Perfumery in Asia - Reflections upon the Natural, Cultural and Intangible Heritage

“Perfumery” – as the term is used here – refers to the art and practice of producing, refining and consuming aromatic materials in appreciation of their olfactory quality. In Asia, incense, flowers, distillates and aromatic objects especially deserve attention as “perfumes”, if the definition of “perfumery” is widened in this way in favour of a multicultural approach to the vast and diverse world of fragrances and related activities worldwide. For appraising the value of the Asian perfumery heritage, the general considerations by the UNESCO concerning the definition of “heritage” are inspiring for reflecting upon the ethnographic data

Professional Postgraduate Diploma in Marketing Strategic Marketing in Practice Case Study December 2007 The Fragrance Industry

Case study on the Fragrance Industry - tutor's note

Pengaruh Kualitas Produk Dan Harga Terhadap Keputusan Pembelian Rozs Perfumery

The development of perfume in Indonesia is growing very rapidly. Making sales competition between perfume companies higher and making it difficult for companies to compete. One of them Rozs Perfumery must have the maximum ability to produce improvements in product quality and affordable price quotes to attract purchasing decisions made by consumers. With this, it is known that product quality and price at Rozs Perfumery still have many shortcomings. This study is intended to examine the effect of product quality and price on purchasing decisions on Rozs Perfumery products. The research method used is descriptive quantitative with a questionnaire in collecting data on 100 respondents. A number of analytical procedures used are validity tests, reliability tests, classical assumption tests, multiple linear regression analysis, correlation and determination coefficient analysis, to research hypotheses, using SPSS software. As the research findings, the regression equation Y = 12.035, X1 = - 0.297, X2 = 1.075 was obtained. This study found that the effect of product quality and price on purchasing decisions for Rozs Perfume Perfumery was 88.7%, and the rest was influenced by other factors not included in the study. It is known that product quality and price have a significant positive effect on purchasing decisions for Rozs Perfumery perfume. &nbsp

Chemical Profiles of Essential Oils and Non-Polar Extractables from Sumac (Rhus spp.)

Sumac is the common name for a genus (Rhus) with >250 individual species of flowering plants in the family Anacardiaceae. These plants are globally distributed in temperate and tropical regions and can grow on marginal lands, making them strong candidates for renewable bioproduct sources. Despite the extensive historical use of some members of Rhus spp. for tannins and other commercial phenolics, little is known about the non-phenolic components of extracts and essentials oils. The current review highlights opportunities available to extend these limited prior studies to other sumac species, and for obtaining value-added compounds to complement already established phenolic extractions in these commercial plant species. To date, a number of individual aldehydes, fatty acids, long chain alcohols, terpenes and terpenoids, and waxes of commercial or bioactive potential in essential oils and non-polar extractables from selected members of the Rhus genera have been identified. Additional studies are needed to broaden the phytochemical database from other sumac species, and to better quantify the potential yields of these valuable compounds from the plants under natural and agriculturally managed conditions

JENTIL: responsive clothing that promotes an ‘holistic approach to fashion as a new vehicle to treat psychological conditions’

This paper explores an ongoing interdisciplinary research project at the cutting edge of sensory, aroma and medical work, which seeks to change the experience of fragrance to a more intimate communication of identity, by employing emerging technologies with the ancient art of perfumery. The project illustrates .holistic' clothing called the JENTIL® Collection, following on from the Author’s SmartSecondSkin' PhD research, which describes a new movement in functional, emotional clothing that incorporates scent. The project investigates the emergent interface between the arts and biomedical sciences, around new emerging technologies and science platforms, and their applications in the domain of health and well-being. The JENTIL® Collection focuses on the development of .gentle., responsive clothing that changes with emotion, since the garments are designed for psychological end benefit to reduce stress. This is achieved by studying the mind and advancing knowledge and understanding of how known well-being fragrances embedded in holistic Fashion, could impact on mental health. This paper aims to combine applied theories about human well-being, with multisensory design, in order to create experimental strategies to improve self and social confidence for individuals suffering from depressive illnesses. The range of methodologies employed extends beyond the realm of fashion and textile techniques, to areas such as neuroscience, psychiatry, human sensory systems and affective states, and the increase in popularity of complementary therapies. In this paper the known affective potential of the sense of smell is discussed, by introducing Aroma-Chology as a tool that is worn as an emotional support system to create a personal scent bubble. around the body, with the capacity to regulate mood, physiological and psychological state and improve self-confidence in social situations. The clothing formulates a healing platform around the wearer, by creating novel olfactory experiences in textiles that are not as passive as current microencapsulated capsule systems generally are

