Fragrance Terms

Yup, there it was and I liked it and replied to the post st the time.   Yes the years do go by and my memory isn’t what it used to be.

Soapiness

What is called a soapy fragrance also is frequently termed 'fresh, clean, and watery.' When the term 'soapy' is used, it usually means the scents associated with perfumes commonly added to soaps. Fragrance pyramids generally do not mention a soapy scent, although it is present in many compositions. Soapy fragrances generally are thought to constitute a subdivision of 'fresh' scents in classification schemes. The connection between soap and perfume is not really found in the various aromas they may share, but in the message that they both can broadcast: "I am clean."


Soapy scents are described as somewhat crisp, sometimes slightly cooling, and slightly pungent in a pleasant way, but also creamy and relatively mild. The concept of a soapy smell varies from person to person, depending upon where they grew up, which soap they habitually use (or used in childhood), and what fragrance (often primarily artificial) was added to that memorable soap.


Generally one can say that a soapy fragrance evokes the scent of freshly used shower soap, and it is meant to prolong the feeling of just having come out of the shower. Plain soap by itself usually has almost no discernable scent, although there may be a hint of residual unsaponified fat. Adding fragrance to soap is a relatively modern phenomenon, only appearing after the Industrial Revolution and commercialization of soap manufacture. Cashmere Bouquet of the late 1800s is thought by some to have been the first scented soap.


Soapy Notes

Many different elements can contribute to a product's soapy quality: extracts of plants or flowers (especially when used soliflore), certain aroma chemicals, or combinations. Some of the most common notes in soapy compositions are green notes and citrus notes, either on their own or mixed together. Fragrances known for this note use include Drakkar Noir and Kouros. Other notes frequently contributing include woods (especially cedar, sandalwood, and pine), aquatics, certain types of musk, unobtrusive florals such as lavender, tobacco, almond, aloe, mint, vetiver, non-citrus fruits, and light spices. Synthetic aroma chemicals are present in most product but sometimes seem to work against the natural tones, producing a somewhat 'fake' vibe, although still smelling good in a generic, my-body-is-fresh way.


Masculine soaps often have brought the scent of lavender, especially when combined with neroli and/or sandalwood, and this has carried over to masculine fragrances. Linalool, abundant in lavender, smells soapy to 25-30% of the population (but flowery and citrusy to everyone else).


Lily-of-the-valley, with its floral-green and fresh facets, is another one often interpreted as soapy, although it often is more suggestive of laundry detergent. Other notes commonly used in soaps, such as rose, jasmine, iris, citruses, juniper, ginger, verbena, and abstract 'green' accords, also give a soap impression to fragrance compositions. A common characteristic of these notes is that they all blend with other notes quite easily and smoothly, without much separation. (This contrasts with the presence in perfume products of indoles, animalic notes, and wood tones, which generally prevent a composition from smelling 'clean' unless appearing just transiently in the top notes.) Examples of these blending notes are the rose in l'Occitane Eau de Quatre Reines and Patou Joy and the lily-of-the-valley in Creed Original Vetiver. Citrus and/or blackberry are frequently used, such as in Mugler Cologne, Prada Infusion de Fleurs d'Oranger, and Maitre Parfumeur Eau de Gantier.

Musk, also often used in detergents, can smell especially soapy when paired with citrus or rose because this was exactly the smell of classic soaps of decades ago, such as Camay, Pears, Dove, and Lux, which frequently were rich in essential oils. They had a basic alkaline smell that was both bitter and sweet, with a vague floral quality.


Ivory soap is thought to smell the way it does because of a combination of lemongrass and carnation; Dove has synthetic irones (akin to iris) that create a smooth, delicate scent.


A more modern example of musk use for this is Jennifer Lopez Glow, which was heavily advertised from 2000 as giving a 'just out of the shower' smell. And men's products have been advertised as giving a 'shower fresh' competitive edge in the company boardroom, such as the promotions of Gendarme Carriere, Paco Rabanne Pour Homme, and Mark Pure.

Soapy Aroma Chemicals

Aliphatic or 'fatty' aldehydes have scents ranging from metallic, floral, waxy, or starchy to green or citrus. They all have the common property of having a dominant somewhat 'soapy' aspect to their smell, associated with abstract cleanliness or the lemony scent of freshly ironed linens. One example is 2-methylundecanal, which is a major odor component of Chanel No.5. Aldehydes, discovered in the late 19th century, were first used in perfumes with Houbigant Fougère Royale in 1882 but only became really popular after the huge commercial success of Chanel No.5. Coco Chanel had asked her parfumeur Ernest Beaux for a perfume that 'smells like a woman and not a rose bed,' and he created the aldehydic citrus-soapy No. 5.


Another aldehyde commonly used is decanal, which has a sweet, flowery scent reminiscent of orange peel. Because of their low price, intensity of smell, and ability to mask the unpleasant base odor of a soap, aldehydes have been heavily used in soapy perfumes for a long time. Well-known products scented by them have included Estée Lauder White Linen and Hermès Caleche. Nevertheless, aldehydic itself does not necessarily equate to 'soapy;' some aldehydic fragrances (e.g. Piguet Baghari, Rive Gauche, Revillon Detchema, Bill Blass Nude) have hints of soapiness but do not immediately evoke a sense of bath soap the way that others do.

