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Talking To Top International Perfumers
By Janetta Mackay 9:16 AM Wednesday Oct 16, 2013 Janetta Mackay talks to two renowned perfumers who collaborated successfully before finding their own fragrance fame. Christine Nagel and Francis Kurkdjian. In the 10 years since they created a hit fragrance together, perfumers Francis Kurkdjian and Christine Nagel have each separately reinforced their standing as leading international “noses” with stellar solo careers. Both products of the tradition-steeped but commercially demanding French perfume industry, their innovative approaches have a boutique style that sets them apart. Their names are linked professionally as co-creators of the distinctively musky top-selling Narciso Rodriguez For Her perfume, but each has an impressive solo resume and a unique approach to their craft. Kurkdjian found early fame at age 25 when he created Le Male for Jean Paul Gaultier. He became a “go-to guy” for many luxury brands, among them Dior, Armani, Yves Saint Laurent and Ferragamo, most recently creating Elie Saab’s first fragrance. He has also opened his own bespoke boutique brand, Maison Francis Kurkdjian, in Paris and worked on art installations, including creating giant perfume bubbles spotlighted for public exposition at Versailles and in Shanghai. He combines artistry and accessibility, having also crafted Elizabeth Arden’s perennially popular Green Tea spritz and a shelf full of men’s top selling colognes including Joop, Kouros Sport, Davidoff Silver Shadow and, more recently, Rocawear for Jay Z’s company. He has reworked the classics for Acqua di Palma and bottled modern cool for Juliette Has a Gun. Christine Nagel’s newest fragrance, Si, for Giorgio Armani, is about to launch in New Zealand and, judging by sales overseas, seems destined to be another standout. Hers is the name behind a string of designer fragrances, including Miss Dior Cherie, Dolce & Gabbana’s The One and commissions for Kenzo, Lagerfeld, Lancome, Mugler and more. In recent years she has been busiest as master perfumer for the ever-so-English company Jo Malone, helping broaden its global reach. Like Kurkdjian, she is in her 40s, still relatively young for a perfumer. As their answers to Viva’s questions show, the pair’s working connection may have been brief, but the passion they share for perfumery seems set to ensure enduring excellence. Perfumer Christine Nagel. CHRISTINE NAGEL Do you have a signature style? I have the desire to look for new accords, new associations of ingredients. For [Jo Malone] Peony & Blush Suede, the peony flower does not exist as a natural essence in perfumery. This is where a poetic fragrant vision comes into play. The peony essence in Peony & Blush Suede is unique to Jo Malone London as it is my own interpretation, as a woman and a perfumer, of an English peony. The Jo Malone London collaboration runs to about 20 fragrances now, how is it evolving? I consider myself the olfactory instrument of the brand. I always take into consideration the values of the brand and create scents that connect with its philosophies and values. Even if the fragrances are from different families – fruity, woody, floral – there is the same philosophy. The brand has a real style and the fragrances are easily identifiable. I am extremely happy to create fragrances for it. Do you have a favourite Jo Malone London creation? English Pear & Freesia, one of my earlier creations, is a beautiful, light and refreshing fragrance. The newest addition, Peony & Blush Suede, is a very special fragrance to make, taking over two years to create. This fragrance is elegant and sophisticated. What is the fragrance you would have loved to have created? Feminite du Bois by Shiseido is a fragrance I admire; there is so much femininity infused in those woods. How do think women should approach the appreciation of fragrance? Fragrance to me is an aromatic message we send to everybody who has not yet perceived us. Therefore you have to feel at one with your fragrance . . . at this point, you are charming, appealing, seductive. In perfumery, there has been a return to authenticity, to fragrances with an asserted femininity. Once you have decided on a [fragrance] family that suits your style, spend time getting to know the scents to find your distinctive scent combination. Francis Kurkdjian. FRANCIS KURKDJIAN Is perfumery art, craft or a combination? I live my metier as an art. It is an “endless question” whether modern perfume-making is art, craft or business. No matter what, as a perfumer, you need the art of science and the science of the art. What matters to me above all are the emotions I have when I create and the pleasure I give to people who appreciate my work. What is your earliest olfactory memory? I have a lot. My grandmother used to wear Femme by Rochas. I recall the scent of my grandfather’s aftershave lotion he used to blend himself and of my grandparents’ apartments. My father used colognes at night only. The first time I smelled fresh-cut grass is something I remember still. The fragrance you wished you had created? Fougere Royale by Houbigant, the first fragrance that mixed natural and synthetic molecules in 1882. Is there a fragrance note you consider a signature? Notes/ingredients are my vocabulary. My technique is my grammar. Overall, I think my style is about balance and sensuality. I am a storyteller, using scents. In terms of a trademark I may have, it’s always difficult to have enough distance to be able to analyse. I do not know if my style has evolved over the years. I have always been a huge fan of essentials [oils]. Each ingredient must have its position and its reason to be in. Less is definitely more in fragrance-making; however, you have to be careful not to be anorexic. The scent has to be big enough and have a nice, appealing trail/aura. I have tried to touch all kind of fragrance families to cover the biggest olfactory spectrum possible. What is the