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Wednesday, April 15, 2009

Scents of Time: An Interview with David Pybus. Part II. Historical and Ancient Incense

By Marla

I continue my interview with chemist/archaeologist/perfumer David Pybus, of Scents of Time, with some questions about incense:

Marla: How is the recreation process different for incense and perfume?

David: Burning incense like frankincense (olibanum) for instance, you get over two hundred pyrolysis compounds- 60-plus of which are sesquiterpinoids. It’s highly complex chemistry – and the smokiness adds to the whole appeal…but it’s also all natural. Ask me the difference between natural and synthetic and I would say that there is something about a natural product. A kind of life force that cannot be seen or weighed…but that is what makes the difference and what can make the inhalation of incense smoke energizing or relaxing (depending on the mix). To me good incense is a mind-altering drug that just happens to be legal.

Marla: What’s your favorite type of incense and why?

David: I use a few different Kohs from Baiedo, (http://www.baieido.co.jp/english) my favourite being Kunshoko. As for why…the aroma is just so appealing to me and brings memories of my stay in Japan to learn the business.

Marla: How would you recommend someone go about learning to make incense.

David: Go to the masters- Japan/China…my particular recommendations would be Baiedo and Shoyeido. Forget the witchcraft websites! There are plenty of books (including mine). Just type “Kodo” or incense into Google/Amazon.

Marla: How does one make sense of the many different (and sometimes contradictory) sources for famous types of incense, such as ancient Egyptian kyphi? Is it possible to find out how it really smelled?

David: Again, go to the source. There seems to be a consensus in Egypt about the kyphi formula (forget the witchcraft sites again). Follow that precisely if you have the inkling and re-create your own. But remember, there may be carcinogens/toxins in higher than normal recommended levels in that mix and you are really experimenting with dangers. Especially burning the compound and inhaling the smoke. If in any doubt about any ingredient, leave it out.

Marla: Any anecdotes you’d like to share on discovering ancient incense, on the archaeological aspects?

David: Incense was mixed and ground in earthenware jars and stored in alabaster and the like. At archaeological sites (especially those preserved by disaster) look for strange ground discolourations around known mixing areas, scoop some up and burn it…is there an aroma reminiscent of powdered incense as opposed to burning dirt…if you think you’ve got something, put it through GLC/MS and see what its constituents are.

As far as formulae are concerned, search genuine old books on perfumery and grimoires on alchemy and the like.

As the rulers (pharaohs, emperors and the like) were God’s representatives on the planet and liked to smell like him, find a tomb, and you’ll find some incense. Whilst we say you can’t take it with you to the grave and afterlife, they of course did!

Finally if you go off on a far flung expedition, make sure you take things with you to either make you go to the loo or stop you going to the loo!

Image source, Scents of Time.

Note from David Pybus:

"I have decided it is easier and less complex webwise to bring the prices down in response to economic situation (...) and so from end of this week as a special spring seasonal offer the following will apply:
Ankh 100ml EDT from £55 to £40 (27% discount)
Nenufar and Pyxis 100ml EDPs from £60 to £45 (25% discount)
Nenufar. Maya and Pyxis 50 ml from £45 to £35 (22% discount)
Double packs of 2 x 50 ml mixes of Nenufar/Pyxis, Pyxis/Maya and Maya /Nenufar from £65 to £55 (15%)
No coding will be necessary to make the purchases."

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Wednesday, April 08, 2009

Scents of Time: An Interview with David Pybus. Part I. Historical and Ancient Perfumes

By Marla

During my last trip to London, I sojourned as always to my favorite haunt, the British Museum. This time I actually made it to the gift shop before I collapsed from cultural fatigue, and noticed a display of three perfumes by a company called Scents of Time. They were delightful and intriguing, so I managed to make contact with the chemist/archaeologist/perfumer/mastermind of Scents of Time, David Pybus, aka the Indiana Jones of perfumistas, and he agreed to a few Q&A sessions for this blog.

David was a longtime chemist at Boots and ICI, then in marketing in Quest International (now Givaudan) with a passion for archaeology and history, and when he left Givaudan, he founded Scents of Time in order to recreate historical and ancient perfumes. Nenufar and Ankh are his and hers scents of ancient Egypt, Pyxis is based on constituents found in the ruins of Pompeii, and his newest, Maya, is based on the fragrant rituals of that ancient people. David has also studied incense making with the famous house of Baiedo in Japan, and has published extensively on the history of incense.

Marla: What started you on the path to perfume, and what came first, perfumery or archaeology?

David: Chemistry came first with the degree and I have always been in the business of chemistry. But as a youngster I was fascinated by books and stories on Lost Cities, Conan and the like. Leonard Cottrell was an inspiration.

