Haarmann & Reimer GmbH

P.O. Box 1253D-37601 HolzmindenGermany

Tel. ++49 55 31/90-0Fax ++49 55 31/90 16 49 www.haarmann-reimer.com

Information about the World of Fragrances

A Senseof theScents...

Information about theWorld of Fragrances

A Senseof the Scents ...

A Senseof theScents ...

History

The History of

Perfume...

The History of

Perfume...

The Historyof Perfume

2– 5

The Sense of Smell

6–7

Raw Materials andProcessing

8–11

Contents

Of the five senses, the senseof smell is undoubtedly theone of which we are leastaware – why? Fragrances are adifficult subject to talk about –so descriptive terms have to beborrowed from other sectors,such as “green” from the worldof color or “fruity” from thefield of taste. And yet frag-rances have the magical abilityto enchant. In this brochure,we’d like to explain whythat is.

A rudimentary kind of olfactorysystem played a crucial role in thedevelopment of life: Water servedas the medium that transportedinformation to the first livingorganisms, which they assimilatedwith the aid of a mechanism thatcan be termed a “sense of smell”in the broadest sense of the world.The life forms that later developedon land were forced to adapt: It was now the air they breathed,

and not water, that suppliedthem with vital informa-

tion. So it was necessaryto find a filtrationsystem, i.e. an actualolfactory organ.

It was with this first nose that theprehistoric quadrupeds were ableto sniff vital information aboutenemies and mates, sources ofnutrition and territorial borders.

When the first human-like beingsset out to conquer the world on two legs, though, they losttheir “olfactory contact” with theground – their eyes and ears provided them with faster andmore effective information aboutfriends, foes and prey. Yet rightdown to this very day, our nosestell us much more than we realize:– if we equate enemy with a war-ning odor, mating with eroticismand prey with nutrition…

The Egyptians alreadyknew about perfume

Through their pictures and writings,the annals of ancient culturessuggest that fragrant substancesfrom nature enjoyed a firm placein the daily lives of the Etruscans,Sumerians, Egyptians, Greeks,Romans and Chinese. Fragranceas a sacrificial offering to the gods – Frankincense, myrrh andblossoms like jasmin were initiallythe exclusive domain of the highpriests. It was thought that it waspossible to communicate with

Vessels for storingfragrant oils and ointments from Egypt…

Perfume Oilsfor a WideRange ofApplications

18–21

CosmeticIngredients

22–25

Quality Assurance

26–29

ProductSafety

30–31

The CreativeWork of thePerfumer

12–13

FragranceFamilies

14–17

the godsthroughthe risingsmoke pro-duced by burningfragrant substan-ces. Incense is stillceremoniously burned today in theCatholic Church,and this ritual presumably has thesame roots. Per fumum– the Latin idiom meaningthrough smoke – is therefore the origin of the modern wordPerfume. In the Old Testament,Exodus 30 contains a reference to a perfume recipe, in this casean anointing oil.

Yet it was the desire for beautyand care that brought fragrantresins and blossoms into daily life.A Roman fresco, for example,depicts a young maiden fillingperfume into a little bottle. On anEgyptian wall panel from a gravein Thebes, it is possible to distin-guish a lady smelling a perfume.On her head, she wears a typicalperfume cone, which is slowlymelted by the body’s heat.

An Indian poem by Kalidasa con-tains the following description:

…and Greece.

…the RomanEmpire…In the summer, the beautiful

ladies perfume their busts withthe oil of sandalwood,their hair with jasmin water,their bodies with rose water,to prepare themselves for love.

In Europe, the culture of fragran-ces first began to spread duringthe twelfth century. Amulets in the shape of a small apple,with gaps that could beindividually opened andfilled, were in commonuse. Since the custo-mary fragrant waxeswere called “ambre”,these often highly artistic items of jewelrywere called fragranceapples – pommesd’ambre – pomander.

04 H&R Scents

Also popular were potpourris thatwere made from blossoms, fruitsand spices to mask bad odors inthe home. Even utilitarian itemswere perfumed – like the leathergloves that fine ladies could holdunder their sensitive noses whenthey had to cross the litter-strewnroads.

The “Water” from Cologne– a classic is born

In France, the profession of per-fumer & glove-maker emerged,whose center quickly became thecity of Grasse in the south of thecountry – the capital of fragrant

History

4711 – genuine“Kölnisch Wasser”.One of the firstbranded perfumes,which is still im-portant today.

plant cultivation and leather-making. Brought to the Frenchcourt by Catherine de Medici inthe 16th century, perfume remai-ned a royal fashion and was usedall the more extravagantly. It wasbelieved that water had the powerto extract the life force from thebody, and hygiene was exchangedfor fragrance – the very first deo-dorant. The situation was differentin England under Oliver Cromwell– “Perfume is the work of thedevil”, it was said, and was ban-ned and even prohibited for anentire century. The seventeenthcentury brought with it “Eau deCologne” – “Cologne Water” –whose “recipe” had been broughtto Germany by a young Italiannamed Farina. This refreshingblend of citrus oils, rosemary and alcohol went on to spreadthroughout Europe – howevernot just as a fragrance, but also as a cure-all for both external andinternal use. It would be left toNapoleon to finally clear up thesituation – under his reign, a legaldistinction was made betweenthe professions of a “Perfumer”and an “Pharmacist.”

H&R Scents 05

Reimer founded the company of the same name. Further im-portant molecules were coumarin(woodruff) and ionone (violet). In one fell swoop, the perfumer’spalette became incomparablyricher – and for the first time perfumers were not only able to blend fragrances from nature, but also to replicate them, tointerpret them, to impressionis-tically translate them.

In those days, fragrance compo-sitions consisted solely of naturalingredients, of resins, leaves,peels and blossoms that were treated in a variety of ways tocapture their fragrant principles.One well-known technique wasto place plant parts in alcohol to produce so-called tinctures orinfusions. If blossoms were placedin animal fat to produce perfumedpomades, the process was called“enfleurage.”

Synthesis brought variety

In the mid nineteenth century,modern perfumery evolved withthe advent of modern chemistry.Innovative techniques of extractionand distillation supplied highlyfragrant plant extracts – it waseven possible to isolate specificfragrance molecules from botani-cal isolates – and – even moreexciting – it was possible to repli-cate fragrance molecules in thelaboratory – to synthesize them.One of the first molecules of kindwas vanillin – in 1874, the principleof vanillin synthesis was patented,and chemists Haarmann and

Royal letterspatent for amethod of pro-ducing coumarin(Karl Reimer,1876).

What do we know about it today?

First of all, it is only possible tosmell what reaches the nosetogether with the air we breath –i.e. the substances have to be ana gaseous state. When we smell a fragrance strip, for example, wedo not smell what is on it but whatis no longer on it, i.e. what hasevaporated and can be inhaled.

Located in the nose are two ol-factory mucous membranes,

each approximately foursquare centimeters in

size, which aredensely packed

with nervecells. Exten-ding fromthese cellsare nume-rous plungeprocesses,which pro-trude intothe nasal

cavity liketiny little

hairs.

For a long time, science paidonly little attention to thismost mystical and emotionalof our senses. In Greek philo-sophy, the sense of smell wasdisqualified as being impreciseand emotional. Only in recentdecades has this sense beenmore thoroughly researched.

