Plant Dye Intensive Summary

The plant dye workshop that was originally scheduled for March 1st took place this past Sunday, on March 8th. Lucky for the teacher and attendees it was a fabulously sunny and beautiful day here in the Santa Monica Mountains which added a deeper shade of magic to the whole experience.

Mona, Greg and I arrived at the perfumery early to get things set up. The night before I prepared two things for the day, both based on lavender. The first was a whipped cream cheese and the second was a hand and body balm. For the whipped cream cheese I took one standard block of cream cheese and put it in the food processor with 1 tablespoon Hedcote lavender blossoms (from Ojai), a teaspoon dried Rosemary from our back lot and a few other random herbs that I can't remember...probably sage. I whipped all of together and then put into a glass container for the following morning.

The hand and body butter is something I've been making for a couple years. At some point soon, when I am convinced that it is a fabulous product, it will become available. If any of you fine readers would like a sample tossed into your next order please send me a note.

Back to the workshop...we set up two boiling pots and a large selection of plant material down the hallway next to the perfumery. Meanwhile, inside we set up the other items we would be using and snacks at the lavender colored table within the teaching area.

For our first project we had the option of choosing to dye fabric for a travel bag for our wool wrap or dye a silk scarf. I choose a rectangular silk scarf. The second project was a long wool shawl. Before the dying process Mona took us outside and explained the different colors that the plants might impart to our fabric. There are generalities with plants and colors, but as nature contains wild magick which cannot be tamed, sometimes the color varies. She had fun names for each of the different Eucalyptus leaves, like "Lost Hills" etc. which relates to an exact tree in an area.

We each selected a spot, spread out our fabric and began our compositions, in complete awareness of letting go to the intention of the plant divas. I choose to go for a water color type look for the scarf with colors from my palette, to achieve my desire I used plant materials that printed more in darker brown, umber and mauve hues. This included onion skins and an iron fleur de lis that would add some black.

Once we had all the plant material placed we rolled it all up and tied them with string. Greg's looked like a sushi hand roll, while mine was a super odd shape due to the fleur de lis iron. Once they were rolled and ready we through them into the pot. By the way, a nice benefit of using eucalyptus leaves and other botanicals is that it fills the space with the aromatic molecules, in this case Eucalyptus which made the day feel like we were at a spa.

While our first pieces cooked we each worked on the pocket for our wool shawl and or the travel bag. The pocket for my shawl was made of a few different fabrics including one little piece meant to hang to give it a boho type quality.

Next came the removal and unveiling of first eco printed items. When we pulled them out of the pot they were really hot and steaming, which was tricky when unrolling. Here is a photo of Teresa with hers and one of Monica, leaves and matter included. You will notice how one is more graphic and one more washes of color.

After lunch down at Blue Table we began pulling out our secondary bundles out of the pots. The unveiling of each persons piece was always exciting, producing lots of ou's and  awes.

Above is my wool shawl, freshly unrolled and below folded with pocket exposed.

I'm so grateful to have had Mona come and share her vast knowledge with each of us. It was such a wonder filled day that I wish for every one. Doing these types of activities connects us more deeply to nature and in doing so eases anxiety and increases our relationship with Gaia and other sentient beings on this planet that we share.

Next workshop with Mona will be "Color from the Kitchen" planned for April, details coming soon!

Radiant Orchids

Pantone, the self deemed authority on color , has deemed "Radiant Orchid" the color of 2014. This cool yet warm hue, which gently lounges on the fringes of red violet, has an affinity with the color harmony of Gracing the Dawn and Cimbalom. In fact, if you were to take the lavender shade of Gracing the Dawn and mix in a bit of the pigment of Cimbalom you'd probably have a match.

Radiant Orchid is within the realm of our mascot hue Purple, and thus we are rather thrilled by this as there seems to be much available in this luminous tone.

Orchids, for the most part do not have a scent, nor do we have a botanical essence derived from their flowers. We do have vanilla, the fermented paste from the bean originally from the V. planifolia that grew along the east coast of Mexico. However, when conjuring the image of this wild, tropical orchid we generally associate it with a cocoa brown color.

Thus, if we were to construct a scent from the Illuminated Perfume line that was in alignment with the "Radiant Orchid" I would choose a soft floral with both a warm and cool character. I'm feeling like Gracing the Dawn is perfectly aligned with what the Pantone folk define as Radiant Orchid. If you have a different point of view let me know, I'd love to hear it.

Let's get authentic, shall we?

