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  • DIY Perfumery: Crafting Your Own Fragrances at Home – Aha!NOW

    DIY Perfumery: Crafting Your Own Fragrances at Home – Aha!NOW

    A perfume can be a statement of your style, status symbol, mood freshener, or even works as an impression agent. Today, you can make your own perfume as per your likes and requirements in your home. Here are some basics of perfume making that may tempt you to try DIY perfumery and get creative. ~ Ed.

    The art of making perfumes originated in the ancient civilizations. They discovered that the mixture of essential oils and aromatic chemicals emit a pleasant and fragrant odour. In those ancient times, people even used flowers, herbs, dry fruits, and spices and continued perfecting the perfume-making equipment and techniques.

    Crafting your own fragrance at home not only offers a creative outlet but also enables you to tailor your perfumes to fit your mood, style, and preferences. This guide will walk you through the basics of homemade perfumery, from selecting ingredients to blending your first signature scent.

    The Basics of Fragrance Crafting

    When embarking on the journey of DIY perfumery, it’s essential to understand the balance of scents, especially when working with strong perfumes. These potent essences can be overpowering if not used judiciously. Start with a vision of what you want your fragrance to evoke — be it the freshness of a spring morning or the warmth of a cosy evening by the fire. Remember, the beauty of homemade perfume lies in its ability to be perfectly attuned to your personal scent profile.

    Choosing Your Ingredients

    The first step in DIY perfumery is selecting your base, middle, and top notes. Base notes are the foundation of your perfume, lasting the longest and giving depth. Common base notes include sandalwood, vanilla, and musk. Middle notes, or heart notes, form the core of your fragrance, making it pleasant and balanced. Floral scents like rose, jasmine, and lavender are popular choices. Top notes are the first impression of your perfume, light and evaporating quickly, such as citrus, bergamot, or peppermint.

    Creating Harmony

    The key to a successful DIY perfume is achieving harmony among the chosen notes. Begin with a carrier oil like jojoba or almond oil as your perfume base. Add your base notes first, followed by middle and then top notes. A general ratio to follow is 20% top notes, 50% middle notes, and 30% base notes, but feel free to adjust according to your preference.

    Testing and Refining

    Once blended, let your perfume sit for a few days to allow the scents to meld together. This resting period is crucial for the development of the fragrance. Afterward, test your perfume on your skin to see how it interacts with your body chemistry.

    The Joy of DIY Perfumery

    DIY perfumery offers an enriching and enjoyable experience, allowing you to delve into the art of fragrance creation. It’s a journey of discovery, experimentation, and ultimately, self-expression. As you explore different scents and combinations, you’ll not only create something unique, but you’ll also gain a deeper appreciation for the complexities of fragrance.

    Over to you 

    Have you tried crafting your own perfume at home? What scents inspire you the most? Share your experiences and favourite blends!

    Tamara

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  • How Régime des Fleurs Reimagined Tuberose With a Brutalist Lens

    How Régime des Fleurs Reimagined Tuberose With a Brutalist Lens

    Minutes into a recent meeting at Régime des Fleurs’ sunlit office in lower Manhattan, founder Alia Raza holds out a white paper blotter to smell. This particular fragrance isn’t hers—an unusual opening gesture during a studio visit—but Raza, who made art films before delving into scent, is setting the scene. “This is a really popular tuberose out right now,” she says, referring to the opulent flower at its heart. We both take a whiff. “To me, that smells like a marshmallow, frosting, cotton candy perfume, with some white floral notes,” she observes, with the dispassionate tone of a field anthropologist. I liken it to a fluffy bra—the kind of marabou-tufted accent that belongs in a boudoir. “All made of feathers,” she nods. What piques Raza’s interest is the yawning gap between confections like this and the natural world. A clutch of fresh tuberose occupies a vase on a nearby desk. “If you go back and you actually smell the flower,” she says, introducing the day’s second olfactory sample, “it has this beautiful, penetrating, medicinal, cool quality.” Akin to green rubber, she ventures, or skin ointment.

    It’s an intriguing preamble to Tóor-Tóor, Régime des Fleurs’ unconventional ode to tuberose, created in collaboration with master perfumer Dominique Ropion. “Like me, Alia is a perfectionist, and because she was a filmmaker, her brand is very visual,” Ropion explains via email, highlighting the founder’s multisensory approach. Plus, he adds, “Alia has always had a keenness for tuberose fragrances.” In fact, Raza arrived to their appointment in Paris wearing Carnal Flower, Ropion’s celebrated 2005 fragrance for Frédéric Malle, which centers tuberous and musk. It was a discreet hat tip to the perfumer’s formidable body of work.