Contained on these cilia are diffe-rently shaped receptors. When theair we inhale carries a molecule tothe nasal mucous membrane, themolecule attaches to a matchingreceptor, like a peg in a hole. Bothits geometric shape as well as itselectrical charge, its polarity, playa role in this connection. When amolecule “docks” with a matchingreceptor, an electrical signal – a stimulus – is sent to the brain.

We smell with our brain

Extending from the multitude ofnerve cells in the olfactory mucousmembrane are numerous appenda-ges – processes – that are bundledin the upper nasal cavity in theform of nerve fibers. These nervefiber bundles extend through theethmoid plate, a bone behind theroot of the nose, and into a partof the brain that is called the ol-factory bulb. If subjected to strongshear forces such as those causedby a heavy blow, for example, thisbone can slice through the bundleof nerve fibers like a knife – resul-ting in a loss of the sense of smell.In the olfactory bulb, each of thesehundreds of nerve fibers, whichserve as a continuation of the nerve

cells with their olfactorycilia, terminates in anolfactory brain cell.

Following pre-selection here,the stimuli arethen advanced

to portions of themidbrain and to theso-called olfactory

brain.The olfactory brain was oneof the earliest portions of the

06 H&R Scents

Smell

The Sense of Smell...The Sense of Smell...

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The olfactory system with its primary and secondary paths to other regions of the brain: 1. Olfactory nerve cells in the nose, 2. Spoon-shaped olfactory bulb, 3. Olfactory tract, 4. Olfactory trigone, 5. Stalk leading to the thalamus, 6. Hypothalamic region, 7. Amygdala.

cerebrum to develop, which inturn is linked with the limbicsystem, the system that controlsour feelings and emotions.

Interestingly enough, nerve impulses do not travel in only onedirection – this area also containsnerve cells that work in the oppo-site direction. This means that thereare a variety of ways in which akind of feedback can modulateand modify the way a scent is per-ceived. Consequently, the expec-tations of the person who is smel-ling can exert a strong influenceon the way a scent is experienced– yellow is associated with fresh-ness, red with fruity sweetness.If this expectation is not fulfilled,the scent is frequently rejected,even though it is not really unpleas-ant. So a product’s olfactory ac-ceptance is also highly dependentupon the right kind of packaging!

The intensity of a scent, too, caninfluence its acceptance. This isbecause not every stimulus that istriggered by a molecule actuallyreaches the brain. The number ofmolecules that are necessary forthis to happen (which is termedthe olfactory threshold) dependsupon the fragrance material inquestion. In highly concentratedform, fragrance materials are oftenperceived as pungent. In this case,the nose would appear to be over-stimulated – molecules are alsodeposited on the “wrong” recep-tors, thus triggering olfactory con-fusion, a “blurry” smell. In dilutedform, on the other hand, they seem

Aromatherapy utilizes the emo-tional side of our sense of smelland employs essential oils to pro-duce a calming effect, e.g. throughvanilla extract, or to stimulate themind, e.g. with citrus oils. Scentscan also be used as a source ofsubconscious manipulation. In Japan, for example, it is notinfrequent for essential oils to bedistributed through the air con-ditioning system in order to relax

employees duringtheir breaks.

H&R Scents 07

Only his enor-mous olfactory

memory enablesthis perfumer to translate afuzzy sensory

perception into a concrete

fragrance.

A mole-cule serves as the origin of a fragranceimpression.

delightfully floral or fruity! A flo-ral fragrance would have to bediluted to 2 to 5% to equal thestrength of its natural counterpart.

The sense of smell addresses bothour emotions and our intellect. A scent’s stimuli are advanced tothe right half of the brain, whereit is recognized, while intellectualactivity or the ability to associatea name occurs in the left half.This explains the phenomenon ofbeing able to precisely identify a scent but not its name.

Coolin water outlet

Insulation Coolingwater inlet

Oil outlet

Automatic return ofDistillation waters

Drain

Steam Trap

Water and plant material

Heating jacket steam inlet

Direct steam heating

The palette of ingredients that is available to perfumers for use in their compositions isdifferentiated into three different productgroups. The first two are of natural origin,essential oils and absolues, while the third consists of synthesized aroma chemicals.

Essential oils

Steam distillation is employed to obtain these substances fromfragrant plants. Heating dissolvesthe plant’s fragrant oil from itscells and carries it along with thesteam. During the subsequentcooling process, the water and oil become liquid again and sepa-rate, as they cannot mix with oneanother. There is one exception:Citrus oils are not obtained throughdistillation, they are squeezed outof the peel (expression).

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Raw Materials and Processing

Raw Materials and Processing...

Raw Materials and Processing...

Absolues

A two-step extraction process is employed to obtain these sub-stances from fragrant plants. In the first step, a solvent is usedto dissolve the fragrant oil fromthe plant. What is left after thesolvent has been separated is theconcrete, which is often waxyand highly colored, since – asopposed to distillation – the pig-ments and plant waxes are alsodissolved during the extractionprocess. To remove them, the

Steam distillation

H&R Scents 09

Southern France:The center of la-

vender cultivation.

Product Yield from World market Extracted1 ton of raw price per kg Plant partproduct, in kg in Euro*

Rose oil 0,2–0,5 5.000 PetalsJasmin concrete 2,0 3.000–5.000 PetalsIris root butter 0,1 9.000 RootsTuberose absolue enfleurage 0,3 20.000 BlossomsSandalwood oil 40–65 450 WoodOrange blossom absolue 1,5 5.000 BlossomsYlang-ylang oil 15–25 100 BlossomsPatchouli oil 30 20–60 HerbGinger oil 40–44 75 RootsCedar oil 30–35 20 Wood

* Prices are approximate and can fluctuate on the basis of grade and market situation.

Overview of various perfume raw materials – Yield, price, plant part

concrete is washed with alcohol;what remains after this alcoholhas been removed is a liquid product that now has less colorand is called an absolue.

Essential oils and absolues arecomplex mixtures of a wide varietyof molecules that are producedby the plant’s metabolism. Chemi-cal processes can also be employedto create these molecules, pro-ducing what are called aromachemicals.

Aroma chemicals

Aroma chemicals are often replicas of molecules that occur innature. If they have the same che-mical structure as the moleculesproduced by the plant’s meta-bolism, these aroma chemicalsare termed nature-identical. If the molecules have not yetbeen found in nature, they arecalled synthetic.

Modern fragrance compositionsare typically blends of these threeproduct groups, because this isthe only way to achieve the desiredstandards of quality and keepwithin the price that has been stipulated for the perfume oil.

Natural raw materials – essentialoils and absolues – are very expen-sive, as a great deal of manual labor is involved in obtaining them.Weather conditions can cause thequality of the products to fluctuatefrom year to year; in addition,available quantities are limited by

the potential area available forcultivation. In fact, only 2% of all raw materials and ingredientsthat are employed today consistof natural products.

Nature-identical aroma chemicalscan often be produced at very lowcost, in unlimited quantity and inuniform quality. Moreover, theydo not contain any environmentalimpurities, i.e. they are “cleaner.”

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Raw Materials and Processing

Processing lavender.