Marla: What is the most outrageous thing that has happened to you while you were pursuing an ancient or historical perfume?

David: In Pompeii I had the feeling I was dealing with the Mafia with one of the companies down there, but it may be their Neopolitan mentality of work – all local control. I always get major stomach problems when visiting Egypt! In Mexico I was chased by a taxi full of police trying to get a “mordida” (bribe) for failing to stop at a red light. It wasn’t on red- I was just another gringo target.

Marla: What is the hardest part of recreating a long-gone scent? How do you cope with that? Can you give an example?

David: Ensuring the perfumer sticks rigidly to the brief to re-create as best as possible, and not go off on an exploratory tangent. Only regular management can control this. With Ankh the formula clearly gave the ingredients, but making a liquid fragrance smell like a burning incense was a challenge

Marla: Say I was fascinated with Medieval Japan, and the Tale of Genji. I want to make a perfume and incense that reflect that era. How would I go about doing that?

David: Read my book “Kodo the Way of Incense”. I spent some time in Japan with Baiedo making incense. I think in this instance I could research either the specialist incense formulations made in the game or research along the Silk Road (which was also the Incense Trail). Either way, aloeswood/jinko/eaglewood (El Oud in Arabia) would have to be apart of it as that is the prize aromatic material of them all in this part of the world.

Marla: Has the internet made things easier or more complicated in searching for, and recreating, scents?

David: The ten scents I have were early created from finds or reading mostly in pre- internet times, but the Internet certainly widens the area of search. My first two clues (the Titanic and Pompeii) were picked up from newspaper articles.

Marla: Assuming human civilization continues for a few thousand years more, what do you think the archaeologists of the future will have to say about mainstream perfumes of our time?

David: Some classics (about one a decade) and lots of unadulterated (and adulterated) rubbish. Pandering to the cult of celebrity and dramatic designers. Aromatically described by “marketing lovelies” who use terms like “pink musk “and mahogany” with absolutely no knowledge of what they’re talking about. And an industry which has prostituted itself for the sake of the Emperor’s clothes. The age of scent saturation. But more science coming in, more use where feasible of natural products and an effective use of about six of the over one hundred elements of the universe (that is pretty restricted creation).

Also it is a watershed where some in the industry (notably Michael Edwards) are trying to open the magic box of perfume and educate the consumer. Many in the industry don’t want that to happen. They want consumers to be brand loyal…and so the less said about what’s in the perfumes and how they relate to one another the better it would seem.

Marla: How have recent IFRA regulations shaped scent recreation? Many key natural ingredients such as bergamot, and historically important aromachemicals like nitro musks, are now highly restricted. Can a historical scent be made as accurately as possible, solely for display in a museum or for educational purposes, or is this no longer possible either?

David: Put simply, a balance has to be struck. In my case, obviously with a commercial objective, I need to approach the aroma as well as possible whilst remaining toxicologically safe. Also I use the universal modern solvent of choice – alcohol, not olive oil, argan oil, almond oil. I don’t see any point (apart from an academic one) in recreating a historical scent to put in a museum where no one will be able to smell it.

Marla: What perfumes are you researching for possible future releases?

David: I can’t be specific with this at the moment. Suffice to say on a time line, one is at 2100AD, and the other at around 1550 BC.

One I would love to find but think improbable is that of Genghis Khan. They say a whole river was diverted to hide his burial place, and all those who saw the procession to it were murdered. I’m sure there will be lots of choice incense there along with other treasures. And Cleopatra’s tomb remains to be found. As does Alexander’s, both lovers of fine incense and perfume.

To be continued next Wednesday.

Scents of Time can be purchased through the British Museum Shop, and within the UK in various sizes at David’s own website, scentsoftime.co.uk

Image source, Scents of Time.

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Thursday, March 12, 2009

Interview with Lianne Tio

By Tom

Lianne Tio is of course the nice lady who I first ran across when I bought two of the last two bottles of Annick Goutal’s late, lamented Eau de Fier. In addition to her Annick Goutal store she has branched out and opened her eponymous boutique in Rotterdam, Lianne Tio Parfums. Always charming, she agreed to answer some questions about her philosophy, her loves, and her new business.

What brought you to opening your own boutique?

