oils, which are chosen depending on which notes should prevail in the perfume. For example, for woody perfumes, oils of sandalwood, oud, , vetiver, cedar, myrrh - they give the aroma a pronounced and persistent woody aroma and do not allow the smell to quickly evaporate. For perfumes of other groups, fragrant and very persistent oils are often used as base oils. , chafras, vanilla, tonka, beans.

It should be noted that Arabic oil perfumes, unlike traditional ones, are made without an alcohol base, only from mixtures of natural essential oils of plant or animal origin. For example, famous animalistic scents are made from ambergris (a waxy substance produced in the digestive tract of the sperm whale) or musk (an odorous substance obtained from the dried endocrine glands of musk deer or beaver). Alcohol and water are never added to the base of oriental perfume.

Middle and top notes

In the choice of middle and top notes, everything depends on the imagination and intuition of the perfumer, who, like a true artist, creates his own signature scent by mixing oils in certain proportions. However, this creative work also has its own rules and laws.

For top notes, use light oils that evaporate in just 20-30 minutes. Their main task is to “introduce” the aroma, to give the very first idea about it. As a rule, depending on the group, volatile essential oils of citrus, bergamot, greenery, spices, fresh fruits and flowers are used for top notes.

For the heart of the composition, essential oils are most often used, the smell of which can not disintegrate for about two to three hours. These are strong and vibrant herbal substances such as tuberose, ylang-ylang, cyclamen, cloves, mimosa and so on. Of course, essential oils are selected based on which group or subgroup the aromatic composition being created belongs to.

How the aroma reveals itself

The famous perfumer of the house of Coco Chanel, Jacques Paul, once said that good perfume, like a true woman, should not immediately reveal all its secrets and mysteries. In a high-quality perfume, first only the top notes are felt, then the heart of the aroma appears, and only then the base, which is its true soul. Therefore, when you go to the store for a new perfume, be sure to apply a few drops of a sample to your wrist and calmly go about your business.

Basics of perfume compositions

from "Basics of perfumery and cosmetics production"

You can become the owner of an original fragrance without resorting to the services of a professional perfumer. Making your own perfume from essential oils at home is not at all difficult, the main thing is to use high-quality components and follow the rules for composing perfume compositions.

Let's start doing it - is it difficult?

We reveal the secrets of creating your own perfume from essential oils!

Homemade perfume recipes include essential oils and a base - alcohol or oil. Also prepare:

• resealable dark glass bottles;
• dishes for mixing components;
• pipettes;
• scent sampling strips.

Alcohol and oil perfumes differ in their properties and durability. In the first case, the smell disappears faster, but reveals itself fully and richly. But in oil-based perfumes the aroma is muted, but more persistent. And the shelf life of such perfumes is longer than alcohol ones. But oil perfumes can leave marks on clothes!

For the base, choose unscented oil - olive, almond, grape, cocoa, jojoba. If it is alcohol, then buy medical alcohol at the pharmacy. There you will also find essential and base oils. You can also purchase them in online stores: Aromashka, iHerb, Aromarti and others.

The smell of perfume can be intense - the total content of essential oils is 30-40%. And for delicate, soft, discreet aromas - 10-15%.

When making your own essential oil perfume, record each drop you add. This will allow you to save the exact proportions of successful perfume compositions and use them in the future.

About the notes and strength of perfume

The principle of constructing perfumes is based on a little trick: the mixture includes three notes of aromas - top, middle and base. How are they different?

The top note, or “head” of a perfume composition, is the first impression, those aromas that are felt when the perfume evaporates from the surface of the skin within 10-30 minutes after application. We feel them when we smell a bottle of perfume. The initial note contains the most volatile phytoessences - with a high evaporation rate. These include light herbal and fruity aromas, for example:

• lemon, tangerine and other citrus fruits,
• basilica,
• lemon balm,
• mint,
• rosemary,
• verbena.

Strong-smelling perfumes based on essential oils often contain a large percentage of top note aromas. After all, they are the ones who evaporate faster and give the perfume its original brightness.

The middle note, the “heart”, is the basis of the composition - less light phytoessences, disappear within 8-24 hours:

• sage,
• hyssop,
• geraniums,
• lavender,
• jasmine,
• nutmeg,
• cypress,
• myrtle,
• ylang-ylang,
• daisies.