1.– 4. Extractors, 5. Evaporator – for the removal of most of the solvent,6. Vacuum distillation equipment for the removal of the last traces of solvent,7. Distillate reciever (solvent), 8. Solvent pump, 9. Condenser for solvent vapours, 10. Settling tank forsolvent, 11. Settling tank for extractsprior to solvent removal, 12. To andfrom tanks, 13. To solvent rectification, 14. Overflow for solvent vapours from the extractors, 15. Solvent flow to extractors, 16. Extract flow fromextractors to the evaporators, 17. Outletfor Solvent – free extracts (concrète).

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Extraction

yellow: concrète, violet: solvent, red: material to be extracted, blue: water

To simplify their work, perfumersalso employ so-called bases.These are fragrance compositionsthat can be added to a creation inthe form of ready-made fragrancemodules. Originally developed toimitate the scents of plants fromwhich no extracts can be obtained,like lily of the valley, lilac or fruits,bases are also employed today as a substitute for costly naturalproducts.

Synthetic aroma chemicals,finally, offer perfumers an addi-tional source of ingredients fortheir creative work and enrich fra-grance compositions by providingunknown sensory impressions.They enable unusual and highlyesthetic creations to be developed;combinations of pure natural substances would undoubtedlybe too one-sided for today’s“consumer noses.”

H&R Scents 11

In the headspacetechnology version shownhere, fragranceoils are very carefully removedfrom the plant for analysis.

Modern fragrancecompositions usually containboth natural andsynthetic rawmaterials andingredients.

In addition, fantasy bases canlend a unique, special nuance to a composition.

One special sub-group of basesconsists of Vitessences. These arenatural and near-natural basesthat are made possible by a specialanalytical method, headspacetechnology. Under this method,the fragrant oils are very gentlyremoved from the plant and thenanalyzed. The perfumer can usethe results to develop especiallyattractive fragrance modules,Vitessences.

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The Perfumer

Perfumers are members of avery special guild in whichprofessional knowledge, rou-tine and craftsmanship areevery bit as important as intu-ition and creativity. In spite ofa five-year training curriculum,there is no official professionalprofile for a perfumer. He – orincreasingly she – has usuallyalready completed an educa-tion. He or she may formerlyhave been a chemist, labora-tory technician, pharmacist orsimply someone from a trulyunrelated profession who hasfound his or her way to theworld of fragrance by chance.

Those who become perfumersoften first came into contact withthis profession through their immediate surroundings: In theirown family, as an employee of aperfume shop, a fragrance or cos-metics house. In addition to thetraining courses that are conduc-ted in these companies to assurea supply of new blood, thereare also independent schools ofperfumery in France and theUnited States, for example.

Although prior intellectualand professional trainingare desirable, what countsfirst and foremost in thisprofession are artistic talentand a pronounced ability to

distinguish between the scent ofa rose and a lily of the valley, theypossess virtually none of the skillsthat characterize “professionalsniffers.” Perfumers are able tocompose their own creations fromsome 2,000 available fragranceingredients. They are able to drawupon their memory to theoreti-cally compose a perfume fromthe ingredients and “smell” thefundamental fragrance impressionin their mind before ever reachingfor the first ingredient to begincompounding the actual compo-sition. After being written downon a sheet of paper, or on a com-puter today, the resulting formulais then physically compounded.

Over the course of numerousattempts, a process that can lastfor days, weeks or even months,the perfumer refines this compo-sition until it reflects his or herideal. This ideal is usually dictatedby the customer’s instructions –summarized in a so-called briefing– that precede the work of theperfumer. These instructions areoften very narrowly defined: The price of the perfume oil, itssubsequent flacon, advertising

The Creative Work of the

Perfumer...

The Creative Work of the

Perfumer...experience on a sensual plane. A perfumer does not have to beable to play a musical instrument,write poetry or paint, for exam-ple. Important traits, though, doinclude a curiosity about beauty,harmony, sounds, pictures, natureand – above all – people. Perfum-ers “compose” their creations,they take tiny bottles of ingredi-ents from a set of shelves that istermed a “fragrance organ.” In describing perfumes, in fact,they speak of “accords.”

What does autumn smelllike in Tuscany?

Although many people are ableto recognize their favorite per-fume or

H&R Scents 13

campaign and marketing strategyhave already been stipulated, andthe perfumer can only work withinthe narrow bounds of this frame-work. Sometimes, though, theassignment is very broad, and the briefing might call for only “a scent that is reminiscent of anautumn stroll in Tuscany.” It isprecisely these “free” assignmentsthat often serve as the nucleus for great perfume classics.

Training that always“follows the nose”

The training curriculum is dividedinto two parts: During a basictraining period of approximatelythree years, trainees learn toknow and differentiate betweennatural and synthetic fragrancesubstances, and become familiarwith their chemical propertiesand olfactory qualities.

They learn composition techni-ques, not just for what are calledthe fine fragrances but also forthe broad field of utility fragran-

cing of cosmetics, hair care products, toiletries, householdcleansers and innumerable che-mical-technical products. A greatdeal of attention is naturally paidto educating the future perfum-er’s sense of smell and olfactorymemory. Even an experiencedperfumer practices daily. Typically,two colleagues will preparevarious smelling strips for oneanother; each must then identify

Perfumer andtrainee workclosely duringthe training curriculum.

A perfume formula.

the scents the other has prepared,and vice versa. As an orientationaid, many perfumers create mnemonics or associate imageswith the fragrances, such as:Iris = powder, patchouli = Oriental market, geranium =Egypt, jasmin = erotic. Because,as described above, only theirolfactory memory, the ability to imagine entire fragrance complexes, to recall them frommemory and to rearrange them in their mind, is what constitutesthe true talent of a perfumer. The nose is simply the most im-portant “inspection instrument”for the task.

During the second half of theirtraining, the fledgling perfumershave an opportunity to provethemselves by working on actualcustomer projects. This often in-volves a stay in a foreign country,which is intended to strengthentheir global understanding oftheir work, while also offeringthem a opportunity to get toknow the regional peculiarities of the country or continent inquestion in order to broaden theirhorizon for their future work.

The Fragrance Circle

Located in the outer circle are theabove-mentioned fragrance fami-lies, at the center only one largegroup – that of the floral notes,which can be combined from thefamilies in the outer circle. To acertain extent, the Fragrance Circlecorresponds to the structure of aperfume. A perfume consists of atop note, a heart note and a basenote, and thus lives from the dif-ferent ways in which its fragrancecompounds evaporate. And bothevaporation as well as the olfac-tory effect it triggers are governedby the perfume’s chemical struc-ture – thus, related chemical struc-tures also have related olfactoryeffects. Consequently, adjacentfragrance families are related toone another in terms of both theirchemical structure and their olfac-tory characteristics. Nor were thecolors in which the fragrance fami-lies are depicted selected merelyby chance. Consumers were askedto associate colors to their olfac-tory impressions. The left side ofthe Fragrance Circle tends to con-

tain feminine colors – as well as feminine

fragrance families– while the

right sidetends tobe mas-culine.

There is no doubt that olfactionis fundamentally a subjectivesensory impression. “I likelavender because it reminds meof my grandmother’s dresserdrawers. No, I don’t like laven-der because it always remindsme of having to stay afterschool.” Is it possible to ob-jectively assess scents at all? Is there an olfactory languagethat rises above subjectiveperceptions and memories?