    Perfumer Dominique Ropion and Régime des Fleurs founder Alia Raza.

    By Pauline Caronton.

    Raza, seated at one end of a wraparound work table along the office windows, is modeling the brand’s serene classicism in an ivory knit dress. She traces this obsession with white florals to her childhood in Buffalo, New York, the daughter of Pakistani immigrants. “Probably the first time I smelled a tuberose perfume was on my mom’s vanity or dresser or whatever you call it,” she says. It was Guerlain’s Jardins de Bagatelle, a heady aldehydic scent from 1983. (“Eau de sensation, eau de séduction,” cooed the original French advertisement.) The word tuberose had yet to enter the then 10-year-old’s consciousness, but kindred flowers in the family greenhouse, including jasmine and stephanotis vine, stoked a budding curiosity. At 16, a visit to a Manhattan perfume boutique finally put a name to her infatuation. “I was smelling all these different things,” Raza recalls, “and the owner of the shop told me, ‘Everything that you like is tuberose.’” Robert Piguet relaunched Fracas a few years later—the stuff of fashion-magazine lore and nightclub sillages—beguiling Raza enough to become her signature scent. Carnal Flower took its place in her 20s. 

    “I definitely had an affinity for his work, without knowing who he was,” Raza says of Ropion, which makes this collaboration feel like kismet. The Paris-based stylist and editor Christopher Niquet also helped shape the creative concept, sharing photographs of Senegalese architecture taken by Romain Laprade. (The series appears in Volume 3 of Niquet’s magazine, Study.) The house of Leopold Sedar Senghor, a poet who served as the country’s first president, was a particular inspiration—its hulking rust-colored facade giving way to quiet interior rooms. “We were like, ‘Well, this is sort of our Brutalist Senegalese home tour,’” says Raza, summing up the evocative backstory for Tóor-Tóor. The name continues the geographic homage, borrowing the Wolof word for flower. 

    Régime des Fleurs

    Tóor-Tóor Eau de Parfum

    Still, the most intriguing element of this perfume is just how against type it is. Raza might have spent her early years chasing down the greatest hits of tuberose fragrances, but this iteration elides the flower’s reputation as the “symbol of voluptuousness” (as Mandy Aftel notes in her encyclopedic new book, The Museum of Scent, though her aromatic description—“earthy wild mushrooms balanced with creamy lactones”—sounds about right). Even someone who ordinarily avoids white florals is liable to lean in. Such is the case with me: I toted the bottle along to Paris and Palm Springs this fall, discovering how well it melded with urbane opera houses and sunbaked deserts. Ropion’s centerpiece is an Indian tuberose, sourced from the Laboratoire of Monique Remy (“the jeweler of naturals,” he says) and grown in accordance with sustainable practices. “To twist this usually ultra-feminine ingredient, I transposed it next to an explosive and highly masculine trilogy of vetiver extracts,” the perfumer explains. The result is “this mysterious and distorted tuberose.”

    Laura Regensdorf

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  • D.S. & Durga’s Kavi and David Moltz Tune in With Black Tea and Venice Beach Nature Walks

    D.S. & Durga’s Kavi and David Moltz Tune in With Black Tea and Venice Beach Nature Walks

    “The Pacific itself is so looming and crazy,” says David Moltz, D.S. & Durga’s self-taught perfumer, who grew up in the seaside town of Swampscott, Massachusetts. He first caught a glimpse of that “massive” expanse of water during a band tour through Northern California; years later, a lingering feeling of awe continues southward to Los Angeles. “These long beaches with palm trees and people lifting weights and rollerblading and shit, it’s so different than an East Coast thing,” he adds, speaking for a lot of kids raised on an exported vision of California culture. Pacific Mythic—the latest candle from D.S. & Durga, available only at its new Venice Beach storefront—evokes that outsider’s perspective. Kavi Moltz, the design brain to her husband’s nose, gave the label a jagged cliff and setting sun. As for the fragrance itself, David hewed to nature: “The air is balmy. Flowering plants and palms invite you.”

    The Pacific Mythic candle ($70) is available at the D.S. & Durga shop in LA.

    Courtesy of D.S. & Durga.