Scent By A Wireless Web

‘Scent Whisper’ is a jewellery project that provides a new way to send a scented message. The two pieces focus on a spider and the defence mechanism in bombardier beetles that squirt predators with a high-pressure jet of boiling liquid in a rapid-fire action. The devices involve microfluidics and wireless technology that link a remote sensor (a spider) with a fragrance-dispensing unit (a bombardier beetle) to create two items of jewellery that constitute the ‘wireless web’. A message is ‘scent by a wireless web’’ from a spider to a bombardier beetle brooch, that sprays a minute sample of fragrance. The purpose is to benefit human wellbeing, through olfaction stimulation of the autonomic nervous system, and as a novel communication system to send an aroma ‘message’ that could be healing (lavender), protective (insect repellent), seductive (pheromones) informative or communicative. The user whispers a secret message into a spider brooch, which transmits the message to a beetle brooch worn by an admirer. The spider’s sensor, implanted in its abdomen records the humidity of her breath and releases scent from the beetle onto a localized area, creating a personal ‘scent bubble’. About this conference: Wearable Futures was an interdisciplinary conference, aiming to bring together practitioners, inventors, and theorists in the field of soft technology and wearables including those concerned with fashion, textiles, sportswear, interaction design, media and live arts, medical textiles, wellness, perception and psychology, IPR, polymer science, nanotechnology, military, and other relevant research strands. Examining how some broad generic questions could be explored in relation to wearable technology the conference referred to but was not restricted to: aesthetics and design, function and durability versus market forces; the desires, needs and realities of wearable technologies; technology and culture; simplicity and sustainability; design for wearability; wearables as theatre and wearables as emotional 'tools'. Wearable Futures actively aimed to encourage debate, discussion and the formation of collaborative projects across a wide range of disciplines. Key fundamental questions across the conference in relation to wearables were: What is out there? Who wants it? What do they want? How is it achieved? Keynotes were drawn from the field of fashion and textiles through Suzanne Lee and Sarah E. Braddock Clarke; interactive design through Chris Baber; and design and computational arts through Joanna Berzowska. These diverse speakers provided an overview for the wide range of papers, poster and exhibits (over 60) presented in the panels and exhibition covering four broad themes drawn from strands taken from the initial call: Technology and Culture; Aesthetics and Making; Design for Wearability; and Desires, Need and Reality. The conference set out to highlight the growing arena for wearable technologies in an interdisciplinary context and also to look at the positive and negative applications of technology in this context. This was enhanced by the inclusion of an exhibition, supported by the Arts Council of Wales, which ensured that there was space for the rhetoric and the reality of the field to be discussed concurrently. Research within the Smart Clothes Wearable Technologies Group at University of Wales proposes the end-user as key to its practice and this conference reflected that in the approach to selection of papers and exhibits. The conference ensured that the full landscape of the field in 2005 was reflected through practitioners in design, art, craft, science, technology, cultural theory & performance, thus taking the subject beyond 80's and 90's research in which, for example, the work of Steve Mann and MIT put the individual researcher at the centre. Prototypes were an essential component to the conference and curated into the exhibition, which in 2005, in contrast to Mann, shows a focus on making the technology appear seamless rather than celebrating it through high visibility. One year on from Wearable Futures, research in the field seems to have expanded out into other areas of technology and practice with further conferences, applications and publications reflecting these developments. As 2010 becomes the present rather than the future (see Sarah E. Braddock Clarke and Marie OMahony, Tecnho Textiles: Revolutionary Fabrics for Fashion & Design, Thames and Hudson, 1997), what will the realities of wearables, smart materials and technology be in the next ten years? Wearable Futures generated a starting point for this area of debate; a key emerging strand being the focus on the body and its relationship to technology. Cyborg culture is being revisited but the concerns and relationship with the technology are different from the ones of 20 years ago. New materials evolving through Biotech and Nanoscience have the potential to supersede the machine and/or electronic driven devices, contributing to the design and creation of 'new flesh' or carrier of technology. These applications are being explored by creatives, academics and cultural theorists, whilst being applied to prototypes and industry with the end user in mind. Wearable Futures was a window on that changing role in 2005