14 H&R Scents

Fragrance Families

Fragrance Families...Fragrance Families...Just as we learn to give names to colors as children, we can alsoassign names to the various olfac-tory impressions. This producesan olfactory language with anextensive vocabulary that can alsobe scientifically underpinned.

As described above, moleculeswith differing structures only fiton their intended receptors, thusevoking a wide variety of stimuli.Molecules with similar structurescan be combined into olfactoryfamilies, as shown in the FragranceCircle.

The fragrance families that are ofimportance in perfumery are

grouped within the circle,while highly specific

and unpleasant odorsare located outside

it. Smokey warnsagainst fire, souragainst spoiledfoods. As wenear the centerof the circle,the fragrancenotes becomemore complexand are appa-rently perceived

as being increa-singly harmonious.

Light Green

Floral notes

Heavy

Herba

ceou

s

Herbal-spicy

Hexylacetateimparts the fragranceimpression ofripe pears.

Coniferous

Gre

en

Woody

AmberAnim

al

Leather

Toba

cco

Oak

mos

s

Aromatic-

spicy

Balsamic

Sweet-aromatic

Fruity-dark

Fruity-lightAldehyde

Citrus

The FragranceCircle

So what are these families allabout?

Top notes

CitrusFresh, invigorating scents of citrus fruit, like lemon, orange,bergamot or grapefruit.

AldehydeOlfactory chain of the long-chainfatty aldehydes. This is a typical,fatty-sweaty, somewhat pungentand soapy olfactory note. Thespectrum ranges from almondy-fruity green nuances to ironedlaundry fragrances and metallicnuances right through to ozone,ocean-like and waxy scents. Someof the aldehyde fragrances are

related to the smell of humanskin and perspiration.AldehydeC10 offers citrus aspects, whileAldehyde C11 undecylene produces an animalic effect andAldehyde C12 Lauric a cool,almost ozone-like note.

Fruity-lightLively, light fruit fragrances, especially those from fruits withgreen and yellow peels. This groupincludes apple, pear, melon andpineapple scents, for example. As we have already seen, citrusfruits do not belong to this group.Fragrance examples include hexylacetate, which has a pear-likescent, or melon bases.

GreenThis group characterizes typicalbotanical fragrance notes, likethose of leaves, stalks or freshlymown grass, as well as cucum-bery-violet-like green. Vertocitralis reminiscent of leafy green, cis-hexenol of green grass, whilenonadienol tends to be remini-scent of violet and cucumber.

HerbaceaousFragrance notes from the plantkingdom that are closely relatedto green. More complex than theactual green scents, herbaceousfragrances are more aromatic,generally with camphorous,minty, eucalyptus-like or earthynuances. They are usually foundon low-growing, unobtrusivelyblossoming plants, i.e. herbs.Typical examples include rosemaryor sage, as well as peppermintand lavender, a fragrance that is both herbaceous and floral atonce.

Herbal-spicyThe typical fragrance notes ofsuch herbaceous kitchen herbs asthyme or mugwort. In addition toits herbaceous underlying scent,there is also a pronouncedly unique-spicy element, which produces anaromatic impression.

ConiferousThe fragrance note of whole orcrushed conifer needles or resins,which can also display citrusy,herbaceous or aromatic-spicy elements, in addition to its typi-cally earthy note. Moreover, these fragrances are more or lesspronouncedly resinous and green.Pine needle oil is coniferous withcitrus-like accents, while fir balsamtends to be aromatic-resinouswith sweet aspects.

“Green” smellslike freshlymown grass.

� Top note:

Serves as the first impression of a fragrance, is intended to arousecuriosity and vanishes quickly. The families positioned in the upperthird of the circle are employed incomposing the top note.

� Heart note (bouquet):

Forms the actual fragrance characterof the perfume and lasts for hours. It usually consists of floral notes thatcan be accentuated with the adjacentfamilies.

� Base note:

Serves as the foundation uponwhich the perfume is based, is inten-ded to pleasantly underscore thefading scent, and can last up to aday. It is composed from the fra-grance families positioned in thelower third of the circle.

“Citrus” – the fresh, invigoratingscent of citrusfruits.

Fragrance Families

Lilac is a floral note.

16 H&R Scents

Heart (bouquet) notes

Fruity-darkThis group includes the sweet,sultry fragrance notes that mainlyinfluence the heart and basenotes of perfume compositionsand have high substantivity.Examples include raspberry andpeach.

Floral notesFloral notes usually form theheart of a perfume. They, too,can be classified into light, green,floral and heavy. “Light” includestypical springtime flowers like lily of the valley (Muguet), lilac,freesia and light rose notes, oftenwith citrusy or fruity elements.“Green” includes violet, for ex-ample, as well as other blossomsin which a leafy note dominatesbut can often have herbaceous,earthy nuances. Narcotic floralfragrances that are more oftenfound in southern climates thanin more northerly regions are considered “heavy.” These include,first and foremost, jasmin, tube-rose, orange blossom and narcis-sus. In addition to the floral note,

this group often contains pro-nouncedly balsamic, spicy andanimalic notes. There are alsohybrid notes, like hyacinth, thattend to be floral-heavy, but alsohave clear green notes, as well as violet, which is very green butcan also be given a floral-woodyinterpretation.

Base notes

WoodyThis is a group of highly differingfragrances that are reminiscent of chipped wood. One of the differentiations that is made iscedar, which smells like a pencilwith a camphorous off-note. Sandalwood tends to smell sultry,warm and somewhat animalic.Vetiver has a pronouncedly earthyroot note. Patchouli also smellsearthy, but also sweet with fruitynuances.

AmberFragrance notes that are similarto natural amber. This olfactorynote is difficult to describe: Oily-woody with metallic elements,but also slightly nutty with a

Sandalwood – a representativeof the “Woody”fragrance category.

nuance of seawater. The scent ofamber is somewhat reminiscentof human hair. Natural amberconsists of pathological secretionsof the sperm whale. Since thiswhale population has unfortu-nately been decimated, true amberis a rarity today and very expen-sive. However there are imitationsthat come quite close to the na-tural note, such as amber Vites-sence, as well as amber notes of botanical origin, such as lab-danum. The Ambre 83 base has a very sweet amber note.

AnimalIn addition to amber, there arethree further notes of animal origin that are still employed inperfumery today – although theydisplay the typical note of excre-ment, they offer an incomparableerogenous rounding-off effect indiluted form and in compositions.

Musk was originally obtainedfrom the olfactory glands of themusk deer that is native to Asia.This tincture smells sweet andurine-like, as well as somewhatmedicinal. Genuine musk tinctureis priceless today and is very rarelyused. When speaking of musknotes today, what is generallymeant are aroma chemicals thatare largely reminiscent of thisnote, although they typically havea more powdery and significantlyless animalic scent. Civet absolueis obtained from the secretions ofthe olfactory glands of an Africancat, the civet. As these animals arecaptured to obtain the secretions,without causing them any harm,civet is still in very widespread use today as an animalic note. Itsscent is fecal-acidic with a slighthoney note.

LeatherThe fragrance notes of genuineleather and Russian leather. Thisterm is interpreted very broadly.The typical components of leathercompositions include birch tar oil, for example. Isobutyl chino-line often serves as an important leather element. The leather Vi-tessence offers a clearly leatherysmell.