    Such was the mood on opening night last month, as party guests spilled onto the sidewalk along Abbot Kinney Boulevard, old friends meeting new. Part of what makes D.S. & Durga so singular in the burgeoning fragrance world is the combination of mom-and-pop charm (the founders indeed have two kids) and an audacious sense of possibility. When scouting locations for their first boutique in 2019, they went straight to Manhattan’s Nolita—a sign of them “wanting to play with the big boys,” says Kavi. A spot in Williamsburg followed, with its fittingly high concentration of shopping bags and tattoos. Venturing all the way west to Abbot Kinney made sense for a third location. “A real LA person loves Venice Beach for what it truly is, in the same way that we all think of the East Village,” says David, alluding to the eccentric characters and young artists that historically have populated both neighborhoods. Jonathan Richman’s 1992 song, “Rooming House on Venice Beach,” comes to mind—something that hasn’t slipped past the music-obsessed founders. “That’s on the playlist for Pacific Mythic!” says David.

    Braided-together references are a through line for D.S. & Durga. If The Doors, 2Pac, and Suicidal Tendencies paint the West Coast soundscape, there’s a similar mix on the visual front, informed by Kavi’s graduate studies at the Southern California Institute of Architecture. (She collaborated with the firm Woods Bagot on the Venice store design.) The ceiling, with its radiating spokes, is an homage to John Lautner’s Elrod House in Palm Springs. Touches of Douglas fir nod to a hillside home by SCI-Arc founding director Ray Kappe, which imprinted in her memory after a visit years back. “Even Gehry’s original house with raw plywood was really inspiring to me,” says Kavi. All the while, David has his nose closer to the ground, avidly sniffing whatever plant matter presents itself. This three-day wellness diary is a testament to staying present, from a phone-free dinner to morning meditation. The perfumer jokingly tosses out a quote from “F. Bueller,” the noted bon vivant who surely would have dangled an ’85 Diesel scent tag from the rearview mirror of a borrowed Ferrari. “‘Life moves pretty fast. If you don’t stop and look around…,’” David begins, and the rest is filled in by Matthew Broderick’s imagined voice: “…once in a while you could miss it.”

    Thursday, June 8

    4:45 a.m. David: We took the 7:30 p.m.-er out of the apocalyptic orange skies of New York last night. I failed to sleep on the plane but crushed 30 minutes in the taxi and hit the hay at midnight. Now at 4:45 a.m. the demons of jet lag sing out. 

    I begin the day with my mediation practice. I follow Paramahansa Yogananda’s kriya yoga routine, usually for about 45 minutes. Meditation is a rock-solid reminder of our true nature and the nature of our mind. As K. Scarr once said, “Let’s get connected.”

    5 a.m. Kavi: I do some push-ups in the room as we watch the sun rise along the Hollywood Hills. The Sunset Tower is nowhere near the new store we are in town to open, but I insist on staying here because it strikes the perfect chord of iconic and personal, and because I am loyal. My allegiance has paid off, as last night we arrived to a miniature replica of the hotel rendered in chocolate, and an inexplicable note that says, “Welcome back, Dr. Ahuja.” (The room was booked under my married name, Moltz, and, last I checked, I am not a doctor.) I realize in the clarity of the morning that they must be referring to my mother, the real Dr. Ahuja, since I am still under her phone plan, and in the modern equivalent of the White Pages, my maiden name still follows me. 

    6 a.m. David: Outside I hear local birds chirping. I used to have trouble traveling, and one thing that I always found comforting: Wherever you go, there are always birds that call the place home and sing you sweet songs as a balm.

    I search for a couple cups of black tea with milk. Downstairs I find them. Double bagged. Lil milk. We done. 

    7:15 a.m. David: Outside I putter around the shrubbery of the hotel on Sunset. The flora out here is incredible. I find a bush redolent of thuja cedar that is wonderfully fruity. The ambery underbrush of California pine is very special to me. These are the kinds of observations that find their way into our perfumes. 

    8 a.m. Kavi: Press meetings start at our new storefront in Venice. In the car ride there, we talk about playlists for the opening weekend’s events. I suggest that we christen the space that day by playing only music from New York and California, to represent our travel from east to west. We walk into the store—my first time since it has been completed—and I’m truly floored! We worked with our friends at Woods Bagot, and I’m psyched about the blend of styles and references we achieved here in LA. It’s always nerve-wracking seeing something in person for the first time, so I am relieved. I go to buy some juice to power us through the meetings and ask a few people on our team what they want—I’ll choose for them based on their green tolerance if they give me a number from 1 to 10. My tolerance is a 10: all greens, no fruit, dangerous amount of ginger.

    Laura Regensdorf

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