The base note includes heavy, long-lasting oils. We wear this scent on our skin the longest - it becomes distinguishable when the components of the “head” and “heart” of the perfume have evaporated. Bottom note oils are obtained from spices, plant resins, roots, fruits, flowers, seeds, fruits and tree bark. Examples of phytoessences:

• vanilla,
• ginger,
• patchouli,
• juniper,
• myrrh,
• sandalwood,
• rosewood,
• cumin,
• incense,
• carnations,
• neroli,
• fennel.

Each note of natural perfumes should contain no more than three essential oils, that is, to create a perfume with your own hands, choose a maximum of 9 phytoessences.

Essential oils cannot be used in their pure form as perfumes, as they can cause skin burns or an allergic reaction. The aromatic component of perfume is always dissolved in a carrier base - fatty oil or alcohol.

Many essential oil manufacturers create packaging in different colors. It's convenient. For example, Vivasan has yellow, pink and green for the top, middle and base notes respectively.

• top 30%,
• average 50%,
• bottom 20%.

Such precision is not necessary, since when creating perfumes, the result depends on personal feelings and the selected components.

Fragrance families will help you choose

Any mixture can be attributed to a specific family of fragrances:

1. Citrus scents - include oils of bergamot, orange, grapefruit, tangerine, lemongrass (lime), lemon. They were part of the first colognes and eau de toilette.
2. Floral is a large family of scents; perfumes often use compositions of the aromas of several flowers. Rose, violet, jasmine, ylang-ylang, neroli (orange flower), and lilac are popular in perfumery.
3. Woody - aromas with notes of slight tartness or sweetness. They give the perfume sophistication and warmth. These are essential oils of sandalwood, iris, rosewood, myrtle, and patchouli.
4. Fern, or fougere, are compositions of lavender, woody scents with hints of bergamot, geranium, suede or moss. Fresh and tart.
5. Oriental (oriental, amber) - warm, sweet, sensual scents. The base is amber or musk combined with vanilla, aromas of resins and tree bark.
6. Spicy - close to oriental, but more tart. To create, oils of cinnamon, ginger, pepper, cloves and other spices and herbs are used.
7. Chypre - based on patchouli, bergamot, oak moss, resin aromas. A classic for men's perfume. In combination with citrus fruits they create interesting feminine aromas and unisex perfumes.
8. Leather - a synthesis of floral notes with resinous, woody, juniper oils. Such mixtures give unusual smells - smoke, burnt wood, tobacco. Used primarily to create men's perfume.
9. Water, or aquatic - aromas of freshness, dew, fog, sea breeze, mountain air, summer rain, ozone. In such compositions, essential oils of mint and other herbs, citrus fruits, violets, and lemon are used. It is difficult to make natural perfumes with an aquatic aroma at home, since synthetic molecules are used in their creation.
10. Gourmet - a family of scents mostly with artificial ingredients. Perfumers create eau de toilette and perfumes with the aroma of caramel, candy, chocolate, cotton candy, saffron, cola, and pear. It’s unlikely that you can do this at home, but warm, delicious compositions with vanilla, orange, cinnamon, and ginger oils are quite possible.

There are also fruity, woody-oriental, green and other families of scents.

Which base is better to choose for your perfume?

The base makes the perfume easier to use and helps the components combine into a harmonious aroma.

Oil perfumes are persistent, but not bright (discreet), since the oil particles hold molecules of volatile aromatic compounds more firmly together. Essential components in such a perfume are no more than 10% of the total volume (20 drops per 10 ml). After mixing, it is better to let the perfume brew for 1-2 weeks. Disadvantage - cannot be applied to clothes and hair.

You can also make solid perfumes using an oil base. This is a great gift idea and a convenient option for carrying perfume with you, for example, in a locket or compact jar. They are even used as fragrances, for example, in cars. To create solid perfumes, add cosmetic wax to a liquid oil base or use hardening butters - shea, shea butter, cocoa, coconut.

Alcohol-based perfumes are rich, brighter, but evaporate quickly. After creation, they are left to stand for 1-3 months, shaking from time to time.

The procedure for a home perfumer is simple:

• Pre-select the scents of essential oils by applying them dropwise onto paper strips.
• Pour alcohol and water (or oil) into a clean, dry container.
• Add essential oils in order - base notes, middle notes and lastly top notes.
• Close the bottle, shake and leave to infuse in a cool, dark place.

Revealing secrets!

You can create natural scents yourself or use ready-made perfume recipes from essential oils.