OakmossThis fragrance class refers toextraction products of specificlichen – especially those that growon oak trees. The typical oakmossnote smells uniquely dry, algae-like, with a cheese-rind note anda tar-like, phenolic element, inaddition to green nuances. Lichenthat grow on other types of trees supply extraction products(tree moss) that smell woodierand more resinous.

Cinnamon is a typical representative of invigoratingaromatic Spicenotes.

H&R Scents 17

TobaccoFragrance notes that areinspired by all tobacco-like notes, ranging fromaromatically saucedpipe tobacco to cigartobacco rightthrough the smellof a stale ashtray.Tobacco absolueoffers a typicalscent.

Aromatic-spicyInvigorating aromatic spicenotes that can also containbitter and/or piquant ele-ments. Typical examples ofthese fragrances includecardamom, nutmeg,curry, clove and cinna-mon.

BalsamicHeavy, sweet, rich fragranceswith chocolate-vanilla-like, cinna-mon-like to resinous fragranceelements. These scents were al-ready popular “Oriental” notes inancient times, such as Peru balmor olibanum, i.e. frankincense.Nuances of this family can also be found in many orchid notes.The name is derived from theword “balsam,” which is used to denote certain kinds of resins.

Sweet-aromaticPronouncedly sweet fragrances that smell like honey, almond, marzipan, anise or woodruff, e.g. cou-marin, often with rich-fruity or spicy nuances.In Spite of the segmen-tation in the Fragrance Circle, it should be

remembered that the first im-pression of a perfume is producedby the interplay between all ofthe fragrance materials that areemployed in it – while leather, forexample, is a base note, it isresponsible producing the overallcharacter of the perfume, and isnot just present in the after-scent.

“Tobacco” in all of its facets is an interestingfragrance element.

Application

18 H&R Scents

It would be a mistake to thinkthat the work of perfumersrelates only to the develop-ment of perfume oils for the“fine fragrances” that areoffered so elegantly on theshelves of perfume shops.Almost every time they use apersonal cleansing product ora toiletry or a household clean-er or care product, consumersencounter the perfume oilsthat these products contain.

fragrance. What are meant areperfumes, eau de colognes, eau de toilettes, after shaves andother fragrant splashes, whichtypically have a relatively highperfume oil concentration of between 8 and 20%.

ToiletriesAll products intended for cleaningor grooming the body are groupedin this category, although it alsoincludes perfume oils for cosmeticor sunscreen products.

Household productsThis category comprises all of theproducts that are employed in thehousehold. These include clean-sers and care products, all launde-ring and fabric care products, aswell as air fresheners.

Perfume Oils for a Wide Range of

Applications...

Perfume Oils for a Wide Range of

Applications...As a result of the differing needsand objectives that perfume oilshave to satisfy, they are classifiedinto the following productgroups:

Fine fragrancesThis segment is also termed“alcoholic perfumery,” as alcoholserves as the carrier for the

H&R Scents 19

A perfume’swide range oftasks

The purpose of theperfumes from thefine fragrance group is to use harmonious fra-grance development to reflectand underscore the wearer’s individuality and personality. Inselecting a fragrance, consumersoften also identify with a brand, a fashion trend or a philosophy oflife. They associate their favoritefragrance – either consciously orsubconsciously – with the emotio-nal brand image they have seenfrom advertisements or TV com-mercials, which is usually alsoreflected in the product’s packa-ging and flacon design.

If, for example, an extravertedwoman reaches for a transparentbluish or greenish flacon, sheexpects a fresh-floral fragrancethat reflects her temperament.An introverted consumer willlikely select a flacon in red orgold, which means she wants a warm, Oriental scent. So the perfumer’s creations not onlyhave to be esthetically upmarket“olfactory garments” for thewearer, they also have to blend in harmoniously with the accus-tomed brand image.

A product fragrancing has a different purpose. In this case, the fragrancing is intended tomake the product pleasant forthe consumer to use. The handsshould smell fresh and clean afterthey have been washed with soap.And a freshly mopped floorshould smell clean – but it shouldbe a different kind of “clean”than freshly washed hands.

In product fragrancing, the scentis expected to impart a message –a product’s effect or effectiveness

should not onlybe visible, it shouldalso be “smellable.”The importance of this fra-grance-effect relationship was demonstrated by a simpleexperiment. Consumers wereasked to test three “different”laundry detergents. What they did not know was that while thefragrance was different, the otheringredients in the laundry deter-gent were identical in all threecases. The results were as unam-biguous as they were surprising:Depending upon the fragranceeffect, the effectiveness of the detergent was assessed as

“washed especially gently”,“washed especially clean” or“was hard on the laundry”.

A finished perfume oil isnot created over night

If a new product from one of theabove three segments is to bebrought to market (launched),the manufacturer usually turns toa fragrance producer, a fragrancehouse, to obtain a perfume oilthat is custom-tailored to itsneeds. Only few companies thatuse perfume oils in their finishedproducts have their own in-houseperfumers.

A “briefing” is used to explainthe assignment to the perfumersfrom the fragrance house. Thebriefing contains informationabout the nature and design ofthe new product, about the defined target group for whichthe product was developed and,of course, about such technicalrequirements as usage rate andfragrance profile. And the pricethat will have to be paid for theperfume oil also plays a majorrole.

The briefing serves as the basisfor the work of a team that con-sists of a perfumer, evaluator,marketing specialist and usually aproduct specialist. The membersof this team work together totranslate the briefing into a

Perfumers develop fragran-ces for widely differing productgroups.

Application

20 H&R Scents

fragrance composition that willsatisfy all of the desired criteria. Indoing so, the first step is to selecta fragrance theme that will do agood job of esthetically under-scoring the effect of the product.Only then does the perfumer set about to transform this ideainto a perfume oil. In addition toesthetics, two additional aspectsare also very important – themasking power of the fragranceand its stability.

Masking power means a com-position’s ability to cover up theinherent odor of the medium to be fragranced, for example asoap or a cleanser, without sig-nificantly altering the selected fragrance theme. This can natu-rally only be assessed within thecontext of the application itself,i.e. the fragrance has to be added

to the medium in question andthen tested. This is why perfumehouses usually have product specialists, often chemists, whowork in their own laboratories to develop a wide range of media,such as soaps, shampoos, creamsor dishwash detergents. The perfume oil concentrate is appro-priately added to the medium in atypical concentration (usage rate)of between 0.1 and 2.0 % of thefinished product in the case oftoiletries and household products.

An evaluator then assesses thefragrance in a sample of the finished product. Evaluators arefragrance specialists who have aspecially trained nose and canspeak the professional languageof the perfumers, on the onehand, as well as a very goodknowledge of the market segment

they serve. They thus act as a link between the perfumer, whodevelops the new fragrance witha view to creative aspects, andthe marketing specialist, whoprovides conceptual support indeveloping the fragrance andmaintains an objective, marketing-oriented view.

The fragrance has toprove itself in the finishedproduct

Guided by the evaluator’s assess-ment, the perfumer then variesand modifies his or her compo-sition until optimum fragrancedevelopment has been achievedin the product. Realistic applica-tion tests are an absolute neces-sity in this connection: A laundrydetergent, for example, shouldnot just have a pleasant scentwhen it is added to the washing

The amount of a perfume inthe finished product, e.g. in ashower gel, ranges between0.1 and 2.0%.

An Evaluationstaff member

testing the fragrance

development of a shampoo.