The Oneiric Reality of Electronic Scents

This paper investigates the ‘oneiric’ dimension of scent, by suggesting a new design process that can be worn as a fashion accessory or integrated in textile technologies, to subtly alter reality and go beyond our senses. It fuses wearable ‘electronic scent’ delivery systems with pioneering biotechnologies as a ground-breaking ‘science fashion’ enabler. The purpose is to enhance wellbeing by reaching a day‐dream state of being through the sense of smell. The sense of smell (or olfaction) is a chemical sense and part of the limbic system which regulates emotion and memory within the brain. The power of scent makes content extremely compelling by offering a heightened sense of reality which is intensified by emotions such as joy, anger and fear. Scent helps us appreciate all the senses as we embark on a sensory journey unlike any other; it enhances mood, keeps us in the moment, diverts us from distractions, reduces boredom and encourages creativity. This paper highlights the importance of smell, the forgotten sense, and also identifies how we as humans have grown to underuse our senses. It endeavours to show how the reinvention of our sensory faculties is possible through advances in biotechnology. It introduces the new ‘data senses’ as a wearable sensory platform that triggers and fine tunes the senses with fragrances. It puts forward a new design process that is currently being developed in clothing elements, jewellery and textile technologies, offering a new method to deliver scent electronically and intelligently in fashion and everyday consumer products. It creates a personal ‘scent wave’, around the wearer, to allow the mind to wander, to give a deeper sense of life or ‘lived reality’ (verses fantasy), a new found satisfaction and confidence, and to reach new heights of creativity. By combining biology with wearable technologies, we propose a biotechnological solution that can be translated into sensory fashion elements. This is a new trend in 21st century ‘data sensing’, based on holographic biosensors that sense the human condition, aromachology (the science of the effect of fragrance and behaviour), colour-therapy, and smart polymer science. The use of biosensors in the world of fashion and textiles, enables us to act on visual cues or detect scent signals and rising stress levels, allowing immediate information to hand. An ‘oneiric’ mood is triggered by a spectrum of scents which is encased in a micro-computerised ‘scent‐cell’ and integrated into clothing elements or jewellery. When we inhale an unexpected scent, it takes us by surprise; the power of fragrance fills us with pleasurable ripples of multi‐sensations and dream‐like qualities. The aromas create a near trance‐like experience that induces a daydream state of (immediate) satisfaction, or a ‘revived reality’ in our personal scent bubble of reality. The products and jewellery items were copyrighted and designed by Slim Barrett and the technology input was from EG Technology and Epigem

Estrogenic activity of phenolic additives determined by an in vitro yeast bioassay

Copyright @ 2001 Environmental Health PerspectivesWe used a recombinant yeast estrogen assay to assess the activity of 73 phenolic additives that are used as sunscreens, preservatives, disinfectants, antioxidants, flavorings, or for perfumery. Thirty-two of these compounds displayed activity: 22 with potencies relative to 17 beta -estradiol, ranging from 1/3,000 to -estradiol. Forty-one compounds were inactive. The major criteria for activity appear to be the presence of an unhindered phenolic OH group in a para position and a molecular weight of 140-250 Da.This work was supported in part under contract with the U.K. Department of Trade and Industry as part of the Government Chemist Programme

Cultural flows and interrelations between perfumery arts in Asia: The Spread and Rise of Agarwood

The perfumery heritage of Asia is renowned for its use of agarwood. This aromatic develops as a natural product in Aquilaria trees which have their origin in the Indo-Malayan region. Distributed via migration and trade, the aromatic product of agarwood has become integrated in perfumery arts throughout Asia. The ethnographic poster presentation at hand visually introduces exemplary fine arts from the prominent cultures of agarwood fine consumption. While comparing and reflecting upon them, histories of cultural contacts, flows and exchanges between the various Asian regions are conjured up. Eventually, characteristics can be discerned which let agarwood become the reason for and the key material of the sophisticated and standout perfumery arts in West and East Asia – namely its sensory nature, its mystic aura, and its commercial exclusivity

Mushroom flavour

Mushrooms and fungi not only present a fascinating world of shapes, both macro- and microscopic, but they are also an interesting source of flavours, fragrances and odours, e.g. garlic, coconut, flour-like, cucumber or fruit-like, as well as the most characteristic for this kingdom of living organisms mushroom-like flavour and aroma. Fungi can possess many different and interesting flavours and fragrances - starting from nice anise-like, fruit-like, cucumber, garlic, to cheese-garlic, and ending with potato or flour-like smells. Some mushrooms emit carbide or distinctly faecal-like odour. The taste of mushrooms is frequently correlated with their aroma. What components does the core of a mushroom flavour consist of? Chemical analysis of specimens reveals compounds responsible for characteristic flavour and odour. It was found that the most characteristic flavour compound is defined mainly by C8 volatiles. Between all C8 compounds the most important for mushroom flavour are oct-1-en-3-ol, octan-3-ol, octan-3-on and oct-1-en-3-on. Fungi and mushrooms can enable biotechnological production of some flavour components, for instance the Nidula niveotomentosa produces a characteristic raspberries compound - raspberry ketone in submerged cultures; the biotechnological production can also provide rare and tasty forest mushroom biomass e.g. edible boletus.Bogactwo aromatów w świecie grzybów pozwala na biotechnologiczne wykorzystanie ich do otrzymywania bądź to czystych związków, jak np. w przypadku ketonu malinowego pozyskiwanego z Nidula niveotomentosa, bądź np. aromatycznej grzybni mogącej zastąpić rzadkie i pożądane gatunki grzybów leśnych, np. borowików