Soapy Fragrances

A popular fragrance that typifies the soapy smell is Issey Miyake's 1992 l'Eau d'Issey and its several varieties. Categorized as a floral aquatic, its main accords are white floral, aquatic, ozonic, fresh, and rose. Says the website Fragrantica, "Issey Miyaké thought about creating a perfume that was 'as clear as spring water,' combining the spray of a waterfall, the fragrance of flowers, and the scent of springtime forest. L’Eau d’Issey achieved an enormous popularity, especially in the United States in the 1990s. L’Eau d’Issey is an aquatic floral scent with transparent notes of lotus, freesia and cyclamen and juicy melon. The middle note of peony, lily and carnation reveals the perfume’s character. The end note is a refined woody scent with the notes of cedar, sandal, musk and amber."


This fragrance apparently influenced Giorgio Armani to produce Acqua Di Giò, which many have described as smelling like clean laundry (while others have said it actually smells like laundry detergent or fabric softener). Subsequent somewhat soapy perfume products have included Kenzo l'Eau, Bvlgari Omnia Crystalline, Calvin Klein Eternity Aqua, Davidoff Cool Water, Gucci Flora Eau Fraiche, and Hermès Jardins en Méditerranée.


All of this has been promoted, of course, by soap advertisements, which have both reflected our culture (connotations of cleanliness being next to godliness, good complexion care, preservation of youthfulness, and general well-being) and created it. In our modern somewhat germ-phobic social environment, soapy scents seem to represent the solace of cleanliness amidst all the pollution, a form of 'olfactory safety bubble,' as well as a safe, neutral choice for more gender-neutral office workplaces. In addition, a soap smell hinted in the past at high social status, suggesting that the wearer could afford daily baths with hot water and had a refined taste for delicate smells. This concept was suggested in the movie 'Scent of a Woman,' in which the smell of fictional Ogilvy Sisters Soap on the character played by Gabrielle Anwar was admired by the protagonists.


Masculine fragrances are soapy more often than feminine ones, possibly because women are more hesitant about having their personal wash habits suggested, while men are less shy about communicating that they take washing seriously, especially following their culturally typical rugged, dirty activities.

It can be difficult at first for men to learn what type of cologne to wear for a particular occasion. Soapy fragrances are inoffensive, versatile, and easy to wear year round, and they are usually one of the first types of cologne that a man uses. Many grooming products for men, including aftershaves, soaps, and shampoos, and shower gels, have a clean and fresh scent, so men become accustomed to it. These products often seek to enhance that clean feeling, consciously embodying fragrance profiles resembling 'men's' bath soaps like Zest, Dial, and Irish Spring. A clear example is Sung Homme, which conveys the smell of original Irish Spring soap.


Some experts and consumers complain about fragrances smelling too much like soap, some even having names like Pure Soap or Laundromat (from Demeter) or Clean Warm Cotton, Fresh Laundry, Shower Fresh, and Lather Clean. They wonder why anyone would want to spend $50-70 or more on a bottle of something just to smell like a fresh shower. They often express preferences for more complex compositions with a suggestion of soapiness, but with other notes or accords to enrich them and make them more interesting.


A general consensus is that soapy perfumes generally are best worn during the warmer summer months, when feeling clean and fresh is most important, especially for casual events. However, their versatility also lends them to use for formal occasions and during other seasons.

'Soapy' fragrances for men (* indicating general consensus ones):

Acqua di Parma Essenza
Alfred Sung Sung Homme
Al Haramain Neroli Canvas
Amouage Dia, Amouage Reflection Man
Armani Acqua Di Giò
Azzaro Chrome
Bentley
Bijan Nude
Bruno Acampora Musc
Bvlgari Eau Parfumee au The Vert
Burberry Mr. Burberry Indigo, Burberry Touch
Calvin Klein Eternity, CK Euphoria, CK Free, CK One*
Chanel Allure, Chanel Platinum Egoiste
Chrome
Creed Original Vetiver*, Original Tabarome
Davidoff Cool Water
Demeter Pure Soap
Dolce & Gabbana*, D&G Intenso
Dunhill Century
Francis Kurkdjian Lumiere Noire
Geoffrey Beene Grey Flannel
Giorgio Armani Acqua di Giò
Guess 1981 Indigo
Guerlain Vetiver
Issey Miyake l'Eau d'Issey*
Jean Paul Gaultier Le Male
Jil Sander Sun
Miller & Beerteaux Spiritus
Mont Blanc Individuel
Narciso Rodriguez
Nautica Voyage
l'Occitane en Provence l'Occitan
Paco Rabanne Pour Homme*
Penhaligon's Castile
Prada Amber*, Prada l'Homme*, Prada Infusion d'Homme*, Prada Luna Rossa, Prada No4 Fleurs d'Oranger
Ralph Lauren Polo Sport
Rochas Eau de Rochas
Roger & Gallet Open*
Salvatore Ferragamo Acqua Essenziale, SF Subtil
Santa Maria Novella Gold Musk
Serge Lutens Gris Clair
SHL Panthea Iris
Taylor of Old Bond Street Sandalwood
Thierry Mugler Cologne*
Tom Ford Grey Vetiver, TF Neroli Portofino*
Versace Man Eau Fraiche
Yves St. Laurent Kouros, YSL Rive Gauche

Great post. Thanks. Church. Some of my favorites on the list

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Great post. Thanks. Church. Some of my favorites on the list

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Thank you. Some of mine too. I guess I must like feeling clean.