H&R Scents 21

machine. When the wet laundryis removed from the machine, the dried laundry is hanging onthe clothesline and is later ironed– the fragrance always has to benoticeable and pleasing. Thesame also applies in developing a fragrance for a shampoo: It isnecessary to assess fragrancedevelopment and substantivity on both wet and dry hair. Air fresheners or cleansing agents,too, are assessed with respect totheir effect in the room in stan-dardized, individually ventilatedolfaction chambers. Only when all of these tests have producedsatisfactory results is the first stepin the development of a fragrancecompleted.

In addition, the perfumer also has to keep an eye on the stabilityof the fragrance composition as it is being developed. In this case,stability means that only minorchanges in the fragrance mayoccur throughout the long weeksand months that the productspends on a supermarket shelfand in the consumer’s home. Although this would appear to be obvious, it does necessitategood knowledge and experienceon the part of the perfumer. Yet in spite of this professionalknowledge, only a final test canprovide definitive informationabout stability, because a perfumeoil is a blend of a wide range of

substances that can react withboth one another as well as withthe medium that is being frag-ranced. In either case, this couldcause the fragrance to changesignificantly, and often in anunpleasant way. Discoloration ofthe product is also possible. Toavoid both of these risks, specialendurance tests were developedin which the fragrance compo-sition is subjected to weeks ofexposure to heat and light in theproduct. Only when the evaluatorand the perfumer have given

Computer-controlled pro-

duction systemscompound even

huge volumes of perfume oils

with an accuracyof a single gram.

Both the scentof the fabric softener itself as well as thescent of thewashed laundryare assessed.

their thumbs-up to the agingsample is the fragrance develop-ment process concluded. Onlynow will a presentation be madeto the customer. If the customer is satisfied with the fragrance, the composition – which has thusfar been compounded only on ascale of grams – can now be produced on a production scale.Fully automated, computer-con-trolled compounding equipmentthen uses the perfumer’s formulato produce batches of up to several tons in size.

22 H&R Scents

Cosmetic Ingredients

The history of cosmetics isinseparably linked with thatof perfume. The Egyptians,Greeks, Romans and Chinese –all of the high civilizations ofthe ancient world – not onlyendeavored to capture themagic of fragrance in tinybottles and vessels, they alsohad a pronounced knowledgeof the healing and beautifyingeffects of natural extracts,which were the only cosmeticingredients that were availableto them.

The ancient Egyptians bathed in ass’s milk and were the first tomaster the art of producing ointments. Lavishly perfumedointments were stored in artisticvessels and traded by the Phoeni-cians. Decorative cosmetics werealso very widespread – the blackof animal-based kohl was used toaccentuate the eyes, the intensegreen of crushed malachite tocolor the eyelids.

Like perfumery, modern cosmeticsas we know it today is closely linked with the emergence of synthetic chemistry, which enablednew and more effective ingredientsto be produced in larger quantitiesand purer quality. Today, the widevariety of cosmetic ingredientsenables sophisticated cosmeticproducts with a complex product

profiles to be manufactured,prompting lawmakers in

Germany, for example, toissue a clearly defined

definition:

“Cosmetic ingredientsin the sense of thisAct are substancesor substance pre-parations which

are intended to beemployed externally or

in the oral cavity of humanbeings for the purpose of clean-sing, grooming or influencingappearance or body odor or toimpart olfactory effects, unlessthey are predominantly intendedto ease or remedy illnesses, afflic-tions, injuries or pathologicalinfirmities.”

Today’s consumers, though, notonly use cosmetics for utilitarianpurposes – in addition to wantingmildness and environmental compatibility, their focus is pre-dominantly on protection andsensory experience. Modern cosmetic ingredients are availablefor achieving this kind of productprofile. Just as malachite lentcolor to the eyelids of the ancientEgyptians, precisely defined pro-ducts can be employed to createa highly specific, desired effecttoday.

Several examples from daily lifewill now be used to illustrate theinterrelationships that exist be-tween cosmetic ingredients andthe subject of fragrance materialsand aroma chemicals:

Sunscreen products

It might come as a surprise toconsumers to learn that fragrancecompounds and sunscreen ab-sorbers – two classes of productsto which a cosmetic ingredient isadded, but for entirely differentreasons – possess similar chemicalstructures. However this is alsothe case in cinnamic acid deriva-tives, for example. Since fragrancecompounds with this kind ofstructure had already been pro-duced for use in perfume oils, it was an obvious step to developlight-absorbing substances foruse in cosmetic products.

As late as the beginning of the past century, white skin wasconsidered to be a mark of the

Cosmetic Ingredients...

Cosmetic Ingredients...

The ancient Egyptians used the green of malachite as eyeshadow. Today, agreater selection is available.

H&R Scents 23

upper classes, while tanned skincharacterized the working andfarming classes. Parasols and hatswere used to protect the faceagainst tanning, and freckles weredoggedly combated. Cosmeticsthat were intended to whiten the face had already been createdin previous centuries – the em-ployment of such powders andointments sometimes had seriousconsequences though: Whiteninglead derivatives could lead to the loss of hair and teeth, andultimately to serious poisoning as well.

Changes in social structure havemade travel to sunny regions asymbol of recreation and pros-perity today – tanned skin is con-sidered to be a sign of health andyouth. The invisible portion ofsunlight, ultraviolet (UV) radiation,produces a protective reaction inthe skin: It darkens. The pigmentthat is produced in this process,melanin, acts as a natural sun-screen absorber and protects thelayers of skin beneath, althoughits protective effect is in no waycomparable to that of syntheticsunscreen absorbers.

The UV-A radiation in sunlightpenetrates deep into the skin and causes direct pigmentation

(tanning), while the UV-B radiationproduces indirect pigmentationand, in the event of excessiveintensity, an inflammatory reactionin the skin that is commonly termed sunburn. This reaction,which is highly dependent uponskin type, can be viewed as anearly warning system to safeguardagainst excessive exposure to thesun. UV radiation generally leadsto premature skin aging anddamage, and in extreme cases toskin cancer.

There are various ways to safe-guard against the negative effectsof sunshine: The skin can naturallybe covered with clothing. To pro-duce the “healthy” that is usuallydesired, but without negativeside-effects, sunscreen filters (UVfilters) were developed thatabsorb a certain portion of theultraviolet radiation before it canpenetrate into the skin. These are defined organic moleculesthat absorb UV-A and/or UV-Bradiation. They are added to acosmetic agent in order to enablethem to be uniformly applied to the skin. Naturally, just likecolorants and preservatives, theyare governed by detailed officialregulations. There are also inor-ganic sunscreen products. Zincoxide or titanium oxide are used

in the form of microfine pigmentsin cosmetic formulations. Theirprotective effect is based upon a combination of reflection andabsorption of the UV light.

The sun protection factor (SPF)defines the level of protection theproduct offers before erythema(sunburn) occurs. A sun protec-tion factor of 12, for example,means that the user can stay inthe sun 12 times longer thanwith unprotected skin. Standardi-zed methods for quantifying sunprotection factors in a sunscreenproduct have existed in Europeand the United States since the1970s. The best method today isbiological, directly on the skin.Given the present state of the art,comparable physical measure-ments provide only clues to effi-cacy. Tanned skin is

popular, but theright protectionis important.