I lived in Paris for 14 years, and worked there in the cosmetic industry. The last perfume I wore was Jicky by Guerlain, but for some reason I did not appreciate this scent anymore. One day, I was walking in St. Germain des Pres and discovered a tiny shop at the Rue Saint Sulpice and entered the Annick Goutal Boutique for the first time. I was attracted to the packaging of romantic bottles and femininity, a completely different world of scents. I tried one of the scents and I was stunned: this scent reminded me of my native country Indonesia... I saw myself as a child, playing in the garden and I could literally smell the grass, ivy and seringa. I learned that the scents of Annick Goutal were ‘emotionally inspired perfumes’: every human being builds a library of scents during their lifetime, and, smelling the perfumes of Annick Goutal unconsciously opened the door to my own library…

Back in The Netherlands I started to study Annick Goutal’s concept. Her life, her talent in translating her emotions into a perfume fascinated me. It was then (nine years ago today) that I decided to open my maison de parfum Annick Goutal, at that time the first niche brand in The Netherlands. I had two missions: to share, with the Dutch, my discovery of the beautiful perfumes of a special perfumer named Annick Goutal, who was not motivated by commercial success but by a desire to create a personal, artistic statement. And, being a tiny distributor of an unknown brand in The Netherlands, challenging the big perfume chains. Furthermore, my passion for classical music, art and beauty were pushing me to go for this project.

In my store I wanted to create a beautiful world of scents in which customers would feel a warm atmosphere of intimacy, assisted by a professional and personal approach. My customers would want to distinguish themselves and prefer authenticity, high quality and exclusivity above mainstream and mediocrity. They would want to wear a perfume that suits their personality.

I advise my clientele in the choice of their perfumes by observing their personality and asking them some questions. I also advise them to have their own ‘wardrobe of scents’.
I inform my customers about the philosophy and the sources of inspiration from which a perfume is composed and encourage them to discover the natural ingredients in a perfume. This approach fascinates the customer, and the scent will ‘come to life’ for him/her.

Were you always attracted to scent?

I was always attracted to luxury and high quality…but relatively unaware of the power of scent. For quite some time I thought my Guerlain was the best smell I could wear, and at the same time I was very reluctant to enter the big perfumery chains, where they sell un-inspired, synthetic perfumes. To me they all smelled the same: aggressive and very commercial. Walking into that tiny Annick Goutal shop changed my whole vision on scent.

We know that you carry Annick Goutal scents (which you know I love), what are some of the others you carry and what attracted you to them?

It’s difficult to choose but I’ll give you a few of my favorites:

• Santa Maria Novella di Firenze; the oldest perfume house in the world (16th century), for their philosophy and the pureness of their products. Their products are still made and prepared by hand in a limited, controlled process at the original Florence site.

• Lorenzo Villoresi, who has created perfumes plein de caractère, full of character.

• Les Parfums de Montale, because of their rich and creamy ingredients, for instance Roses Musk, the top of elegance and femininity. I get compliments everywhere! And when I wear Chypre Fruité, I am back in Paris again in my Chanel suit... A very distinguished, elegant and discrete perfume.

I’m proud to be the only boutique in the Netherlands, that sells Clive Christian – Guinness World Record holder for the most expensive fragrance in the world – and I can’t say this title keeps customers away…

Recently another pearl was added to my collection: Pure Distance. Made in Vienna, delivered in Swarovski crystal bottles, this scent is inviting and distant at the same time, unobtainable yet blindingly present.

I see from the photos from your website that your boutique has a very clean design, but not one that's off-putting or clinical. What were your thoughts on the design of your space?

For Lianne Tio Parfums I wanted to create a ‘crispy and clean’ ambiance, as well as a cosy and warm one. A dream world of scent, like a fairytale, wherein I share my knowledge on the art of perfume with my customers, undisturbed by the daily grind, accompanied by the sounds of beautiful classical music. A place to explore, and discover scents that evoke memories, emotions, sentiments.

For Annick Goutal - the Dutch flagship store - I wanted to recreate the feel and ambiance of the Belle Époque, with lush furniture in gold and ivory colors, radiating luxury, femininity and romance.

If you could design a scent that exemplified Lianne Tio, what would it be?

The perfect scent for me is the epitome of the absolute woman: a sensitive and sensual creature, who is intuitive as well as cunning, vulnerable as well as powerful. I would use ingredients like rose, tuberose, jasmin, sandalwood and ceder, as well as some of my secrets...

Sandro Botticelli has captured the essence of my absolute woman in his painting `The Birth of Venus'.

Where do you see your boutique in 5 years?

I am extremely proud to have customers from all over the world, visiting my boutique in Rotterdam, and ordering perfumes through my website. I would love to establish a true scent-paradise and hope to welcome even more perfume-lovers in the future.
My ambition is to expand on the concept of Lianne Tio Parfums, with a signature scent and a New York franchise at the top of my list…

Image source, annickgoutal.nl

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Thursday, February 05, 2009

Interview with Emma Jane Leah of Fleurage

By Tom

This week rather than actually reviewing a perfume I thought I would interview a perfumer. Emma Jane Leah is the nose behind Fleurage, a store in Australia specializing in bespoke fragrances. I’ve always wanted to ask questions about the process a perfumer goes through in their business, and Emma kindly let me fire away.