Great post. Thanks. Church. Some of my favorites on the list

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Did you know this thread helped inspire Island Estate?

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Dom-I did not know. It is a favorite for me. And now it really is per your creation. Church. Keep it going

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Great post. Thanks. Church. Some of my favorites on the list

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Did you know this thread helped inspire Island Estate?

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I don't think I knew that. I'm glad it was useful for you.

Great post. Thanks. Church. Some of my favorites on the list

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Did you know this thread helped inspire Island Estate?

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I don't think I knew that. I'm glad it was useful for you.

I experienced a really bad Bay Rum a few years prior and had sworn it off. After reading your post and knowing how popular it is, I decided based on reading what a bay rum should be to give it a go. I think we did a good job with it.

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Melon

Melon is a trailing vine (and its edible fleshy fruit) that originated in Africa and southwest Asia, thought to be current Iran and India. The plants are in the genus Cucumis melo, in the same gourd family (Cucurbitaceae) as squashes and cucumbers. They have large round or lobed leaves and yellow 1-inch flowers. Unlike their cousins the squashes, they are classified as fruits.


The name melon derives from a Latinized Greek word that combines meanings of 'apple, treefruit' and 'gourd.' Melons are known to have been grown in ancient Egypt, and the plants were brought to Europe by the Nuragic civilization of Sardinia during the Bronze Age (1350-1120 BC), becoming common there by the end of the Western Roman Empire around 476. They were among the earliest plants to be domesticated and among the first crop species brought by the Spanish and Portuguese to the Americas; Christopher Columbus first introduced cantaloupes to the New World on his second voyage there in 1494. And honeydew and casaba melons are recorded as being grown in North and South America by the 1600s.


Seven distinct cultivar groups of melons are recognized:
1. Reticulatus - Netted or 'musk melon,' having a net-ribbed rind and sweet orange flesh. The most popular cultivated melon. Melons sold in the US as cantaloupes are often the netted melon type rather than true cantaloupes. The W. Atlee Burpee Company developed and introduced the 'Netted Gem' in 1881.


2. Cantalupensis - True cantaloupes, characterized by a rough, warty rind and sweet orange flesh. Named for Cantalupo, Italy, where they were the first grown in Europe from Asian stock. They are not grown commercially in North America. Pope Paul II became obsessed with cantaloupes during his reign and is said to have eaten 'two good big melons' in one sitting in 1471 and then died. Pope Innocent XIII (1721-24) is reputed to have sipped Port wine from a partially hollowed cantaloupe as an apéritif.


3. Inodorus - Winter melons, large, smooth-skinned, with mildly flavored light green or white flesh. They include the honeydew, casaba, and Persian melons. The honeydew melon was introduced to China by American Secretary of Agriculture Henry A. Wallace around 1944, when he donated seeds to local farmers during a visit there.


4. Flexuosus - Snake (or serpent) melon or 'Armenian cucumber,' only 7cm (3 in) in diameter but up to 1m (3 ft) in length, with very thin light green skin and slightly acidic, cucumber-like flesh. It is thought to have been grown year-round for Emperor Tiberius of 1st century Rome.
5. Conomon - Asian common or pickling melons, with smooth skin and greenish flesh that is nonsweet and bland or slightly tart. They are used in Asian cuisines, especially those of Japan and Korea.
6. Chito - Mango-melons, a hybrid fruit, the size and shape of a lemon or orange, with white cucumber-like flesh.
7. Dudaim - 'Stinking' melons (called this because of the foul-smelling vine), the size of an orange and highly fragrant, considered inedible by some.

Only the first three of these cultivars are used in perfumery. 

Botanically, melon fruits are a type of berry known as a 'pepo.' They vary greatly in size, shape, surface texture, and flesh color and flavor, depending on the variety, but all have thick firm flesh and an inner seed-filled midsection. They weigh 1-4kg (2-9 lbs). Generally the flavor and aroma are musky or sweet or both.


In 2018, world production of melons was 27 million tons, led by China with 46% of the total. Turkey, Iran, and Indian produced more than 1 million tons each. Most commercially important melons are eaten fresh, although some varieties can be pickled or made into preserves.



Melons in Perfumery


To date it has not been possible to extract melon essential oil from the fruits. In perfumery, melon is a fresh, green, sweet, fruity, somewhat metallic marine/aquatic note that is usually produced by Calone (methyl benzodioxepinone), a lab synthetic that became very popular in the 1990s, most often combined with touches of other notes (such as caramel) to provide spice or fullness. Calone was first synthesized in 1951 by chemists from Camilli, Albert & Laloue, precursor of Pfizer, who were looking for an affordable tranquilizer. The lab policy then was to name all compounds according to a code that included the first letters of the company (CAL) and the chemical class (ketone), thus giving Calone. It was patented in 1966 and was used over the next 20 years as a marginal perfume ingredient, mainly in trace amounts for flower accords. Only after the patent expired in the late 1980s did it enter its glory era, first with Aramis New West. Other companies quickly began to produce and use it, and it now is known by many other names, including Aquamore, Watermelon Ketone, Ozonor, and Ozeone. It is similar in structure to brown algae pheromones and is related in structure to the benzodiazepine class of sedatives.