Aroma chemicalsand cosmetic ingredients canoften have a very similar chem-ical structure.

24 H&R Scents

To not only safeguard againstsunburn but also against prema-ture aging of the skin caused bysunshine, UV absorbers are notonly being used in sunscreen pro-ducts, but are today increasinglyalso being added to such dailycosmetics as day creams or make-up bases. In order to satisfy thiswide range of requirements, theproducers of cosmetic ingredientstoday usually offer an extensiveportfolio of intercoordinatedsunscreen absorbers that are suitable for widely differing fieldsof application and absorb definedspectra of ultraviolet radiation.

Botanical extracts

Back in the seventeenth century,English apothecary Nicolas Culpe-per published a work that is still in existence today, “Culpeper’sHerbal,” which listed all of theeffects of medicinal plants thatwere known at the time. Eventhough this book might tend tomake for historical reading today,it does demonstrate that plantsand plant (botanical) extracts haveenjoyed a firm place in pharma-ceuticals and cosmetics for centu-ries in Europe as a result of theirbeneficial and therapeutic effect.

These tradition-steeped products,which are obtained either throughsteam distillation or alcoholicextraction, are specially designedfor use in washing and personalcare products for the skin, hairand oral cavity.

The extensive spectrum of pro-ducts ranges from extracts ofwell-known domestic plants, likearnica (antimicrobial effect andpromotion of circulation) or ivy(antibacterial and antirheumaticeffect), to such more exotic products as ginseng (stimulating)or ginkgo biloba (promotion ofcirculation and vitalizing effect).The botanical portion of theextracts, which ranges between 3 and 15%, depending upon the product in question, can alsoconsist of a mixture of variousplants, whose ranges of effective-ness are optimally matched toone another. Examples includeproducts that contain a mixtureof chamomile, nettle, rosemary,lemon balm, horse chestnut,sage, horsetail and coltsfoot. In a comparison study, it was possible to demonstrate a clearsebum-reducing effect, i.e. areduction in the amount ofsebum the scalp secretes.

The beneficial effect of chamo-mile has also been able to bescientifically evidenced: Theemployment of chamomile meas-urably retarded the formation of erythema (sunburn), while itaccelerated healing of the skin.

Botanicalextracts are anatural form of cosmeticingredients.

Cosmetic Ingredients

H&R Scents 25

Cooling agents(peppermint and menthol)

Around 40–50% of peppermint,Mentha piperita, consists of onechemical substance: Menthol.The specific structure of this substance produces a feeling offreshness and coolness on theskin and oral mucous membranes.This effect is highly valued, and not just in toothpastes andlozenges – in hot climates, hotsweetened peppermint tea isdrunk for its strengthening andcooling effect.

The active ingredient, l-menthol,can be obtained from pepper-mint, which is cultivated on alarge scale in India and China, for example. However synthetic l-menthol offers a significantlyhigher level of purity. But sincepure l-menthol poses disadvan-tages when employed incosmetic products,scientific findings havebeen used todevelop new

generations of cooling agents:Certain lactic acid esters of menthol, for example, which areemployed in skin and hair careproducts in the acid to neutral pH range (pH 4–8), in particular.Or menthyl glycerinacetal, whichcan be employed in alkalinemedia (pH 8–12), e.g. in a deo-dorant. While l-menthol is alsoemployed as a fragrance materialbecause its minty-herbaceousscent, its derivatives are usuallyodorless, which makes themsuperbly suited for employmentas cooling agents in cosmetics.

What produces this coolingeffect? We know that it is not a physical phenomenon. Its effectis biochemical in nature. The fee-ling of heat and cold is producedby sensory nerve cells that termi-nate directly beneath the surfaceof the skin. When a stimulus istriggered, the impulse is electro-chemically transmitted via thenervous system. When this hap-

pens, so-called neurotrans-mitters, which are controlledby the discharge of calcium

ions, react. Cooling agentsinfluence the release of these calcium ions; they indirectly stimulate electrochemical trans-mission of the stimulus, and therefore produce the impressionof coolness.

Sunscreen products, botanicalextracts and cooling agents arebut three examples of how fra-grance compounds and cosmeticingredients can be combined.Identical sources of raw materials,similar processing or productionmethods and employment in thesame consumer products arewhat relate these two productcategories, which are taking on increasing significance in thecosmetics segment.

Peppermint leafand synthetic l-menthol.

Cooling agentsare often addedto men’s groo-ming productsand cosmetics.

purchase of the raw materialsright through to delivery of thefinished products, with ongoingtests and inspections being per-formed at these critical points inthe production process in order to assure the stipulated standardsof quality.

Testing and managingquality

The foundation for this consistsof a documentation and admini-stration system that governs oper-ational procedures. Under thisconcept, all process steps con-

form to standardized, traceable“standard operating procedures”in order to assure a consistentlyhigh level of quality in all areas ofoperation. Quality coordinators inthe individual departments assurethat this quality managementsystem is instituted and followed.The proper functioning of a sys-tem of this kind can be reviewedin an audit. Satisfaction of all stipulated requirements is con-firmed through the issuance of a certificate under ISO 9000ff.This certification is reviewed everythree years through a new audit,and then either confirmed orwithdrawn.

The quality management docu-mentations are implemented in the form of quality testing.These tests are performed by theChemical and Physical Analysis,Sensory Analysis or Microbiologyservice departments. The testdata developed there are conso-lidated in a cross-departmentalinformation technology system,where they are compared withthe customer specifications.Testing is performed in Receiving,Shipping and in intermediate Production stages.

Incoming consignments of goodsconsist of natural substances, fragrance materials and aroma

Quality Assurance

“To err is human,” goes the old saying. And it is preciselybecause of this that a respon-sible company not only has torespond to potential sourcesof problems but must alsowork proactively to identifyand prevent them. This is one of the goals of qualitymanagement, which hasbecome a crucial aspect ofoperational processes.

In order to produce perfume oils of consistently high quality,potential sources of problemsmust be ferreted out, from

Quality Assuranceand Product Safety...

Quality Assuranceand Product Safety...

H&R Scents 27

chemicals, which are initially subject to an identity inspection.The correctness of the suppliedproduct is first checked by review-ing its appearance and determi-ning its specific gravity. In addition,random samples are taken, whichare then subjected to the sametests and inspections as the products that are later shipped,i.e. the finished perfume oils.

Whether they are raw materialsor compositions – both productgroups have a defined analyticaland sensory profile that is stipu-lated in a product specification.This specification is either definedin-house or contractually agreedwith the supplier or customer. It serves as a kind of “productpassport,” which is checkedduring quality testing. Fast, pre-cise work is crucial in connectionwith the testing, because this is a critical point in the operationalprocess and the goods will not be released for further processingor shipment until all inspectiondata have been tabulated.

The individual inspectionand testing stations

Chemical and Physical AnalysisThe Chemical and Physical AnalysisDepartment reviews the physical-chemical data of the products.Largely automated data capturesystems afford swift testing andevaluation of the samples. In ananalytical laboratory that is airconditioned to a temperature of 20°C, such standard data asoptical rotation, refraction andspecific gravity are determined;automatically sampling gas chro-matographs, so-called autosam-plers, continuously check the“electronic fingerprints” of theincoming samples. The instrumen-tation, which is calibrated daily in accordance with ISO instrumen-tation standards, automaticallycompares the analysis results witha computer-controlled database,

enabling around 90% of all teststo be automated. Only if there isa variance is the result displayed,and the staff then determines –and eliminates – the source of the problem.