What was your inspiration in creating your house?

I am sure you would agree all unique and independent business is born from frustration with an industry or market? What stems from this a burning desire to bring your offerings to the wider world because you see a need and have the skills and passion to make it happen.

My partner Rob and I were driven by our feeling that contemporary perfume has lost its sensuality. Born from this was a desire to fill a recognized gap in the market where perfume lovers are looking for sophisticated, hand crafted, individual scents with botanical ingredients. In years past I, as well as my partner Rob, have preferred wearing perfumed oils as a fragrance rather than the mass market confections and when asking others there is agreement with our
concerns and ideas about how scent should be and indeed was many years ago. I believe people want quality perfumes and never before has so much money been spent on fragrance. People I have talked to like to smell desirable but more and more they are developing allergies to ingredients and not finding satisfaction in their purchase of the fragrances offered. Comments I often hear are about classic perfumes being lost and a longing for the old styles of fragrance and how it is presented. For more mature clients who have experienced or remember traditional
parfum, we see them dismayed by the contemporary product. The romance and beauty of the boutique perfumery has been replaced by perfume supermarkets. We believe the art of perfumery is too intimate to sell in such a way. This is why Fleurage is a Salon de Parfumerie. It is designed as a refined setting for 'fitting' fragrances with the help of the actual perfumer herself. It is not a boudoir style but the Art Deco fit out reminds us of the elegance of superior design and absolute beauty that can be found in workmanship and production of everyday products. I particularly lament the loss of skilled artisans who produced luxury unique items and worry about the disposability of our lifestyle and the products we use. It is getting harder to purchase products of worth that last-both in value and the workmanship. There is also an underlying drive for quality Australian made goods and industry and disbelief at the lack of availability of innovative production. We have created Fleurage products with that philosophy in
mind.

What are particular notes that you prefer to use?

I have collected an extensive range of over 100 botanical ingredients to use when creating my perfumes for both Fleurage and for private clients. I try not to get stuck with using dependable and regular sets of notes and accords and let my brief dictate what I should use. This is why I always start with a brief rather than playing with the ingredients and as a result have such a large range of different perfumes that vary widely in scent. I have personal sets of notes I prefer for me which are woods resins and rich florals and I must admit I haven’t really produced
much of a sweet vanilla range yet as I think its been done so much in perfumes over the last few years.

Would you ever consider branching out to a scent that wasn't created for an individual?

I already have a range of 45 different Fleurage perfumes that I sell in the Parfumerie with more to come this year as well as the Scent Couture service. Fleurage was actually built around my range of perfumes and the Couture service came next.

Name me a smell that you loathe, and one that you love. In nature or in a bottle.

I don't deal with the smell of grinding steel-a strange metallic, cloying, burning scent that sticks to my throat and sinuses and makes me feel ill. I adore so many scents both in nature and a bottle but I would have to say that Lady Grey tea in a fine porcelain cup(and yes it does make a difference), wild violets and cut ginger rank as high on the list. It changes with the seasons and my mood though. Scent is so intimately linked to place and feeling and memory as we know and that can effect how we perceive an odour at different times.

Do you see a trend in what your clients are asking for, scent-wise?

What I have observed when creating profiles is clients don’t like smelling like thousands of others -they want individuality. They often prefer the botanical scents for their well-being and I get asked for 'older style' perfumes without so much vanilla or sickly florals. There is much frustration that a favorite and distinct perfume that speaks to them personally is hard to find and that companies constantly change the perfumes or discontinue them. I have also had long
discussions with people about the worry of the possibility that what they are purchasing might not be the real thing due to so many retailers offering the same brands but at hugely differing prices. It would appear people are particular about their scent being genuine, unique and complex.

What is your process in building a scent for your client?

The most important part is for me to get to know the client so I can create an 'Olfactory Vision'. This is my brief and leads me to the notes I will use. I ask them a lot of questions that reveal their inner being. I associate scents with experiences people relate to me -for instance a recent client likes to wear soft colors and treasures quiet places to relax but has a strong personality and likes to listen to rock music. That information suggested to me that their scent would require depth and solid notes in the base, a lasting heart of softer calming notes and an uplifting and clear top. This is why its so important to do this in person. How does one create a personal scent that
reflects you if you have never met?

Do you find that your clients return for refills on the same scent, or do they want to branch out to building other scents. Or both?