Another popular melon synthetic is Givaudan Calypsone, which smells ozonic, like a sea breeze, with underlying fruity watermelon nuances. Calypsone has been used in Avon Exclusive in Black, Azzaro Wild Mint, Calvin Klein Summer Daze, Elizabeth Arden Curve Appeal, and Kenzo Homme.

Usually put in the fruity family, melon notes bring cheerfulness and depth to fragrances. Traditionally, fruity notes were mostly employed in feminine fragrances, but subsequently masculine products have contained increasing amounts of fruity scents, including melon once again, especially in the niche side of the fragrance market. One house that is especially notable for using melon is Hermès, which may be related to the fact that it has a 45% share of the Asian market, where tastes show a strong preference for lighter, fresher scents. In addition to the synthetic scents, perfume compositions have occasionally used actual juice extracted from the fruits themselves, starting in the 1920s with the use of those from watermelon, cantaloupe, and honeydew in perfumes from Coudray, d'Orsay, and Dior, and more recently in products from Liz Claiborne and Aramis.


In addition to the proprietorial synthetics, lab aromatics that have been used frequently to give melon suggestions to fragrances include esters, sesquiterpenes, norisoprenes, short-chain alcohols, aldehydes, and various sulfur-containing compounds, all derived from headspace technology studies of melons, especially watermelon. The one most often used is the 'melon aldehyde' (2,6-dimethyl-5-heptenal). There are now synthetics that are commonly used to specifically mimic cantaloupe, watermelon, and honeydew melon.

Typical melon examples of the 1990s include Issey Miyake l'Eau d'Issey for Men, Davidoff Cool Water, Ralph Lauren Polo Sport, Armani Acqua di Gio, and Calvin Klein Escape. Grooming and cleansing products of that time increasingly used fruit scents to get away from the overboard opulence of the 1980s, and melon and peach were often used for influencing consumers to buy products that did not cost much to produce. By distancing themselves from the herbal scents of the 1970s and the heavy early-1980s shampoos, the new generation embraced fruity notes as a symbol of the upbeat joyfulness of a shower or salon experience. Eventually, however, this got to be too much, and overall sales of melon-based scents dwindled for awhile, with buyers despising them as too mundane and many perfumes being reformulated to decrease or even remove their 'marine freshness.'


However, more recently there has been a resurgence of interest in melon notes, perhaps just reflecting the cyclical nature of fragrances. In 2007 alone, Bond No.9 premiered its Coney Island, Missoni launched Acqua, and Estée Lauder included cantaloupe in some of their flanker products. And sales of some of the classic melon fragrances from decades ago have remained steady.

Like other fruity notes, melon has been associated frequently with those of the citrus, chypre, and oriental fragrance families. For example, it frequently is orchestrated in a fresh and subtle way, without additional sweetness, to accompany citrus fruits or fresh floral notes or to highlight a gourmand tone. Depending on the combinations, melon can highlight refinement and delicacy or it can reveal a playful, child-like side. It acts right from the start of the volatile top notes but mainly is present in the heart notes, often presenting a light prelude for later, darker aspects of a formula. In contrast, melon - especially crisp honeydew - often sets the tone in predominantly aquatic and salty ocean compositions. Other notes with which melon blends especially well include cucumber, patchouli, and amber.


Male melon fragrances:

1907 Cedar Blue
Abercrombie & Fitch Crest, A&F First Instinct
Adidas Game Spirit
Antonio Banderas Blue Seduction
Avon My Vibe
Bath & Body Works Cucumber Melon
bench An Urban Original 2, bench Sound
Benetton Blue, Benetton Cumbia Colors
Bi-es Ego Platinum, Bi-es Feel OK
Burberry Weekend
Calvin Klein Escape, CK Eternity Summer 2012, CK Reveal
Cartier Pasha Édition Noire Sport
Chanel Bleu
Christian Dior Higher Energy
Christine Lavoisier Parfums Fusion Very Masculine
Contém 1g 81
David Beckham Intense Instinct
David Hechter Contact
Davidoff Good Life
Demeter Honeydew Melon
Exceptional Parfums Because You Are
Ferrari Cedar Essence, Ferrari Essence Musk
Gant Liquid
Hermès Un Jardin Après la Mousson
JohnRichmond
Kenneth Cole Reaction
Liz Claiborne Curve Appeal
Jimmy Choo Man Intense
John Varvatos Vintage
Lomani Lomax Horizon
Louis Varel Reflex Black
Mahogany DSGN
Michael Malul 139 Spice
Nautica Island Voyage
Nike Ion Man
O Boticario Egeo on You
Paolo Gigli Excentrique
Perfumer's Workshop Zipped Apollo
Phebo Guamá
Pierre Bourdon le Grand Tour
Puma Aqua
Ralph Lauren Polo Blue (var.)
Robert Verino VV Man
Rocawear 9 IX
Thera Cosméticos Volcano Gold
Ulric de Varens City Paris, UdV Rectoverso Man Blue Atoll
Uncle Jon's Cucumber Melon
Ungaro Blue Ice
Van Gils Basic Instinct, VG Sport
Zara Classics 8.0, Zara Comme d'Habitude, Zara Denim Couture Red Edition, Zara Summer 8.0
Zirh