• Perfume “Freshness of citruses”

Fresh, cool citrus scent with floral notes. Phytoessences in drops per 10 ml of alcohol:

• myrrh - 2,
• neroli - 3,
• myrtle - 1,
• lavender - 2,
• roses - 1,
• petitgrain - 5,
• bergamot - 2,
• bitter orange - 2.
• Perfume "English Garden"

For 20 ml of 80% alcohol and 3 ml of distilled water, take essential oils (in drops):

• valerian - 4,
• chamomile - 4,
• hyssop - 1,
• lavender - 2.

Oil perfume recipes for making yourself

For the base, choose one fatty oil, such as almond. And add the selected phytoessences drop by drop.

• Perfume "Tenderness"

Refined floral aroma. For 20 ml of base oil you will need essential oils (in drops):

• sandalwood - 3,
• blue iris - 3,
• jasmine - 1,
• roses - 1.
• Perfume “Southern Night”

Warm sweet scent with spicy, seductive notes. Add the following essential oils drop by drop to 10 ml of base:

• patchouli - 2,
• rosewood - 1,
• sandalwood - 1,
• vanilla - 2,
• jasmine - 1,
• clary sage - 1,
• neroli - 1,
• ylang-ylang - 1,
• tangerine - 1.

To make solid oil perfume, use the same mixing scheme, only instead of liquid base oil, take solid oil (Shea, cocoa or shea butter) and cosmetic wax previously melted in a water bath. Pour the prepared but not yet hardened mixture into a medallion or flat jar with a lid and wait until it hardens completely (30–40 minutes).

Perfume is an aphrodisiac to attract men

The recipes for these perfumes will not leave men indifferent!

Aphrodisiac oils affect the nervous system, enhancing sensuality and stimulating sexual desire. Among them are phytoessences of sandalwood, cedar, jasmine, bergamot, patchouli, ylang-ylang.

Recipe for aphrodisiac perfume (in drops per 10 ml of fatty oil):

• sandal - 2,
• cinnamon - 1,
• vanilla - 1,
• bergamot - 1.

The Aphrodite mixture is also known, in which 20 ml of base oil contains 3 drops of phytoessences of ylang-ylang and rosemary and 2 drops of grapefruit.

Famous perfumes - revealing recipes 😉

The ingredients of famous fragrances are often kept secret. But some recipes for famous perfumes are also available for creating at home. In production, components are used that are inaccessible to the average person, and the exact proportions are not disclosed. But, knowing the composition of all three notes of the aroma, you can reproduce something close in sound to the original perfume.

Montale Candy Rose:

• Base: vanilla;
• “Heart” of the scent: rose, patchouli, lily of the valley, jasmine;
• Top: raspberry, tangerine, lychee, blood orange.

Nina Ricci Nina L'eau:

• Base notes: musk;
• Base: cherry and gardenia;
• “Head” of the composition: neroli, mandarin, grapefruit.

Chanel Chance Eau Vive:

• Base: vetiver and white musk;
• "Heart": jasmine;
• Top: grapefruit and blood orange.

You can find the composition of famous perfumes and eau de toilettes in any major online perfume store and try your hand at creating your favorite scents.

Often in descriptions of fragrances there is such a thing as a perfume composition. Many people think that it is simply a synonym for the word perfume, but this is not entirely true. Today we want to clarify this issue and understand what a perfume composition actually is.

What is a perfume composition

A perfume composition is a concentrated multicomponent mixture of fragrant substances with a specific aroma inherent in a specific perfume product. It is she who is the carrier of the smell, that is, the main element in the composition of any perfume. And it is this that determines the character and durability of your favorite perfume. However, she is not a spirit.

To obtain perfumes, eau de toilettes and colognes, the perfume composition is diluted in an alcohol or oil solution in a certain ratio.

So, perfume is a 25-30% solution of a perfume composition, eau de toilette is a 15% solution, and cologne is 6-10%.

Thus, we can simultaneously answer another frequent question from our readers - what percentage of aromatic oils do perfume compositions contain? Based on the previous logic, you yourself already see the answer. A perfume composition is a substance consisting of 100% pure aromatic substances.

What is included in a perfume composition?

Depending on the desire of the perfumer, the composition of the perfume composition may include:

Plant extracts - usually essential oils and absolutes
extracts of animal origin - amber, musk, civet, etc.
as well as synthetic fragrances, which are obtained from petroleum products in chemical laboratories.

Of course, no synthetic fragrances are used. Plant extracts, on the contrary, are the main working material of perfumers, from which they create their masterpieces.

