Scent of Time by David Pybus. Part III. Mini Reviews

By Marla Maya (soon-to-be-released): Maya is a rich floriental, verging on gourmand. Normally, I shun white florals and gourmands, as I prefer dry, green, or incense-laden masculines, but this is one case where I’ll make an exception. A yummy exception. Maya begins with deep, rich, chocolate, and a whiff of copal. I live in the Alps, and this is our local chocolate, which was of course brought here from the Americas. Copal resin is the traditional incense offered at sacred Maya sites. I’m one of the few who delights in Norma Kamali’s Incense, which is heavy, smoky copal, but this is very sheer, just a hint on the breeze. After a few minutes, the tropical florals kick in (sampaquita predominates) and it’s hard to avoid biting my own arm. Fortunately, the combination is neither overly sweet nor cloying, it’s just comforting and delicious. The drydown features vanilla and musk, with the cacao laid on lightly. Those looking for something akin to Kamali’s Incense will be disappointed, but floral and cacao lovers will be quite happy. It’s a very romantic perfume and makes me want to book a trip to Tikal. Nenufar: This formula dates to 50BC, and was said to be used by Cleopatra to enthrall both Marc Antony and Julius Caesar. It is a soft floral aquatic, utilizing headspace blue lotus, accented by nutmeg, angelica, and almond. This is David’s personal favorite of his feminine line. For those perfumistas who loathe aquatics after having sniffed too much Calone in the 90s, fear not. The aquatic notes are very gentle in Nenufar. This is a very soft, feminine, powdery floral, feather light and perfect for spring days out in the garden. Angelica adds a touch of green, and the almond is blossom-soft, and bears no resemblance to marzipan. It’s very flirty, as it should be, considering the woman who made it famous. Sillage is minimal, and one would have to be in the flirty zone to smell this, so it would be very appropriate for situations where you don’t want to make too great an olfactory announcement. Pyxis: Sperato, one of the unguentari (perfumers) of ancient Pompeii, had the good posthumous fortune to have his home, long buried in volcanic ash, unearthed several years ago. This perfume formula was created based on the analysis of burnt seeds found in his garden. Head notes are citrus, heart notes are rose and jasmine, and the base is incense and wood resins. This floral is stronger and more assertive than Nenufar, but still soft and feminine. Though a chypre, its heart is strongly floral and it’s definitely not unisex. Lasting power and sillage are both quite good, far better than most department store scents. While Nenufar could easily be worn during the day, Pyxis strikes me as an evening scent. Ankh: Though this is David’ unisex/masculine, it’s my favorite of the line (with Maya coming in a close second). Ankh, his ancient Egyptian masculine, contains many of the principal ingredients of kyphi, the incense that was burnt either at sunset, or 3 times a day, (depending on the source) in the principal temples. The peppery opening is reminiscent of CdG’s Ouarzazate. Frankincense is of course the primary note, and Ankh can happily take its place with frankincense greats like Armani’s Bois d’Encens, CDG’s Avignon, and Duchaufour’s brilliant Amouage Jubiliation XXV. Any incense-craving perfumista in the UK, or who has a friend in the UK, or who is visiting the UK in the future, needs to try this one. These four perfumes can be purchased through the British Museum Shop, and within the UK in various sizes at David’s own website, Scents of Time.

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."

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.