Male fragrances designated as honeydew melon:

Al Haramain Entourage Bleu
Bath & Body Works Coconut Mango
Burberry Brit Splash
Calvin Klein Reveal
Cartier Pasha Édition Noire
Clarins Elysium
Francesco Smalto FullChoke
Gallagher Amongst the Waves
Ganache Melones
Gap Blue No. 655, Gap G
Halston
Hermès Le Jardin de Monsieur Li
Jimmy Choo Man Intense
Kansai Yamamoto Éclipse de Soleil
Louis Varel Reflex Black
Michael Malul 139 Spice
Michel Germain Séxūal Secret Man
Nutrimetics Reserved Room
Paris Hilton for Men
Viali VM Challenge


Watermelon

Watermelon (C. lanatus) is trailing vine-like flowering plant (and its fruit) in the Cucurbitaceae family, resembling and related to true melons. It is extensively cultivated and has more than 1,000 varieties. Thought to be native to northeastern Africa, watermelons were domesticated in Egypt by 2000 BC (where they were stored during dry seasons, as both a food source and a method of storing water), and sweet dessert watermelons spread across the Mediterranean world during Roman times. In the 7th century, they were being cultivated in India, and by the 10th century the plants had reached China. The Moors introduced them to the Iberian Peninsula around the same time. The fruit began to appear in European herbal treatises by 1600 and was widely planted in Europe as minor garden crop by the 17th century.


European colonists and slaves from Africa introduced the watermelon to the New World, with Spanish settlers growing it in Florida by 1576 and the English growing it in Massachusetts by 1629. By 1650 it was being cultivated in Central and South America, and at the same time Native Americans grew it in the Mississippi Valley. Explorers subsequently introduced watermelons to Hawaii and other Pacific islands.

Seedless watermelons were developed in 1939 by Japanese scientists but did not become very popular until disease-resistant hybrids were created in the 21st century, rising to become nearly 85% of total watermelon sales in the US in 2014. Other countries do not use nearly as much of the seedless varieties.


It is grown now in tropical to temperate regions worldwide, needing temperatures higher than around 25 degrees C (77 F) to thrive. In 2017, China produced two-thirds of the world total watermelon crop.

Watermelon fruit is also a pepo berry, with a hard rind and sweet juicy flesh that varies from deep red to pink and most varieties with many black seeds. It can be eaten raw, juiced, or pickled, and the rind is edible after cooking. Initially the fruit had yellowish-white flesh that was bitter rather than sweet, but the process of commercial breeding allowed production of the current type of fruit. The fruit is over 90% water by weight.

In perfumery, watermelon note overlaps the fresh qualities of the aquatic, green, and fruity families, adding 'sweet wetness' or an illusion of water; but it most often is classified in the fruity group. It sometimes is perceived much like a sliced cucumber or 'ambiguous melon,' the sort of 'ocean air' only found in perfumes and not in reality. It generally has a sweet but obviously synthetic tone. For the most part, what is smelled in perfumery as watermelon in Calone, sometimes called 'watermelon ketone'. Watermelon note usually smells somewhat sweeter than the more general melon note and has more of a presence in the top notes. Watermelon blends especially well with citrus notes (bergamot, clementine, lemon, mandarin, and grapefruit), other fruity notes (green apple, peach, pineapple, red berries, red current, and pear), and herbs and spices (coriander, basil, bamboo, tea, cardamom, pink pepper, rhubarb, cinnamon, and mint).

Watermelon aroma has been researched extensively, partly because it is notoriously hard to reproduce artificially. In real life, the aroma molecules are produced as a consequence of the fruit being cut open, which releases cellular enzymes that increase the oxidation of fatty acids into aroma compounds. Initial studies suggested that the primary odorants were C6 and C9 alcohols. They were suspected due to their relatively high concentrations. However, they also were found to have higher human odor detection thresholds than some of the other aromatic compounds present; and eventually it was noted that while the researchers collected the compounds over long periods of time, enzymatic action converted their aldehydes into alcohols. It is now thought that the C6 and C9 aldehydes themselves make the main contribution to the fresh watermelon aroma, especially 3,6-nonadienal, which is described in technical literature as 'green fatty dry cucumber violet leaf.' This 'watermelon aldehyde,' a very potent odorant with an estimated detection threshold in water at 0.2 ppb, possesses by itself an aroma very similar to freshly-cut watermelon; unfortunately it is unstable, and working with it is quite difficult. Another one is 3-hexenal, which also is largely responsible for the smell of freshly-cut grass. Attempts to produce esters with a similar structure to these molecules that might provide a similar aroma have been unsuccessful.