The biggest challenge for the authentic, botanical perfumer is that many people have no clue as to what a "botanical" perfume is, let alone one that is made by hand with a mission to illuminate the hearts and minds of sentient beings around the world.

Although I do everything I can think of to describe my products with as much clarity as possible, there always seems to be room for more, thanks the nemesis who is willing and ready to help you refine.



Here's a case in point, a gal purchased 1 gram of Impromptu in a vial, I packaged up the order and sent out the next day. She received it within one day and wrote...

"The fragrance is admittedly exquisite - I can't stop smelling the wrist I applied it to - but the quantity is simply too little for the price.. especially given that this a relatively dilute alcohol-based product."

So, she loved the actual item but thought it was too much money. Ummm, Impromptu is the less expensive perfume in my shop, gee, good thing she didn't order GreenWitch! Dilute, Impromptu, wow I have never heard that term associated with this fragrance. She must be using some pretty toxic synthetic perfumes or her nose is totally fried. Probably both.

I contacted her back to get some clarity and explained that I make perfumes by hand using botanical materials. She wrote back the following...

 "Thanks for getting back to me. Let me reiterate that 'Impromptu' is phenomenal - one of the most gorgeous fragrances I've ever experienced. I also acknowledge that it is a hand-made product.
However, the price ($15) still seems too high for the quantity (.5 g). For instance, a .7 ml 'sample' of By Kilian's 'Incense Oud' Eau de Parfum, one of the higher-priced 'niche' fragrances, is available at an online supplier for $5. Both 'Impromptu' and the 'Incense Oud' EDP are alcohol-based. If .7 mL of pure alcohol is equal to .5 grams of the same (I ran the calculation based on an 18 mL = 14 g conversion formula supplied on a U.S. government web site), then you are charging three times the cost of a By Kilian oud/agarwood eau de parfum for your product.

I would suggest charging a more realistic price for your product, one that's more in line with what your competitors in the marketplace are charging."

I am being compared to Killian, how fascinating. Gosh, there is so much here to address, I could write a book. Here is what I am considering writing back, feel free to give me ideas...

"Thanks again for getting back to me with your insights. I am really grateful for this dialogue as it has helped me refine my listing of Impromptu and myself as an artist

Impromptu is a handmade, botanical perfume. Thus, to compare apples to apples I suggest running the numbers based on a comparable brand.

Let's break things down, here is an article titled "Behind the Spritz" which goes into perfume costs for big brands, notice the marketing budget.
http://www.dailyfinance.com/2012/05/22/celebrity-perfume-cost-breakdown/

The reason these fragrances are so inexpensive is that they are using synthetic fragrance materials. One of the perks of these materials, besides that they are very cheap, is that they are stable and since they are fabricated with petro chemicals (plastics) will last on the skin for a very long time, sometimes forever, like the prevalent synthetic musk keytones.

In your note you mention alcohol, this is a really good example to use as a comparison. Bigger brands like Killian use standard perfumers alcohol which is ethanol combined with other ingredients. The alcohol I use comes from a small lab in Oregon that produces beverage/pharmaceutical grade, 190 proof grape alcohol. I often infuse my alcohol with plant matter, usually grown organically from my native plant garden.

Unlike Killian, who by the way doesn't actually make his perfume, he is just an art director working with a perfume house. I work on all levels of my product, from concept, formulation, growing the plant materials and everything involved with marketing including the photographs, graphics and words. My palette is botanical, the way perfumes were made hundreds of years ago before synthetics were synthesized in a lab. Although I refrain from using isolates and historic animal ingredients. Since I have a background in aromatherapy I bring that knowledge to my work as well as the very finest raw materials available to both the aromatherapist and the botanical perfumer.

For the Killian brand this is not even an option because they would have to charge exuberant fees for their fragrances and also could not compete in the world-wide, retail perfume world, which btw, I am not part of.

My intention is to make the most exquisite botanical perfumes that will bring awareness to nature, thus the word "illuminated" in my company title.

Impromptu has garnered a huge following and raves by the perfume blogging arena. My niche market isn't those who buy Killian, it is a much smaller, select group of aware individuals. Roxana Illuminated Perfume is appreciated in over 70 different countries and within every single state in the US. The customer base ranges from: those who are allergic to synthetics; want to support the lost art of botanical perfume; the vision of the brand; those who want a perfume crafted by the hand of an artist; those who want to support nature and a combination of those. As you can see, this has nothing to do with the brand Killian or even the product they produce which is almost completely synthetic, although they don't want you to believe that. Also, take into account that Killian is being sold at retail outlets, my fragrances are only sold by me, online, at the moment.

