§10.TOPMIDDLEBOTTOMNOTES分析.docVIP

§10. TOP MIDDLE BOTTOM NOTES §10.1 Much of the way we have considered, described, and even designed perfumes over the last several decades (if not a whole century!), has been derived from the concept of top, middle and bottom notes. This concept is derives from the idea that a perfume will have layers of fragrance, which can be progressively stripped away by normal evaporative processes. Thus when a perfume is freshly dipped onto a perfumers strip (or daubed on the skin) the top note is initially perceived which progressively gives way to the top and bottom notes. Perfumes such as “L’Air du Temps” (Ricci 1949) and “Cabochard” (Grès 1959) clearly show this kind of structuring with a sort of structural odour transparency whereby the inner layers of the fragrance can be glimpsed. Monolithic fragrances such as “Tresor” have more recently reversed this trend – whereby overdoses of several particular chemicals maintain a more constant odour evaporative profile throughout its perceptive existence. Although these concepts have been challenged (Mookerjee) perfumers still consider the concept has value as a visualising tool. Top note: the odour impression of a freshly sampled aromatic material has been classically regarded as consisting of the most volatile elements. It is incorrect to assume the top-note profile entirely consists of very volatile elements, although it is strongly weighted in this direction. Examples of top note materials: lemon oil and other citrus oils, lavender oil, neroli oil, galbanum oil are often used in natural perfumery. In classical perfumery top note materials may be provided by, for example, basil, tarragon or cardamom in men’s colognes. Middle note: smelled after several hours (varies with essential oil studied, might for example be one hour with lemon oil, eight hours for sandalwood oil), reveals heart of compound after some of the more volatile substances have departed. Examples of middle note materials: Clove oil, Cinnamon oil, Rosewood oi