Creation of perfume compositions

As we have already found out, various natural extracts are used to create perfume compositions. But how do individual aromatic substances, with their own unique scent, produce a unique, multifaceted aroma that brings us into a state of bliss?

From a technical point of view, everything is simple. It is necessary to classify the available oils according to their level of volatility into three groups: rapidly volatile, moderately volatile and slowly volatile. Next, within each group, compose the top, middle and bottom chords of the future composition, respectively, combine them and, voila, the aroma is ready.

However, if you dig a little deeper, everything turns out to be much more complicated.

The final result largely depends on the talent and skill level of the person who is composing the perfume composition. It’s like in music: there are only 7 notes, but some people create masterpieces from them, while others create mediocre works.

Want to test your perfume talents? Here is a small instruction on how to do it at home. And we will continue and talk about existing types of perfume compositions.

Main types of perfume compositions

Despite the fact that perfume compositions are complex mixtures of fragrant substances, they usually have a leading accent that belongs to one or another family of fragrances.

Different perfume schools classify odors differently; perfumers do not have a uniform approach to this matter. Therefore, we will now consider the classification of fragrances that we ourselves adhere to in our atelier.

So, there are 10 main families of fragrances: citrus, spicy, fruity, floral, herbal, woody, fougere, chypre, oriental, leather, as well as resins and balms.

Citrus aromas

As you might guess, this family includes aromas of lemon, orange, lime, bergamot, grapefruit and other citrus fruits. Extracts are obtained by cold pressing from the peel of the corresponding fruit. These are invigorating, refreshing aromas that are great for creating bright, energetic perfumes.

Spicy flavors

The family of spicy aromas are made up of extracts extracted from the same plants from which we commonly obtain spices. Cinnamon, pepper, nutmeg, cloves, vanilla are the most popular representatives of this group. Expressive, rich, seductive... Just like spices in cooking, spicy aromas give a perfume character and special warmth.

Oriental (oriental) fragrances

Bright, temperamental, rich and incredibly seductive. This is how the perfume compositions of this group are usually described. The basis of these aromas are the essential oils of jasmine, iris, vanilla, sandalwood, musk and amber, traditional for oriental perfumery. Ambergris, by the way, is a powerful aphrodisiac, which is why oriental scents are so seductive.

Fruit aromas

Ripe, sun-drenched fruits have a stunning aroma. It would be strange not to use them in perfumery. Apple, mango, pear, peach, pineapple, papaya and other fruit aromas fill perfumes with warmth and tenderness, and therefore are considered more feminine. They are also found in men's perfumes, but in much lower concentrations.

Floral scents

This family of fragrances is the most extensive. These include rose, tuberose, jasmine, violet, orange blossom, champaca and dozens of other lesser-known, but no less pleasant floral scents. However, a perfume composition is rarely dominated by the smell of a single flower; usually a whole range of flowers can be heard in it, which, however, only makes it more interesting and richer.

Herbaceous (green) aromas

This type of perfume composition is based on fresh, energetic aromas of herbs. Mint, sage, chamomile, marjoram, lemon grass, rosemary are the most prominent representatives of this group. Since these aromas are quite rich and sharp, they are more often used in men's perfumery. However, do not forget that, therefore, you should not pay special attention to this point.

Chypre fragrances

Another great option for nature lovers. Bergamot, patchouli, oakmoss and cistus are the main components of these compositions. The perfumes produced on their basis combine the incredible - invigorating freshness with exquisite sweetness, and all this is shaded with a slight bitterness. If you fall in love with these scents, then immediately and forever.

Fougere aromas

Fougere or fern scents are somewhat similar to chypre ones, but without unnecessary sweetness. They have a fresh, slightly bitter smell, based on the aromas of bergamot, coumarin and wood moss. By the way, the name of the group has nothing to do with either wine glasses or ferns. She (the group) received this name as an inheritance from the first perfume with this smell, released in 1882. It was called "Royal Fern", a fern translated from the French "fougere".

Woody aromas

Woody aromas include perfume compositions based on honey, spices, oak moss, cedar, vetiver, sandalwood and amber. They also often include various resins and balms. Woody compositions form the basis of many unisex perfumes, as their aroma suits both men and women well.

Leather fragrances

Juniper, birch tar, vetiver and oak – these extracts form the basis of leather fragrances beloved by many. Perfumes with the scent of leather have admirers among people of all age groups - many like their warmth, thoroughness, solidity and, of course, a pleasant “expensive” trail.