Of all my fragrances Impromptu is the least expensive because it was created as a gift to my patrons, all my other 1 gram samples begin at $25."

So there you have it, the ball is back in her court.

Talking to someone about botanical vs synthetic is akin to talking to a Republican, it is probably point less. However, at the very least it helps me to refine my position.

Botanical Tapestry

In the nineties we discovered and swooned over the work of artist Andy Goldworthy, now we have the french botanist deemed a "vertical garden designer" Patrick Blanc. Patricks glorious botanical tapestries are beautiful to gaze at while providing all the benefits of garden. I can just imagine the natural botanical perfume emanating from these pieces along with fresh, vibrant oxygen. Here in super dry Los Angeles they probably wouldn't work, unless of course he made them with California natives, even so in the hot summer months it would look pretty dry.


"Using a metal frame against a load-bearing wall, a framework of PVC pipe and layers of polyamide felt deliver water and nutrients to the vertically grown plants in a closed circuit system. Patrick Blanch has showcased his work in public and private spaces world wide." 1



So inspirational! I'd love to visit the wall at the Qantas Lounge at the Sydney Airport however one of his new projects at the Brooklyn Botanical Garden will probably be more do-able.


Andy Goldworthy
Patrick Blanc

1. Unforgettably Yours

Images:
Tree image Andy Goldworthy
Patrick Blanc: 1.Pont Max Juvenal, Aix en Provence, 2. GreenWall, 3. Le Mur Vegetal, Vertical Garden, Living Wall, Paris, France, 4. Vertical Garden in Caixa Forum, Madrid

An Odoriferous Potion

The last week or so I've been craving a "stinky" note in perfume, not only to wear but also to include in formulations. This must be why I love Chaparral so much, it has it. What is the stinky note, called "rank" by perfumistas? Well, for moi it has an element of oud. It's earthy, musky, wild, indole-ish, sour, and grounding. GreenWitch has a bit of a ranky note, reminds me of kimchi, but that's note the one I'm after.

Vetiver, patchouli, labdanum, myrrh, spikenard are some of the botanicals with the right characteristics but not quite. As I mentioned oud is closer to it and will be included. Thus, to satisfy my olfactory fervor I'm going to make a "stinky" chord which will be included in various natural botanical perfumes but will also be made into a solid for me.

Now, off to package more orders and begin sniffing of all my aromatics to find the notes for this foul, odoriferous potion.

Image: Botanical illustration of Myrrh on parchment

Amberesque

Due to popular demand I introduce to you Aumbre as a liquid perfume. The plan was to release this later in the month, however, I have gotten so many requests that the course has altered. At the moment Aumbre is available in 1 gram and 7 gram weights as well as in the trio sampler pack. I am planning another format, however, that will depend on if the samples coming this way meet my extremely high criteria. We shall see, a compromise between aesthetics and availability may be in the near future.


Here are the specs on Aumbre, for details on the orchestration please follow this link here on the blog.

Off to Serendip we go and return with natural botanical perfume titled Ambre for my hombre who chants Aum in the morning and at night. The fragrance contains a synergy of twenty different botanical ingredients. The notes are warm, balsamic, sweet, tobacco and a hint incense smoke The feel is nurturing and exotic.


This true natural botanical perfume does not last on the skin like synthetic perfumes or perfumes not labeled correctly. Since this is an "authentic" nature perfume, made without ANY synthetics, isolates or animal ingredients the longevity may only be a short time. The length of evaporation on the skin is different for everyone. On me and some of my clients Aumbre lasts for up to twelve hours, however, this may not be true for you.


This natural perfume was originally created as a signature scent for my husband, artist Greg Spalenka. There are 7 grams by weight of this luxurious fragrance in a French glass flacon. The perfume is purple gift box ready to give a a gift to yourself or someone special. Also included is an 8.5 x 11 printed information paper which is folded and sealed with the signature bee wax seal.


Fragrance Family: Amber Essences: Resin, Wood and Vanilla.


This is a pure vital nature perfume created with essential oils, absolutes and C02 extracts all from the plant world. I combine my essences and accords with organic, beverage grade alcohol. Layer one of the solid illuminated perfumes over this to extend the lasting performance. All items are handcrafted by my own hands in a smoke and pet-free environment.

