Character floral

P-methjlcyclotridecanone [61415-11-0] strong floral musk with an animal character... 

Benzylidene acetone, C Hg. CH CH. COCH, is a crystalline body melting at 42°, having an intense floral odour. It restilts from the condensation of benzaldehyde and acetone under the influence of caustic soda. It has the following characters —... 

It can be used in almost all perfume types to give elegant floral diffusion without changing the fragrance character. Its stability allows application in soap, toiletries, and household products. 

Strauss, S. Y. (1997). Floral characters link herbivores, pollinators and plant fitness. Ecology 78 1640-1645. 

Tollsten, L Knudsen, J. T. and Bergstrom, L. G. (1994). Floral scent in generalistic Angelica (Apiaceae) an adaptive character Biochemical Systematics and Ecology 22 161-169. 

O Very sweet, of rather gassy-pungent character when undiluted, becoming floral-sweet, heavy, when diluted... 

Cresswell J. E. and Galen C. (1991) Frequency-dependent selection and adaptive surfaces for floral character combinations the pollination of Polemonium viscosum. The American... 

Determination of carotenoid profiles in grapes. J. Agric. Food Chem. 49, 5484-5488. Guedes de Pinho, P., Falque, E., Castro, M., Oliveira e Silva, H., Machado, B., and Silva Ferreira, A. C. (2007). Further insights into the floral character of Touriga Nacional wines. 

Another approach to the reproduction of floral notes has come from the work of the creative perfumer based on the use of synthetic materials whose olfactory character may be similar in some respect to that of the flower being copied, whether or not they are known to occur in nature. Many of the floral bases created in this way, although frequently but pale reflections of the flowers themselves, have come to be among the most widely used building blocks of perfumery. 

It is important when beginning work on a floral base to start with as simple a formula as possible, containing only sufficient materials to establish the essential character of the note. This basic accord can later be embellished by the addition of modifying materials and naturals. The most effective floral bases, particularly when designed to be used as a major part of a perfume formula, are often comparatively simple mixtures containing no more than 15, and often fewer materials. More complicated bases, when used in this way or in combination with other florals, may often be the cause of "muddiness" and general lack of impact in the final product. 

Many hyacinth compounds are particularly disappointing in this respect, with the fine floral character being reduced to no more than a "green" effect when used in combination with other floral notes in the finished perfume. The most successful accords, whether they be those that are found in floral bases or those on which the great perfumes are founded, seem to be virtually indestructible wherever they occur. With experience students will learn the ways in which the various types of floral base perform in different types of composition. Most perfumers choose to work with only a limited number of bases, whose performance they are thoroughly familiar with and understand. 

Perfumery style today, demanding a greater initial impact based on a simpler type of formulation, has reduced the use of the type of base that represents a high proportion of the finished composition. But floral bases and those that bring a strong positive character to a perfume are still widely used, and a knowledge of them is an important part of a perfumer s training. 

Alliage, which is at least arguably a floral-chypre, and Chanel 19, a perfume belonging to its own genealogical family of intensely woody floral-green perfumes. These three perfumes have little in common except their green character, and even this is based on different combinations of materials. Beautiful, on the other hand, while reputedly derived... 

In this group we will be looking at four perfumes, predominantly floral in character, based on salicylates in combination with woody notes and musk. This underlying accord has proved to be one of the most successful in perfumery, providing the starting point for many varied and wonderful creations. 

Many derivative and trickle-down fragrances have been derived from Fidji. Its light, green, floral character together with the tenacity of the salicylates and musk make it particularly suitable for use in toiletry products, especially for shampoos and hair conditioners. 

Although less closely related to L Air du Temps than Fidji, we may think of Anais Anais (Cacharel 1979) as a perfume created within the same tradition. Again its character is essentially floral, in this case a combination of "white flowers," including jasmin, muguet, lilac, magnolia, tuberose, honeysuckle, and carnation, with a complex of woody notes, musks, and salicylates (6%). 

Another important innovation is the introduction of a honey note which includes the use of phenylethyl phenylacetate. This can be backed up by the addition of cire d abeilles (beeswax) absolute. Although cire d abeilles varies considerably in quality, it is an excellent material for providing a natural character to an otherwise synthetic floral compound. 

The green side of the perfume which is less pronounced than in Fidji, and more floral, is based on phenylacetaldehyde and cA-3-hexenyl acetate with perhaps a trace of galbanum. Narcisse absolute may also be used. Other materials that add to the building up of the white flower character are Lilial and cyclamen aldehyde in addition to the hydroxycitronellal and Lyral. The tuberose character can be given by the use of the Schiff base derived from methyl anthranilate and Helional, or by the direct addition of methyl anthranilate. The mossy side of the perfume is represented by Evemyl. 

In Arpege (Lanvin 1927) the floral aspect of the fragrance was further developed by the use of compounded floral bases. Greater emphasis was also placed on the woody notes, including vetiveryl acetate, and on the animalic character, with a corresponding reduction in the vanillin and coumarin. 

Unfortunately, few perfumes that are as green as Chanel 19 have a wide commercial appeal outside of the couturier market. However, one perfume that is clearly related to it and that has found some success is Silences by Jacomo (1979). Here the galbanum has been modified by the introduction of a cassis note to produce a perfume of outstanding individuality and beauty. So often we find this combination of green and fruity notes in successful modem perfumes. Most of the structure is very close to that of Chanel 19, though with the addition of benzyl salicylate giving a slightly more floral character. 

Another perfume reputedly inspired by Chanel 19 is Beautiful of Estee Lauder (1986). Although much of the floral and woody aspects are certainly similar, the absence of green and mossy notes takes it into a different area. The addition of fruity and powdery notes to the remaining stmcture has produced a typically American perfume of considerable originality and character. 

The difference between citronellol and citronellal is typical of that between an alcohol and an aldehyde. Although they are clearly related in odor, the aldehyde is, as we would expect from quite a small molecular structure, very much more powerful and harsh. In hydroxycitronellal the addition of an—OH and—H across the double bond (in effect by adding a molecule of water, a process known as hydration) produces an alcohol group near to the other end of the molecule, away from the aldehydic group. The material still maintains some of its aldehydic character but now, in addition, has some of the softness and floral character associated with an alcohol. The presence of more than... 

The most classical artificial substances used in perfumery are as follows (Figure 5). Hydroxycitronellal (99) was found to exhibit the odor of lily of the valley, the essential oil of which is not possible to prepare in the first place. Other classics include ct-amylcinnamaldehyde (100) and musk ketone (101), which were discovered to be good substitutes for jasmine and musk, respectively. Furthermore, perfume No. 5 (Chanel, launched 1921) contained 2-methylundecanal, 1 with so unique an aroma character that it established No. 5 as the pioneer of a new fragrance class — floral aldehydic. 

---