Arranging Fine Perfume Compositions
                                  The Rose 
                               Glen O. Brechbill
                                FRAGRANCE BOOKS INC.
                               www.perfumerbook.com
                                 New Jersey - USA
                                     2011
                        FraFragrangrancce e BookBooks s IIncnc. . @w@wwwww.pe.perrffumeumerrboobook.k.ccomom
                            Glen O. Brechbill
                     “To my late father and beloved mother without 
                        them non of this work would have 
                             been possible”
     II
     ARRANTING FINE PERFUME COMPOSITIONS - THE ROSE ©
     This book is a work of non-fiction.  No part of the book may be used or reproduced in 
     any manner whatsoever without written permission from the author except in the case 
     of brief quotations embodied in critical articles and reviews.  Please note the enclosed 
     book is based on Fragrance Ingredients by House ©.
     Designed by Glen O. Brechbill 
     Library of Congress
     Brechbill, Glen O.
     Arranging Fine Perfume Compositions - The Rose / Glen O. Brechbill
      P. cm.  323 pgs.
     1. Fragrance Ingredients   Non Fiction.  2.  Written odor descriptions to facillitate the
     understanding of the   olfactory language.  1. Essential Oils.  2. Aromas.  3. Chemicals.  
     4. Classification.  5. Source.  6.  Art.  7. Twenty one thousand fragrances.  8. Science.  
     9. Creativity.  I. Title.
     Certificate Registry # TXu1 - 364 - 187
     Copyright © 2006 by Glen O. Brechbill
     All Rights Reserved
     PRINTED IN THE UNITED STATES OF AMERICA
     10  9  8  7  6  5  4  3  2  1
     First Edition
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                       Arranging Fine Perfume Compositions - The Rose
                               About the Book
        What can I say about the rose.  Of all the ingredients available to a perfumer it is my favorite.  Widely con-
      sidered the most utilized aroma it can be found in most fine fragrances including functional household and per-
      sonal care type products.  Compositional books on the art of fragrance if one can be found are rare.  Two that
      appeared in the early ninetie’s were well constructed.  However, the arrangements of visual elements or ingre-
      dients pertaining to the creative art contained data that would not be pleasing to one’s nose.
        Anyone familiar with an actual composition could tell in an instant that none of the formulas contained
      within these books would work.  The arrangements were terrible plus misleading.  Why would one put togeth-
      er a book containing misinformation you ask?  The fragrance industry does not wish to teach the creative art to
      anyone outside the hands of a few.  In a nutshell a composition is nothing more then a harmonic blend of pleas-
      ing materials in parts per thousand otherwise known as 100 percent that create a fragrance.  In order to learn
      what the materials actually mean, and how they work together, takes years.  One must serve in an officially
      sponsored apprenticeship to master this trade taking years.  There are several fragrance schools including the
      ISIPCA in France along with one’s at Givaudan, International Flavors & Fragrances plus Symrise.  
        Whether any of my fragrance compositions could actually be compounded let alone work is anyone’s guess.
      I do know each display’s the richness of the art to a degree that one rarely sees.  A perfume formula is a care-
      fully guarded trade secret.  A perfumer swears allegance to his employer to safeguard the company treasures.
      What each artist creates is owned by the fragrance house, and is classified as a trade secret.  As a member of a
      secret society one also swears not to divulge any aspect of their craft to outsiders.  Again, this is part of the rea-
      son why there are so few books available on the aroma art.  
        Today the skill is being ruined by the natural perfumers who purchase a single book, and believe after read-
      ing it that they are experts on the art plus have the gall to call themselves a nose.  Stefen Arctander’s is a fine
      one on the subject of essential oils.  By itself, however, it doesn’t give one all the answers.  I read over a hun-
      dred  fragrance  books  before  creating  my  first  one  titled  as  follows  “A  Reference  Book  on  Fragrance
      Ingredients”.  I am not an expert on this subject nor pretend to be.  Here’s mine, and the obvious question is
      where is theirs?
        Many natural artists and I don’t mean all fail to take into account that many essential oil houses cut their
      natural materials otherwise known as boqueting to make money.  Although well-intentioned folks many pos-
      sess little training nor knowledge.  Most fail to understand the consequences of creating aromas with unknown
      health consequences.  Many create their own materials with homemade stills, and pass off their creations as 100
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                           Glen O. Brechbill
     percent natural.  No one knows what long-term exposure to any fragrance material will do to one’s body over
     a long period of exposure.  
       An official nose today known as a Perfumer is also at a disadvantage.  Due to the folks at ( IFRA ) the indus-
     tries stooge, an artist today employs close to one hundred percent synthetic materials in his and her fine fra-
     grances and personal care blends.  Utilizing little or no essential oils fine fragrances made today are deemed
     safer then one’s that were created a hundred years ago that utilized close to one hundred percent natural mate-
     rials.  
       It is my opinion that sooner or later folks will have skin reactions to the synthetic blends.  Again, no one
     has any idea what long term exposure to synthetic materials based on petroleum will in the long term due to
     one’s health, nor do the fragrance houses care.  The fine art is being ruined by this Gestapo type agency indi-
     rectly through the major five players to create a nightmarish creative atmosphere.  In turn it is getting close to
     impossible for a perfumer to incorporate natural materials or for that matter come up with something new.  Most
     of these folks who inhabit positions outside the art possess little or no knowledge of what they are doing.  This
     in itself is helping to ruin it.
       Unfortunately many years ago fragrance houses were run by perfumers.  Today, fragrance houses are in the
     hands of sales, marketing, public relations, advertising, creative director’s who help create myths about what
     fragrances are and aren’t.  The untruths along with increasingly more and more launches are fueling the indus-
     tries declining sales.  Sadly the fine creative art is also in the decline.  Not understanding it is part of the prob-
     lem.  The other side of the coin is the folks who love it, don’t know it and are envious of those who do which
     again are the perfumers.
       Do my fragrances that are in this book work you next want to know?  My answer to that of course is who
     knows.  I do realize formulation books that you see today are for the most part misleading.  Any one of my cre-
     ations can be endlessly changed, and adapted with experimenting.  Taking into the account the cost for many
     of the materials I doubt whether any listed in this book could be made.  However, that in a nutshell is the fine
     art of fragrance.  I personally believe my mini index is a unique perspective to the goods and services that are
     available based on my main book.  Again, the rose is my favorite aroma material.  
       It is my personal belief that within the not too distant future of thirty to fifty years of time the fine art of fra-
     grance will have completely disappeared.  High-speed computers plus automatic compounding machines will
     replace it.  Each fragrance house has millions of compositions in their Libraries.  A single successful fragrance
     can have tens of thousands of variations.  This is part of the reason why there is nothing new today.  An indi-
     vidual scent belongs to a fragrance family.  To be in that family one has to be related to another fragrance.  If
     one comes up with something different that I believe is not possible, a competitor will duplicate it with a gas-
     chromatography computer within a week.
       In today’s world there is nothing new except the endless hype showcasing something unique when in real-
     ity there is nothing new except cheaper, and cheaper fragrances that contain little or no essential oils including
     fewer aroma materials.  This in a nut shell is why the fine art of fragrance is in danger of vanishing.
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