I find a bit of both. Once people experience my perfumes they find their palette becomes more
adventurous and they want to explore the range a bit more because their is such delight in the richness and strength of the different scents.

You offer other products such as bath ones as well, any plans for more?

Oh yes! I plan to have a spa range out this year and I am also developing what we call Hauteur by Fleurage which is corporate gifting and boutique luxury hotel lines for those discerning establishments that really value their clients and want to offer a quality range of pampering products with beautiful botanical scents.

As a small house that has a more one-on-one relationship with clientele, what do you see trending as the new "go-to" scents What are people asking you for?

Perfume lovers come to me because they are bored with current market fragrance and want something a bit different with personality and style that they can relate to. For instance the men want fragrances that have depth and reflect their masculinity and women often want a scent that has power and definite personality. My clients want to be outside the trends and stand out as an individual so I would say that other perfume houses need to look outside fashion and
instead of copying one another do their own thing and maybe concentrate on the quality of the product. Here's a quote for you that I live by as a perfumer " In fine perfumery, as with other arts, the ideal conduct for the artist (perfumer) is, first and foremost to please himself. (or herself) The idea of attempting to assess what an "imaginary public"(a thin figment of the imagination) may, in all probability, like, is both illogical and unprofitable. Such methods
(consumer preference estimation etc.) are all very well for the cheap cosmetic market -But in the matter of fine perfumes it is Originality more than any other single factor that really pays"- William Poucher 1937 Soap Perfumery and Cosmetics industry manual.

Where do you see your house in 5 years?

Firmly established as an alternative and individual offering for perfume lovers both nationally and globally and at the centre of promotion of natural perfumery and niche perfumers by offering them an outlet for their art.

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Thursday, July 10, 2008

Interview with Bertrand Duchaufour

Perfumer Bertrand Duchaufour, he of Avignon, Jubilation XXV, Paestum Rose and Timbuktu, does not need an introduction. Not in our perfume-maniacal circles anyway. Non-perfume people treat rock-stars and actors with the kind of excitement I felt when meeting Bertrand. Have you seen videos of girls squealing and fainting at Elvis' and Beatles' concerts? Well, I did have to fight an urge to squeal and faint. Cutting to the chase, here are Bertrand's answers to our questions, some of them asked by you and some mine.

M: What career would you have chosen if you had not become a perfumer?

BD: Photography, painting.

Bertrand Duchaufour has been paiting for many years, landscapes as well as portraits. He compares his earlier art to that of Francis Bacon, powerful and violet. He believes that his creations became softer, although they still possess strength and emotion.

M: For which of any of your creation do you feel most affection?

BD: One of the favorite ones might be Dzongkha, because of its story, of its connection with Buddhist world, with Himalayas, Tibet and Nepal. I feel an affinity with Buddhism, with its spirituality. I also feel close to Africa, to its art, to a special way of thinking that is closer to truth than ours, and so I feel connection to Timbuktu. But the best perfume that I did so far is Sienne d'Hiver for Eau d'Italie. It is a story of Tuscany during winter. Its complex accords and harmonies are the apotheosis of sophistication. Its creation represented the perfect dialog between brand owners and a perfumer.

M: Are there notes that you are always drawn to, like to explore?

BD: Yes. Davana, patchouli, tuberose. I like karo karounde, but it is rare. I like woods, cypriol. I like flowers, narcissus, rose and jasmine. I recently re-discovered mimosa, it is amazing.

Having his own lab (L'Atelier de L'Artisan Parfumeur) became a turning point for Duchaufour, a re-birth of sorts. His experience at Symprise was that of working with concepts; as a perfumer, he did not touch the ingredients, he created formulas, and assistants measured and mixed for him. He admits to having felt a loss of connection to his ingredients. These days he has a hands-on approach and feels that he is back in touch with raw materials and perhaps his craft in general.

M: Related to the question of notes... do you believe in signature accords, that perfumers have signatures? A reader noted that she have picked up your signature accord, which reminds her of freshly cut chilly peppers, spicy hot yet coolly green. And perhaps when Luca Turin wrote about you having created a new transparent floral-woody accord, he meant the same thing. Can you comment on that?

BD: Yes! There are signatures. There are a couple of chemicals that I put in my perfumes, one rooty and earthy, another green and peppery, which very few perfumers use, they could be considered my signature.

Duchaufour notes that having a signature has its down side. It is convenient to have a couple of signature accords to fall back upon. That makes one's life easy but also a little boring. He thinks that time has come for him to look for new ways of expression, for new accords. That is his challenge, the one he appears eager to accept. With his newly found connection to ingredients, in search for new materials and styles, Duchaufour seems to me to be a perfumer re-born, a perfumer on a brink of something new and exciting.