Male watermelon fragrances:

12 Parfumeurs Francais le Roi Chanceux
Adidas Fresh Impact
Alan Bray Maxsus Silver
Annayake Love
Antonio Banderas Cocktail Seduction Blue
Avon Blue Rush, Avon Elite Gentleman Reserve
Axe Black, Axe Touch
Baldessarini Ambre Eau Fraiche, Baldessarini Del Mar Seychelles LE
Byblos Uomo 2001
Calvin Klein Eternity Summer 2007, CK Eternity Summer 2014
Carolina Herrera Chic
David Beckham Signature
Davidoff Cool Water Game
Dina Dagger Night
Dunlop Power Elixir
l'Erbolario Felci
Ferrari Black Shine, Ferrari Cedar Essence, Ferrari Essence Musk
Franck Olivier Sun Java
Gianni Versace Metal Jeans
Genty Sniper
Jacques Evard Flyback
Kenneth Cole Reaction
Lacoste L.12.12 Noir
Laura Biagiotti Aqua di Roma
Liz Claiborne Curve Appeal
Mahogany Blue Energy
Mexx Cocktail Summer
Michael Jordan 23
Michael Malul Visionair Midnight Blue
Oriflame True Instinct
Pascal Morabito Mediterranee
Puma Create, Puma Man, Puma Time to Play
Rance Le Vainqueur
RisingWave Eternal
Royal Cosmetic Platinum Air
s.Oliver Casual
Star Wars Rogue One
Tommy Bahama
Versace Metal Jeans
Zara In Tulum

Fragrance Layering

Layering, or 'scent mingling,' is the use of more than one fragrance at a time, often as a way to create one's own signature 'bespoke' scent. It is sometimes called 'fragrance cocktailing.' Says perfumer Laurice Rahmé, 'Custom scents capture the personality of an individual. It allows them to whip up their own scent blends whenever the mood suits them.' Although this has been done for centuries, it still is considered a very inexact science, requiring that one be a sort of artist, 'painting with fumes.' The idea generally is to accentuate every note and accord, making them shine more and enhancing their overall intensity, longevity, and sillage. Generally the greater the number of layers, the greater the longevity.

The trend of layering seems to have come initially from the Middle East, where men and women have been mixing fragrances - up to several decadent ones at once - for a very long time (and where some cultures have considered the use of a single scent to be unacceptable). Many Middle Eastern families have a designated 'perfumer' member who does the mixing and layering of scents for everyone in the family.

There are two major schools of thought about layering fragrances. The 'Purist' school, to which many perfumers and reviewers belong, asserts that a fragrance - and especially a classic one - is a thoroughly conceived and finished work and that any changing of it destroys the balance the original creator tried to achieve. The 'Experimentalists,' on the other hand, see a valuable potential in being able to come up with interesting new combinations and to understand smells more completely. They note that one of the best things about layering is that one can comprehend the various 'weights' of notes or accords, sensing which ones disappear first and which ones last longer, which otherwise can seem too theoretical. The idea is that the more we understand fragrances firsthand, the more likely we are to appreciate the most complex commercial compositions available. Experimentalists also like to point out that layering can be cost effective, since one can sometimes use a larger quantity of a less expensive everyday or drugstore perfume as a base, while using a smaller amount of a more expensive product. In this way one can enjoy the creation of a bespoke fragrance without having to pay the high price to a perfumer.

'Layering fragrances is an easy way to get a custom effect,' says Julia Zangrilli, NOVA  perfumer. 'The scent is familiar, but not quite - no one else has the exact blend.' Perfumer Alexander Lee says, 'I always saw fragrances to be invisible pieces of clothing. For me fragrance combining is simply wearing multiple fragrances at the same time with the goal to create a personal olfactive form. It's an outlet for the perfume lover to be creative. In fact, a perfume is the result of combining singular perfume notes with other complex accords. Fragrance layering is like walking in the shoes of a perfumer.' 

Most experts encourage people to layer initially on a sheet of scent blotting paper, applying the scents one after another without allowing the base to dry. Then when one finds a combination that they like, they can mix it again and apply it to the skin. Says Zangrilli, 'Always test on a piece of paper before trying on your skin, so you aren't always stuck scrubbing off mistakes.' Or rather than using blotting paper, you can do an at-home test by spraying each scent onto a separate cotton ball, pressing them together, then tossing them into a Ziploc bag and sealing it for a few minutes. Then open the bag and smell, and it you like the aroma, try it on your skin. The experts all recommend dabbing or spritzing the scents on a pulse point such as your wrist, and not rubbing, so that they can breathe on your skin. (If a rollerball fragrance is used, it should be applied only to clean, dry skin, so that the smells are not co-mingled on the applicator. If using two products with rollerballs, apply each to a different wrist and then press the wrists together for a moment.)


One writer recounted a successful experiment of spraying a little of two different fragrances into a new vial, letting them sit for a few days, and then applying them to the skin as if the mix was a new perfume. Since our noses become somewhat insensitive to our fragrances fairly quickly, EO Products perfumer Susan Griffin-Black recommends a challenge: 'One way to test the strength of our scent is to apply the perfume(s) to a piece of cloth. Apply the amount you would normally wear, leave it in a room for a few minutes, and then remove it from the room. Go back into the room after a few more minutes. If you can still smell the fragrance, you've used too much. Your personal scent should only be noticeably strong to someone who is in your personal space (hugging, for instance). Ideally, your scent should only linger for moments after you've left.'