Further analyses, such as acidvalue, peroxide value, pH measure-ment or determination of theflashpoint, are performed at thecustomer’s request or for specialproducts. The results of theinspections are input into cross-departmental databases, in whichthe tested status of the goods isadministered.

Sensory AnalysisIn spite of cutting-edge analysismethods, the nose continues to be the most sensitive testing“instrument.” Trained specialistsperform olfactory assessments ofsome 150 samples a day. Aroundhalf of these tests consist of so-called in-process controls. Thesecontrols occur between two process steps. If random samplesare taken from supplied containersin a receiving operation, everycontainer is again subjected to an olfactory inspection when asupply tank is filled. Intermediatestages within the productionflow, such as when raw materialsare dissolved, also have to passthe critical noses of the fragrancespecialists before further proces-sing can occur.

Impurities caused by outsideodors, which could falsify the olfactory impression, represent a

Every sample has an analyticallymeasurable “fingerprint”, which has to coincide with the referencestandard.

Both raw materials andingredients, aswell as finishedperfume oils,undergo nume-rous qualitytests and inspec-tions.

28 H&R Scents

Quality Assurance

problematic aspect of the olfac-tory assessment. Consequently,in-process samples are sent to an“olfactory lock,” which separatesthe production or receiving areafrom a neutral sensory analysisroom that is equipped with its own ventilation system. Here, the fragrance specialists can evaluate the sample and pass on the results directly. Outgoingconsignments of products, i.e.finished perfume oils, are alsoinspected in this kind of room.In this case, the samples are olfac-torally compared with a standardconsisting of previously producedproducts that have been found tobe of proper quality. Dependingupon the size of the perfume oilproducer, some 50,000 to 75,000of these standards, so-called

consignment reference samples,are kept in a storeroom that is airconditioned to a temperature of18°C. They can naturally also beemployed for any other desiredkind of analytical comparison.This collection also includes samples of raw materials andingredients, which are employedas the reference standards forreceiving inspections.

Both a fine nose and experienceare important factors in reliableolfactory sensory assessment. Thescent of the finished perfume oilsalways has to agree with that ofthe standard. However perfumeoils typically consist of complexblends of natural fragrance mate-rials and aroma chemicals, which“mature” with storage, while

The most sensi-tive testing isstill performedwith the nose.

a freshly compounded perfumeoil usually seems somewhat“rougher.” In performing theirsensory analysis work, the frag-rance specialists have to takethese naturally occurring fluctua-tions in the fragrance impressioninto account and be able todistinguish them from a possible

compounding error. But it is notjust the first impression, the impact,that is compared. The olfactoryimpression of the finished pro-duct must also agree with that of the standard after two hours.Assessment by two differenttesters guarantees the mostobjective possible results. How-ever the work of Sensory Analysisincludes more than just a criticalassessment of odor: Color andappearance, too, are checked,and these results, too, are storedin the database.

H&R Scents 29

Microbiological testing of fragrancematerials.

between the individual testingdepartments enables qualitytesting to be performed quicklyand comprehensively on the basisof the defined quality manage-ment system. Any problems thatdo occur are swiftly remedied andsources of problems avoided. Themission and objective is to assurethe consistently high quality and traceability of all steps in theproduction of perfume oils.

MicrobiologyIn Microbiology, selected prod-ucts are tested for the amount ofcertain microorganisms they con-tain. There is no problem ofmicrobial impurity in the case ofaroma chemicals. And most ofthe natural substances that areemployed in the production ofperfume oils, such as essential oils or absolues, generally have an inherent preservative effect.What are tested, though, arethick plant extracts, for example,which are processed upstream in the production of cosmeticingredients. Close collaboration

Why is an international organiza-tion needed? Since the fragranceindustry is also experiencing aglobalization of its markets, thelogical consequence has to berules that apply worldwide. Inter-national self-regulation enablesthe latest scientific findings to be instituted faster than would be possible through legislation invarious countries on differentcontinents.

The IFRA uses the latest scientificfindings to develop minimumrequirements for the safe develop-ment and employment of perfu-mery raw materials and ingredientsand to formulate industry guide-lines that are viable in actual practice. Its members, the nationalassociations of the fragranceindustry, receive constantly up-dated lists indicating which rawmaterials and ingredients are subject to restrictions or may notbe employed at all. In certaincases, their employment is onlypermissible if precisely definedquality guidelines are observed.

Research mission:Product safety

The most important source that is drawn upon when the ScienceCommittee of the IFRA develops

Like the cosmetic ingredients described in the preceding chap-ter, perfume oils, which representa complex blend of raw materialsand ingredients, are also used incosmetic products. The employ-ment of both is subject to nationaland European legislation relatingto cosmetic products.

In Germany, for example, theEuropean Commission’s cosmeticsdirective is implemented in theCosmetics Code (“KVO”), whichis annexed to the Food and No-tions Act (“LMBG”). In addition,numerous national and Europeanlaws and regulations govern thedevelopment and production offragrance materials and perfumeoils with respect to environmentalprotection and job safety.

However the responsibility exer-cised by fragrance houses goesbeyond legal requirements. Backin 1973, the national associationsof the fragrance industry formedan international self-regulatingbody, the International FragranceAssociation (IFRA). One of itsmost important objectives is todraw up guidelines that assurethe safety of people and the en-vironment in connection with theproduction and use of perfumesand perfumed products.

Product Safety

30 H&R Scents

Product Safety andResponsibility...

Product Safety andResponsibility...It is not just quality that plays an importantrole in selecting the raw materials and ingre-dients that are used in the creation of perfumeoils. The safety and harmlessness of theemployed substances for both people and the environment are of key importance.

these guidelines is an independentscience institute in the United States. In 1966 – even before the IFRA was formed – the non-commercial Research Institute for Fragrance Materials (RIFM)was founded with the objectiveof compiling data on all popularperfume oil raw materials andingredients that would be of re-levance for the safe use of theseproducts. An international teamof experts, consisting of pharma-cologists, toxicologists and der-matologists with no economicties to the fragrance industry – to assure their independence –develops this scientific data. If such data are unavailable for a specific raw material or ingre-dients, the RIFM conducts therequired studies. Safety assess-ments of the raw materials andingredients used in perfumery arealways based upon existing data.

In addition, the members of the national associations, theindividual fragrance producers,naturally work in close collabora-tion with independent pharma-cologists, toxicologists and dermatologists – e.g. fromthe university community– to steadily supple-ment safety assess-ment findings.

Today and in the future, these efforts are aimed at assuring thatthe fragrance experience can beenjoyed without any worries withrespect to ill effects on peopleand the environment. This desirefor fragrance experiences, whichis not a fad of recent years, hadalready been sung by the MayanIndians:

How could we live without fragrances?Who would carry our prayers to God?Who would sanctify birth, marriage and death,And who would lend so muchmore bliss to love?

Skin compati-bility tests ofaroma chemicalsare conducted by independentpharmacologists,toxologists anddermatologists.

Perfume oils are a complex blend of raw materialsand ingredients –however theirproduction andemployment aregoverned by in-ternational rules.

H&R Scents 31