A bonus question, asked by Masha:

What brief were you given for Lalique's Flora Bella and what were your inspirations for the scent?

BD: A concept of pure solar flower, of sun. It represents the island way of living, an easy way of living, sea, beaches, tiare, frangipane, sensuality. A perfect flower.

And a parting snippet of trivia. When asked if he wears perfume, Duchaufour replied that mostly he has to be perfume-free, but that there are some perfumes that he likes, and sometimes he enjoys wearing Dior Homme, which has a nice orris accord.

Images are mine. The first pictures Bertrand Duchaufour with Pamela Roberts, L'Artisan Parfumeur's Creative Director.

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Friday, April 04, 2008

La Perfumista par Excellence, Part I: The Other Passions

By Alyssa

The shining starpower of Chayaruchama a.k.a. Ida Meister a.k.a. La Perumista Par Excellence is easily measured by the fact that I came to know and crave her presence simply by reading her comments on other people’s blogs. They leapt off the screen: puns and slightly dirty jokes, sophisticated allusions to books and movies, sideways glances at perfumes and perfumers that hinted at a great depth and breadth of knowledge, and huge dollops of motherly love, all of it dancing down the page in a series of her trademark exclamatory lines. Later, I came to know a bit more about her, and realized that she was a kind of one-woman missionary for perfume—cultivating and encouraging independent perfumers, championing a good bargain, spreading the scented gospel wherever she went.

I know I’m not the only who’s wondered – who is this woman? So, dear readers, with y’all as my excuse, I sent a series of nosy emails to Chaya (Chaya is her Hebrew given name—Ida, the English approximation of its pronunciation) and she generously answered them. It would be easy to write a book about Chaya—maybe two—so I’ve split the post into two parts: Today, Part I, in which it is clear that a passion for beauty and knowledge can be inborn, and can grow and thrive in spite of all adversity. Next up: Part II, a portrait in scent.

Ida was born in Yonkers, New York in 1954, and spent her girlhood in a rough, vibrant, multi-ethnic neighborhood on the wrong side of the tracks by the sewage plant. Isolated in what often felt like a dangerous world, Ida found solace in books—the beginning of a lifelong love affair with language and literature. At the age of six, she became her beloved grandfather’s nurse and companion, cooking for him (“He believed my mother was trying poison him”), bathing him, shaving him with a straight edge razor (“He was on blood thinners!”) and, eventually, moving up to the top floor of the house to live with him. Though it might seem a strange, heavy burden for a child, Chaya remembers her grandfather with joy:

“He was an inspiration. A holy man masquerading as a regular Joe, an immigrant who made his way the hard way—a man of few words (many of them profane), infinite mercy, love, and action. He called me "a good boy" and his "little bloody bugger" with pride...

I never resented the fact that I was called upon to awaken at any and all hours for G-d-knows-what. He died when I was 12; I named our first son for him.”

Those of you who know Chaya later became a nurse will see some heavy foreshadowing here. But though she loves her work, nursing was only a practical fourth choice dream—one that would get her out of New York and assure her economic independence. Chaya declined a scholarship to the Cornell school for veterinary medicine, and opportunities to study languages and music: early and continuing passions rivaling her love of perfume.

A flair for languages was a basic survival skill in the multi-family, multi-lingual homes in which Chaya grew up; too which she added a voracious appetite for learning. Asked to share a bed with the Slovenian Frieda Grom (the mother of her mother’s business partner—got that?) at the age of nine, Chaya began her studies: “I didn't think it would be too easy to get my mitts on a Slovene dictionary, so I got myself a Langenscheidt's dictionary, and tried to teach myself German.”

Then there was Yiddish from her mother and grandfather, French and more German from her father’s family, a bit of Slovene from Frieda, Italian from her music studies and, oh yes, Flemish from that year she lived with Limburg pig farmers, Swedish, picked up on a trip, biblical Hebrew from studying for her adult Bat Mitzvah and Ladino (the language of Sephardic Jews) from a friend she made in the process. She studied Latin for years “for sheer pleasure (what a geek!).”

She’s not done yet: “I’ve been trying to accommodate vocabulary in Sanskrit (from yoga and out of intense curiosity), and in some Asian languages, where I have NO knowledge base…” She regrets never learning ancient Greek, in which she hoped to read the ancient classics, and, perhaps a bit more, listening to her family when they told her she wasn’t bright enough to achieve one of her early goals—working as a translator at the U.N. I can only dream of how Chaya’s presence might have furthered international relations.