Some say that the safest way to start layering is to use a very common note such as jasmine, rose, or vanilla; to use citrus notes, since they blend easily with floral, woody, and amber scents; or to begin with a light wood note such as sandalwood. Perfumer Patti Kapla says that vanilla and musk are also 'safe' for starting to layer. Zangrilli advises trying very subtle, minimalist fragrances (often those advertising one or two notes in their titles). Another suggestion is to try combining several soliflores (single-flower scents) to create a complex floral perfume. Perfumer Rachel ten Brink says that single-note scents or very light ones are easier to layer. 'Especially heady fragrances - think Chanel No5, Shalimar, and Opium - or evening/noir fragrances - Versace Noir and Tom Ford Black Orchid - are usually too much if combined and may end up giving you a headache.' She also recommends that your total number of spritzes should be no more than the number you usually would spray of just one commercial scent. The linear fragrances from Demeter are perfect for beginners to use for very simple layering. To minimize the cost of experimenting with layers of unfamiliar scents, one can use less expensive mini-bottles.


Among the different major fragrance groups, those of the floral family seem to be the most foolproof for layering, while those in the oriental family are the trickiest. Also relatively easy to layer are the woody and musk-based scents, since they combine very readily with floral, fruit, or spicy accords. The simplest approach, recommended by some, is to layer only scents in a single family at first. (If one is unsure of the components of a composition, experts note that one can determine the notes present in a given fragrance by putting its name into an online search engine or a fragrance review site such as Fragrantica.com)


A suggestion from Zangrilli is to separate your scents into two general groups, a Group A of those that are rich in floral or citrus notes and a Group B of those that are aquatic/oceanic, green, or powdery. Then, she says, 'Play with mixing one from A and one from B, or maybe two from A or two from B. You can layer more than two, but this is a good starting point.'


Addition of scent notes can accentuate a trait in the same olfactory family, such as adding pure vanilla scent to an oriental fragrance that already has some vanilla; or it can strengthen a particular smell character, for example adding patchouli to an oud scent. Linear scents in particular are perfect for beginners to use for layering, since they simplify the process. Zangrilli notes, 'If you want to amplify a single ingredient, jasmine for example, try combining multiple fragrances that feature it as a main note.'


Some perfumers suggest choosing combinations of very different notes and mixing scents from different families, allowing creation of new fragrances with contrasts, instead of a 'soupy blend.' Examples are mixing a citrus scent with one that is oud-based or a floral perfume with something more intense and sophisticated. Another slightly different approach is to combine fragrances that have different specific memories associated with them, creating a completely new 'dream' experience. Perfumer Carlos Benaim suggests starting with a fragrance with top notes that you love, and pair it with a fragrance that has bases notes you love.


If one is just beginning, Blanc suggests combining just a spray or two of two fragrances that have a common note or accord and then add from there. Or if one is feeling more adventurous (or just believes that there is little value in mixing scents that are very similar), they can try combining two or more somewhat opposite fragrances - a spice and a vanilla, for instance. Some recommend avoiding the mixing of extreme families, such as oceanics/aquatics with orientals or heavy woods, because they can cancel each other. Benaim says, 'You want to create contrast. The easiest way to do so is to layer lighter fragrances with ones that are a bit heavier or more intense.' Says Zangrilli, 'Some olfactive families are easier to mix than others: woods and spices don't always play well with air, water, or sport. But both can work with florals and citruses.'


Some suggested 'winning combinations' for beginning to layer include the following:
Spicy + sweet
Fresh + rich
Fruity + floral


Experts suggest following one's intuition for guidance in picking out scents to mix, but also using self-knowledge and some common sense. 'There is no right or wrong,' Rahmé says. 'Creating a perfume is part science, but it really is an art - the art of translating emotion into a feeling.' When asked if certain scents should be avoided in layering, she says that an individual should feel free to choose as many layers and types as they feel are necessary to express their vision, but that it is a good idea to avoid combining two or more scents with very strong personalities, such as those that are dark and heady, since their sum can be overwhelming. Perfumer Sue Phillips likens fragrance mixing to choosing spices when cooking: 'Individually, each spice is amazing, but if you were to combine every single one in your cabinet, you'd end up with a blend that was overpowering and indistinct.'


Most experts agree that limiting the layering to 3-6 accords or scents is a good idea in order to avoid sensory muddling and chaos, or too much smell altogether. Another recommendation is to first try layering older, more stable scents (especially florals and orientals), rather than using the newer chemical synthetics that have fragile balances and that tend to cancel each other out more easily. Griffin-Black says that the easiest way to avoid this pitfall is to choose natural scents. 'If that's not possible,' she continues, 'Be careful about how you layer the synthetic fragrances... Be aware of scents that mask the others and those that blend in an odd way. For natural scents, it's best to start with the strongest you will be layering: scents that include ylang-ylang, jasmine, or patchouli, for instance. Then add the softer scents bit by bit until the right balance is reached.'

Once you find a combination you like, you can fine tune the formula. Says Benaim, 'Something as simple as changing the amount of each fragrance you're mixing can make the blend even more distinct.' Start with one spray of each, the try a 2-to-1 mix, then reverse the ratio or try a 3-to-2 mixture. Once you find exactly what you're seeking, be sure to write it down so that you can recreate it accurately in the future. (Also write down the time of day, the season, and the weather, since these influence the effects.)