Photos ©Roxana Villa, Illustration ©Greg Spalenka

Drawn to Flora

"Deep in their roots, all flowers keep the light"

—Roethke

A few months ago I came to the realization that I’ve been so focused on perfume and the business of perfume that I had stopped drawing regularly. Thus, I set the intention to pick up the pencil at least once a day and draw.

Almost all the imagery I create has a human interacting with nature in some way. This is where my passion lies and becomes an evident symbiotic relationship in the visual and aromatic arts.

The drawing above is of a complex root system for a tree. In art school, after reading “Drawing from the Right side of the Brain” I became addicted to sketching the intricate folds of the brain. During that first year in college my brother was diagnosed as schizophrenic, which caused me to be even more intrigued by brain function.

Over the years I’ve noticed that complex rendering of intersecting curved lines shows up in my work often. The concentration involved in the drawing these forms relaxes me. I can sit happily for hours drawing, completely oblivious to my surrounding.

I’m not sure where this drawing will go, the root ball is based on a previous drawing for an illustration for the City of Hope Annual Report. The ideas sometimes begin in my minds eye and at other times manifest themselves as I work. In some instances a combination of both. This root ball may be for a magical Celtic tree or a fantastical flower. We will see what kind of journey and outcome the muses intend.

An Illuminated Day

My
ojourn
this past Thursday at the Getty was inspirational and rejuvenating. The Getty Center truly is one of great cultural attractions we have here in Los Angeles. Nestled in the Santa Monica Mountains, among groves of Coastal Live Oaks, expansive views, a fantastic collection of art, beautiful gardens AND free lectures.


One could arrive at opening time and leave at closing and still not experience everything offered within a single day. With my handy little Panasonic camera, a small notebook and container of water I made my way to the intended purpose of the visit. Sylvana Barrett was to demonstrate both Gilding and Painting in the Museum Studios. Currently I am enrolled in a two part class at the museum with Sylvana titled Miniature Painting. She is a fantastic teacher, presenting the information in a clear cut manner with lots of visual elements, as well as detailed handouts. The history and use of medieval painting techniques and pigments is fascinating. Although I am in the two day class, this demo went into some specifics not covered in the workshop. I find it's good to hear information a few times anyway, really sinks in that way. During the two hour long demonstrations, to a filled room, I jotted notes vigorously. There is something in the this process that has really struck a chord deep within. In art school I studied book arts and letterpress printing extensively, it was one of my passions. Later purchasing my own Vandercook flatbed letterpress in New York. I've also done quite a bit of gilding on my illustration work. The threads of book arts, illustration, botanicals and a love of historical techniques is evident in my life. Currently all these pieces are weaving themselves into an marvelous tapestry as they are put into place with Roxana Illuminated Perfume.
www.IlluminatedPerfume.com

Unbeknowest to me in June 2007 there was a "Known World Heraldic and Scribal Symposium" in which Sylvana taught a two class on Renaissance Illumination in the Style of Jean Bourdechon. Darn, I missed that one, and it was here locally! Perhaps there will be another.
I have also discovered that there is a Botanical Aritsts Guild with a chapter here in southern California. As an artist working in both the arena of visual art and botanical perfume this sounds worth exploring further.

The Getty Center
Sylvana Barrett
Known World Heraldic and Scribal Symposium
Botanical Artists Guild
A Blog for the Botanical Artists Guild

The Story of Stuff

Ever wonder where stuff comes from and what happens to it?

This awesome little video explains it in a simple,
easy to understand format.
A must see!

The Story of Stuff



Another reason to support pure, botanical perfumes.
Organic - Sustainable - Handcrafted