About her singing, Chaya says:

I've always sung; my entire family loved to sing—both sides. The story goes… that my mother awoke in the middle of the night to music. She thought she had left the radio on. I was found sitting on the carpet in my room, singing the chorale from Beethoven's Ninth to myself in German. My mother told me to shut up and go back to bed. I was supposedly three-years-old at the time.

I craved singing lessons very early on, but the conventional wisdom of the time was—not until the onset of puberty. My mother mistakenly promised me lessons as soon as my menses began. At 11 ½ I came home from school, thrilled that I could NOW have lessons! Reaching womanhood was a paltry second, for me.

However grudgingly, her mother made good on her promise. Later, Ida would return to her music studies, attending the Boston Conservatory of Music full time while she working full time as a nurse and “translating obscure vocal repertoire on the side.” Such was her passion for singing that she went to the Metropolitan Regional Auditions a single week after ten-hour abdominal reconstruction surgery (Ida has struggled with multiple major illnesses, many a fall-out from her difficult youth):

“My family wasn't fully aware, my fiancé left me, my boss retired and I had no insurance for the ensuing medical costs of extensive treatment. My best friend carried me down flights of stairs in an evening gown, one week after surgery—with staples still in. And I did it, as my own personal protest against forces beyond my control.”

In spite of her valiant resistance, medical issues (and, she says, a refusal to participate in the level of mean competition seemingly required) did finally derail a professional singing career. “There seems to be a tremendous irony surrounding this aspect of my life…”

I sang for years, but it wasn't until I had had truly life-threatening events, that the encouragement started coming in. I worked with Eleanor Steber, Boris Goldovsky, and the lovely late Lorraine Hunt-Lieberson. By the time I was finally being noticed, survival was a more urgent issue.

She still sings—to her family, to her patients (“I’ve been singing to the unconscious since I was 14.”), and for the occasional charmed and surprised perfumer, including Andy Tauer, in Brooklyn last spring: “I got to embarrass that sweet, shy man by singing Dein blaues Auge and Die zwei blauen Augen von meinem Schatz, as if squeezing him senseless wasn't bad enough.”

There’s so much I haven’t described here: The crowded house where Ida spent her adolescence (“Chaos. People came and went as in a play.”). Her fierce mother, a businesswoman and interior designer. Her passion for food and travel. Her passion for poetry, in all it’s languages. And of course the perfume, which is coming next. Here is one last story, of how Ida met and fell in love with her DH, and an image of the young Ida that I carry with me always now, unable to think of her any way else:

I met Bernhard on December 19, 1982 at 1:30 pm in Harvard Square, in a snowstorm.
The old Coffee Connection—now, a Starbuck's. I was catching my breath, en route to the third grocery store, in order to prepare a Yugoslavian peasant meal for my roommate. Having a French press of Sumatran Mandheling with a pate/ cheese board.
I was carrying about 80 lbs. of groceries to the “T” [subway] and wearing precious little clothing (mostly, a red charmeuse camisole, green velvet hiphuggers, English riding boots, waist-length dark hair, and Mitsouko).

I wasn't looking for a date, and he was unemployed.

He gallantly insisted upon driving me to Whole Foods, then home.
I cooked for him, fed him, made him laugh, walked him around Castle Island in the blizzard at 2 am, made him tea, told him stories, and finally gave in and slept with him...

And he didn't wait very long to ask me to marry him.

I ask you, dear readers, who would?

Images are courtesy of Ida Meister. The first image is by Michael Friedlander

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Friday, August 10, 2007

Perfume Stars: Summer Favorites. Part 7

Part 7 of the Perfume Stars series brings us the favorite summer fragrances and ideal holiday destinations of …

René Schifferle, LesNez

What are your favorite summer fragrances? What are the characteristics of your ideal summer scent?

“My favorite summer fragrances are citruses or vetivers. Citrus is fresh and vetivers cooling. My first citrus was Eau Sauvage by Edmond Roudnitska, which goes back to my first trip to the south of France in the early seventies. I had bought it before leaving, just as I was going to do on many holidays and trips in the future. A new fragrance to go with the year and the place. I still do this sometimes today.

I had not known then, that Maitre Roudnitska had composed Eau Sauvage just a few miles up the road from Cannes in his house "Sainte Blanche" in the mountains near Cabris. What a coincidence, I had brought the right fragrance to the right place. It is still able to bring me back there ...”

What is your favorite holiday destination?

“Discovering France - whenever I have a few days. There are so many different landscapes, climates, châteaux, museums, people and markets. It never stops.”


Francis Kurkdjian

What are your favorite summer fragrances? What are the characteristics of your ideal summer scent?