Griffin-Black's advice is to familiarize yourself with scents and figure out first which ones you especially like. Once you are familiar with the notes of given fragrances, it is easier to determine ways to mix and match them for layering. 'The main tip I would share is to wear what you like. Scent is subjective, what you like isn't going to be right for everyone. Choose scents that make you feel good. Take the time to get used to the scent before mixing it with others; what we smell when we first take a breath of a perfume is very different that what it will smell like as it dries down. Use your new scent on both your skin and on clothing, since some smell better on one or the other. If you prefer the scent on fabric more than on your skin, you can apply a drop or two on the inside seams of collars and cuffs.'


Rahmé recommends keeping the pyramid scent structure in mind when starting to combine, considering an increasing scale of volatility, from musks, then animalics, resins, dark woods, blond woods, hot spices, rich flowers, soft flowers, fruits, leaves, fresh spices, and finally citruses. Too much focus on more volatile notes will produce great projection but little duration, while too much density will come off as flat. In other words, one can 'distribute' the weights of notes to build a pyramid and achieve harmony. An approach that most experts recommend is to start with a heavier base scent or two, then add middle heart notes, and finally finish with lighter top notes. As a foundation of the mixture, the base note(s) provide a grounding, warm richness. Using only one base note spritz helps to create a lighter overall fragrance, while two sprays (for a 2-to-1 ratio to the heart or top notes) creates more depth.


In this way, one can also tailor a mixture to the season and weather. Says Firmenich perfumer Honorine Blanc, 'In the fall and winter, we might want something cozy and slightly richer and warmer, like the feeling of a comfy sweater that we want close to our skin in cold weather. Putting on a complementary lotion for our scent can add intensity and long-lastingness to our wearing experience. In the spring and summer months, though, you might have a desire for something cleaner and fresher, like combining citrus and floral notes with musky cotton notes.' Others suggest adding the sweeter citrus notes in the colder seasons in order to provide some spiritual lift to heavier mixtures. (Or for those feeling most adventurous, different accords or products can be juggled to create more 'masculine' or 'feminine' character to a combination.) A further step in layering is to add different scents during the course of a day, connecting the user to each present moment as circumstances and mood change. Or a layered scent mixture can be freshened up at midday with a spritz of the top note(s). In answer to the question of which occasions are best for layering, Lee answers, 'There is no limit.' Fragrance combining can be used day to day to suit your mood, style, or the season, and for that special occasion.'

All layering experts agree that persistence is important: if one combination of scents does not seem to work well, juggle the ratios or try a different mix, and play with the different tactics for application. They point out that a large part of the enjoyment of layering comes from exploration and discovery. Says Benaim, 'This is all about experimentation. There are infinite combinations that you can create, and the only way to know if one is going to work is to try it.' (A tip from the perfumers: If you feel like sniffing the mixtures is dulling or burning out your sense of smell, take a break and smell a plain tissue paper; its neutral scent can help to cleanse your 'nasal palette.')


Layering of scents does not necessarily mean spraying two perfumes directly on top of each other. Instead, it can start as a first application of a body lotion after a shower, followed sometime later by a fragrance preparation behind the ears and on the wrists.
In the Middle East, it was a ritual for women to first apply a musk-based cream to the skin, then to scent their clothing and skin with a fragrance mixture. The fragrance blend was personalized each time, frequently with oud, resins, leather notes, saffron, and rose. This approach also was used for centuries in Japan and Korea, where classical layering consisted of putting body milk, cream, or gel on pulse points, then adding talcum powder or deodorant, and finally adding eau de toilette or perfume. Perfume houses that make lines lending themselves especially well to such mixed-product layering include Maison Francis Kurkdjian and Chanel. Some offer items with this specifically in mind, such as the hand creams from Frédéric Malle, Serge Lutens, and Heliotrope.

A layered fragrance can be applied on the wrists and another on the neck, or they can be placed adjacent to each other or overlapping in order to provide a sort of 'semi-mixing' effect. Perfumers who promote layering sometimes suggest putting the weakest or favorite scents closer to the head area and on pulse points so that they are smelled best, while putting stronger or less favored aromas on the knees or on the clothes. Some experts suggest using two different concentrations of a given scent, such as spraying an eau de parfum on two or three places first, followed by a spray of an eau de toilette; or starting with an oil-based fragrance and then following with a more volatile alcohol-based one. As with the creation of a fragrance mixture, the general rule of thumb is that heavier or complex scents should be put on first so that they don't overpower the simpler, lighter counterparts. Experts also agree that prepping the skin first by using a hydrating body lotion (unscented or very delicately scented) will add to the overall effectiveness of layering.

Some perfume brands seem to lend themselves especially well to layering, including Vilhelm, Atelier Cologne, and Francis Kurkdjian. Jo Malone London, a pioneer in commercial fragrance layering, has incorporated layering into its marketing strategy, producing relatively homogeneous scents so that one knows clearly what is being mixed when layering. They also offer professional consultations for customers, in which the client can experiment with a large variety of combinations. The cosmeticians of Jean Coutu offer the same service.