Image "Blind Tech" ©Greg Spalenka www.spalenka.com

The Origins of Quercus, now Q

“For mine is an old belief ... there is a soul in every leaf.” ~ M.M. Ballou

In late 2005 we were just about to purchase the empty lot next to our little 1950 ranch style home in the Santa Monica Mountains. We had been patiently waiting for the opportunity since first purchasing our home in May 2000. To our horror the neighbor turned around and sold the tiny, substandard lot to a developer. Our intention with the lot was to preserve the four gigantic oak trees and create an indigenous garden. The intention of the developer was to take out all the trees and construct a 3500 square foot palace.
We had always been told that oak trees were protected. Indeed, Los Angeles has something called "The Protected Tree Ordinance", however, the ordinance means basically nothing when it comes to a developer wanting to build.
In the same parallel universe, the blending group I belong to was to make a perfume with the idea of Beltane. Beltane, like the upcoming Samhain, is one of the eight Celtic holidays. An ancient Druid holy day occurring on May 1st. Thus, on Beltane eve, I went out and gathered leaves from a large coastal live oak with the intention that the four trees would stay firmly rooted and thrive. I carefully cleaned the leaves and tinctured them as the base for my Beltane perfume contribution. While the tincture marinated I created a wood chord of sixteen different essential oils, absolutes and C02 extractions from the wood family. After filtering the tinctured leaves I began building the perfume, first with the wood chord and then adding other notes until the fragrance was complete. Pondering what to call the perfume I settled on Quercus, which is the botanical name for Oak. The reviewers in my group raved about the fragrance. One of them mentioned the following to me privately: "I cannot stop sniffing your newest which you call quercus. It is the same name as a Penhaligon cologne (not nearly as beautiful as yours) but I thought you should be familiar with it." At the time I thought, okay...well...we will see what transpires with this Quercus of mine.Today, a friend sent me a note with a little soap enclosed. I gasped when I opened it, on the white paper of the little round, carefully wrapped soap was the word QUERCUS. So, is this a challenge or not? They certainly share nothing similar in the fragrance department, although the Penhaligon description works for our Quercus: Citrus, Amber and Wood. How interesting and so synchronistic. From what I can see on their website the Penhaligon cologne does not appear to have a direct link to Oaks, rather, perhaps they liked the name? After all, Oaks are strongly connected to the Druids. Many of their perfumes are named after botanical nomenclature. My understanding is that one cannot copyright a word like Quercus.
As I write this the four large oaks and several other small ones on the lot are still standing. We have gone before our local Specific Plan Board several times insisting that the trees must not be endangered or cut down. Each time we have won. In the meantime I have gotten involved with several local community groups, our neighborhood has been united and we have all learned a great deal. I now look at our native Oaks and the surrounding landscape with new eyes. I have learned the value of an authentic landscape. Did you know that all those palm trees that have become symbolic of LA are non-native?
I bow to the mighty oak and all they continue to teach me. A portion of the proceeds from the purchase a 1/4 oz bottle of our Quercus perfume goes to the California Oak Foundation.

"I am the Lorax, I speak for the trees, for the trees have no tongues."
- Dr. Suess

Tree People

Penhaligon
Save Oak Savannah
The California Oak Foundation

Perfume, part one

"Perfumes are the feelings of flowers."
~Heinrich Heine

"When words escape, flowers speak."
~Bruce W. Currie

"To create a little flower is the labor of ages."
~William Blake

Perfume can be defined as both a noun and a verb. The noun refers to a substance or combination of substances which impart a fragrance. Perfume as a verb, refers to the actual aromatic particles that waft from the substance mentioned previously. The origin of the word comes from the latin, per “through” and fume “smoke”, thus “through smoke”. Most likely alluding to the use of gums and resins as incense or herbs strewn over fires to impart a pleasant aroma.Perfume most likely originated in Arabia and/or Egypt, refined later by the alchemists and Europeans.
The substances used to create perfume can be natural, botanical, synthetics or a combination. Synthetic compounds, created in a laboratory, became part of the perfumers palette in the late 19th century with the release of the aroma chemical “coumarin” containing a hay-like fragrance. Thus the perfume industry was born. Before the introduction of these laboratory created components perfumers used materials found in the natural world, primarily animal and plant. The animal ingredients consisted of ambergris (from whales), musk pods, civet and castoreum. Plant aromatics included essential oils, as well as infused and tinctured materials. Natural perfumers today continue in this tradition using both animal and plant based “natural essences”, however, the word natural is loosely defined. The botanical perfumer is a product of our current, modern day culture, choosing to use primarily materials of botanical origins, which are whole and complete, meaning, not fabricated in or tampered with in a lab. Occasionally a botanical perfumer may include materials that come from the ocean, such as distilled seashells, material from the bee kingdom or an obscure tinctured material. The palette of a botanical perfumer consists of whole essential oils, absolutes, concretes, c02 extractions, infusions and tinctures. Beeswax is also included in their apothecary, used for the creation of solid perfumes and balms.
The botanical perfume artist practices integral perfume, working to create beauty through the expression of pure plant extractions within the paradigm of sustainability and health.

The scratch board drawing above is from the days when I worked exclusively as an editorial freelance artist in New York. Every month, during the late eighties, I illustrated the fragrance column for Connoisseur Magazine, never suspecting that one day I would find myself in the field.