“I have three favorite scents: Eau d'Orange Verte by Hermès created by Françoise Caron, Eau de Rochas created by Nicolas Mamounas and Eau d'Hadrien by Annick Goutal. I like to use them as a splash. They are light so I can reapply all day long.”

What is your favorite holiday destination?

“No special places in the world but I like hanging out with friends, taking my time reading, cooking, having fun all together. I have couple of places that I like though, Beyruth (Lebanon), the Family House near Bordeaux, a friend's house in Sevilla (Spain).”


Peter Milsted, Art of Perfumery

What are your favorite summer fragrances? What are the characteristics of your ideal summer scent?

Favorite Summer fragrances for Women are:

“Cool Water Summer, a beautiful sparkling invigorating yet soft feminine perfume. Another favourite is the Kenzo summer variant which has the pure and sensual note of mimosa leaving a trail of sweet memories. And of course the Art of Perfumery N°3 which is a delicate white floral with a beautiful accord of lily of the valley giving every woman an aura of serenity and peace.”

Favorite summer fragrances for men:

Eau Sauvage from Christian Dior will always be one of Milsted’s favourite classic cologne, full of citrus and wood, perfect for hot summer evenings. “Art of Perfumery N°4 is the other ideal summer fragrance with superb modern ozonic accords combined with aromatic notes giving fresh radiant energy.”

What is your favorite holiday destination?

Marrakech/Morocco, Gorges du Verdon/France and his own Provencale garden in the South of France, near Grasse!


Christopher Chong, Amouage

What are your favorite summer fragrances? What are the characteristics of your ideal summer scent?

“This is a difficult question for me because I don't like classifying fragrances according to seasons. I prefer to wear what my mood dictates on the day. I know this sounds pretentious...hahaha. It's extremely difficult for me to get into the summer season in the UK at the moment since it has been so wintry lately.

To answer your question, if I am feeling summery my favourite fragrances would be Amouage's Ciel and Reflection. However, I am not entirely biased towards Amouage. One of my favourites is Chanel No 18. It reminds me of a sultry summer in Tuscany with a gin and tonic in my hand.”

What is your favorite holiday destination?

“Again, I am going to be difficult. You have to forgive me. I don't have a favourite holiday destination because it takes me so long to unwind from the intensity of my job that by the time I begin to feel relaxed my holiday is already over.

However, I would feel guilty if I don't answer your question properly. One of my favourite holiday destinations is trekking in Nepal. It was such a magical experience in which body, soul and nature are fused as one unity. I love destinations that offer me the opportunity to explore myself and also to enrich my understanding of their cultures and mysticism.”


Autumn Asbury, La Creme Beauty

What are you favorite summer fragrances? What are the characteristics of your ideal summer scent?

My favorite summer fragrances are always changing, must admit I’m not very faithful when it comes to scent. I’ve been loving the Loree Rodkin Gothic fragrances, there is something very sexy to me about the richness of her fragrances mingling with the heat and humidity. For a different feel I have also been wearing Yosh White Flowers which is so fresh and clean without being soapy and her U4EAHH!! which is very playful. I also love the scent of suntan lotion in the summer especially Hawaiian Tropics & Bain de Soleil…it let’s me know summer is here. I read once that one of Frederic Malle’s favorite smells was Bain de Soleil…I found that I had a little soft spot for him after reading that.

What is your favorite holiday destination?

Unfortunately holidays are far and few between but I love Hawaii for it’s flowers and lush greenness and Greece for being able to pick the most amazing fresh lemons and it’s herbaceous scented mountains…I think most people just think of the water when it comes to Greece. Both places are not only beautiful visually but are full of gorgeous aromatics. I’m sure all my fellow fragrance fanatics can appreciate that aspect of travel.

Images courtesy of René Schifferle, Art of Perfumery.

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Saturday, September 10, 2005

Interviews

(Recent first)


Interview with Lianne Tio
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Interview with Emma Jane Leah of Fleurage
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Interview with Bertrand Duchaufour
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Confessions of a Perfume Addict: An interview with Kelley
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The Hidden Life of a Fragrance Addict: An Interview with Tom
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Will the Real Colombina Please Stand Up!

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Perfume Stars: Summer Favorites. Part 7
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Perfume Stars: Summer Favorites. Part 6
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Perfume Stars: Summer Favorites. Part 5
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Perfume Stars: Summer Favorites. Part 4

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Perfume Stars: Summer Favorites. Part 3
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Perfume Stars: Summer Favorites. Part 2
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Perfume Stars: Summer Favorites. Part 1
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Claude Marchal, the creator of Parfums MDCI, talks about his line
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Interview with Rene Schifferle, the creator of LesNez

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