costliest ingredient you have used and how does it deliver? The most expensive ingredient is orris root absolute (the root of the iris flower). It costs about €$75,000 per kilo. I have used orris in my latest fragrance, Amyris for woman and Amyris for man. The most exotic? Think about a lavender field under the sky of Provence, France, or blooming orange tree flowers in Sicily overlooking the Mediterranean, women hand-picking rosebuds in Iran or Bulgaria when the sun rises in May. To be honest, I do believe each of the natural raw materials I use in my fragrances is exotic. The last I have used is oud oil or agarwood oil, a natural raw material that comes from the south Far East. I have used it in one of my latest works, named OUD, as a tribute to this extravagant, extraordinary ingredient. Do you discern any particular emerging trends in modern fragrance styles? Trend is not something I look at as I work at least 18 months ahead of a launch for my own house and sometimes it’s 24 months for other brands. So by the time the trend comes, I am already working on another fragrance and I have moved on to something else. However, right now there is a comeback on very sexy, glamour and feminine fragrances. Couture fragrances are back to the prestige market while celebrities’ fragrances remain popular. Any advice you would like to share? Perfume is not a beauty product. It is not lipstick, mascara or a nail polish. Perfume is not even a product because perfume is invisible. So let it lead you by the emotion of what you smell and experience. Read about perfumer Christine Nagel’s work with Giorgio Armani here. – VIVA Continue reading
Making Use Of Biofuel Waste
10/10/2013 Making use of biofuel waste Yeast engineered to eat acetic acid Richard Jansen US RESEARCHERS have engineered a strain of yeast that will consume unwanted by-products made when plant stems and leaves are converted into biofuels. The team, based at the University of Illinois, says that discovery could improve the ethanol yield from lignocellulosic sources by as much as 10%. The yeast used to produce ethanol from lignocellulosic sources, Saccharomyces cerevisiae , is good at fermenting simple sugars – such as those found in corn kernels and sugarcane – to produce ethanol. However, coaxing the yeast into eating the stems and leaves is not so easy. Doing it on an industrial scale requires a number of costly steps, one of which involves breaking down hemicellulose, a key component of lignocellulose “If we decompose hemicellulose, we obtain xylose and acetic acid,” says Illinois food science and human nutrition professor Yong-Su Jin, who helped lead the research. “Xylose is a sugar; we can engineer yeast to ferment xylose,” he continues. “However, acetic acid is a toxic compound that kills yeast. That is one of the biggest problems in cellulosic ethanol production.” The researchers came up with a plan to deal with the waste after finding another organism – a bacterium – that consumed acetic acid. They isolated the genes responsible for the process, and began inserting them into the yeast. “One challenge with yeast is it has evolved to do one thing really well,” says Jamie Cate, from the University of California at Berkeley, who also helped direct the research. “When you start adding these new modules into what it’s already doing, it’s not obvious that it’s going to work up front.” “We sort of rebuilt how yeast uses carbon,” he adds. As well as those carrying out the conversion process, Jin claims that the breakthrough will also help those who focus on other steps in biofuels production. Plant geneticists and those involved in pretreatment can stop worrying about finding ways to eliminate acetic acid from lignocelluloses, for example. “Many people are curious about why we don’t have cellulosic biofuel right now,” he continues. “But it’s not because of one limiting step. We have many limiting steps in growing the biomass, storing, moving, harvesting, decomposing the biomass to the sugar, fermentation and then separation. “The advance that we are reporting involves one of those steps – fermentation. But it also will make other steps in the process a little easier.” Continue reading
M’sia Eyes Bigger Slice Of Growing Biomass Pellets Market
Published on: Thursday, October 10, 2013 Putra Jaya: Malaysia aims to capture a bigger slice of the growing demand for biomass pellets in Asia driven by renewable energy policies in South Korea, Japan and China. Chief Executive Officer of Agensi Inovasi Malaysia, Mark Rozario, said the country has an advantage in terms of logistics and cost of transportation, which were usually dominated by pellet producers from US and Europe. “We want to grab this opportunity and with the establishment of the Pellet Association of Malaysia (PAM) earlier, we have united the manufacturers on issues such as quality, pricing and volumes,” he told reporters after the briefing on the progress of the National Biomass Strategy 2020 here Wednesday. Rozario said demand for biomass pellets in Asia by 2020 was estimated to be around 10 million tonnes per year, mainly driven by renewable energy policies in certain countries. “Right now, Malaysia produces about 100,000 tonnes per year and there is room for us to increase our capacity following the plan to collaborate with more plantation owners to supply the feedstocks,” he said. He said Malaysia could produce about five-seven million tonnes per year of pellets in the next five years. Rozario said PAM now has 10 members and five of them had started production of the biomass pellets. He said the agency was ready to attract more players to invest in this industry. Earlier, Malaysia biomass pellet manufacturers inked deals with companies from China and South Korea to supply biomass pellets to help meet their countries’ renewable energy targets. Detik Aturan Sdn Bhd signed the memorandum of understanding with South Korea’s BC21 Co Ltd and Global Green Synergy Sdn Bhd with Chinalight (GuangZhou) – Bernama Continue reading
