Sweet Bags and Fragrant Samplers: Exquisite Threads @ NGV International

My obsessions are plentiful and run deep. I’m not only potty about perfume and serious about smell, but I’m mad about music and tantalised by textiles too. So, last week I spent a couple of hours at the National Gallery of Victoria’s — now finished — exhibition Exquisite Threads: English Embroidery 1600s-1900s. Expecting my mind to focus very much on the textiles and fabulous hand-worked embroidery in this exhibition, I was soon surprised to discover several references to scent and fragrance, and decided to take some snaps of the relevant pieces to share with you.

Fragrant Samplers

I found not one, but two samplers referring to the scent of flowers at Exquisite Threads. A sampler is a piece of embroidery that is used to both practice and demonstrate skill in sewing various stitches to form letters, text, numbers and images. Samplers often include letters of the alphabet and strings of numbers, decorative borders, and verses, poems or religious quotations. They are usually signed with the name of the person who completed the sampler, and the date. European samplers of the style seen here were regularly produced — and used as educational and moral tools for young women and girls — from the start of the 16th Century to the early 20th Century.

The National Gallery of Victoria (NGV) says the following about samplers:

“For young middle-class women, embroidery was a matter of learning, discipline and moral instruction; skills honed through the making of samplers.” (Quoted from the Exquisite Threads artwork labels pdf)

Sampler by Sarah Burch, Aged 7, 1778.

Sampler by Sarah Burch, 1778. Collection: National Gallery of Victoria.

Sampler by Sarah Burch, silk thread on linen, 1778. Collection: National Gallery of Victoria.

Sampler by Sarah Burch 1778

Sampler by Sarah Burch, detail.

 On Youth

Fragrant the Rose is but it fades in time the Violet sweet,
but quickly past the Prime, white Lilies hang their heads,
and soon decay, and whiter Snow in Minutes melt away
Such and so withering are our early Joys, which time or
Sickness, speedily destroys.

This little verse only has a tenuous connection to fragrance, nevertheless, it is interesting how both smell and flowers are central to its examination of lost youth, and how decaying flowers are used as a metaphor for this loss. It is also interesting that its maker, Sarah Burch, is pondering such themes at the tender age of seven. Regardless, I’m jealous of her needlework skills and cannot imagine a contemporary seven-year-old making anything remotely as impressive as this!

Sampler by Mary Dale, 1813.

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Sampler by Mary Dale, silk thread on linen, 1813. Collection: National Gallery of Victoria.

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Sampler by Mary Dale, detail.

The flowry spring at thy command
Perfumes the air and Paints the land
The summer rays with vigour shine
To raise the corn and cheer the vine
Seasons and months and weeks and
Days demand successive songs of
Praise and be the grateful homage Paid
With morning light and evening shade

Once again, we have a simple poem about nature, including a mention of the perfume of flowers in the spring time. What I love about both of these verses is that people speak of nature as if it’s an important part of life, and that they notice the fragrance of flowers. It makes one realise that nature was much more revered and less cut off from day-to-day life in pre-industrial England than it is now.

Sweet Bag / Purse, Early 17th Century

This exquisitely hand-embroidered purse, or “sweet bag” dates from the early 17th Century and is made from linen, silk (thread), gilt-metal (thread), and seed pearls.
"Sweet bag", early 17th Century. Collection: National Gallery of Victoria.

“Sweet bag”, early 17th Century. Collection: National Gallery of Victoria.

“What on earth is a sweet bag”, I hear you ask? The NGV’s exhibition label describes it as follows:

“This small square purse is typical of bags of the period, sometimes described as ‘sweet bags’ because they held sweet powders to scent clothes and linen.” (Quoted from the Exquisite Threads artwork labels pdf)

The wonderful website Historical Needlework Resources has the following to say about sweet bags:

“‘Sweete Bags’ were produced during the Elizabethan period of English history. They were often given as gifts themselves or they were used as container for gifts, such as gold coins. They are some of the best known examples of Elizabethan embroidery, due to the large number which have survived to the present day. It is likely that they have survived in such numbers because the beauty of the items has made them desirable since they were first made.”

It is thought that such bags were filled with sweet-smelling substances, including spices, flowers, scented powders and herbs, in order to cover up the unpleasant odours which were rife during this era of poor hygiene and sanitation.


I had such a wonderful time at the NGV’s Exquisite Threads exhibition. Two of my passions, textiles and fragrance, were indulged at once, so how could I not be happy? I hope you’ve found today’s post interesting and that you’ve enjoyed seeing my photos of these beautifully crafted items and learning a little about the history behind them.

As I said, this exhibition finished last week, but if you’re interested in finding out more, or have a penchant for embroidery, you can buy the exhibition catalogue from the NGV website.

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Top Ten Olfactory Moments of 2014

This time of year perfume bloggers around the world often post their top ten fragrance releases of 2014. Living on the somewhat fragrantically-isolated island of Australia, without easy (i.e. free) access to many of these releases makes it difficult for me to write such a post. No matter, as this blog is as much about the sense of smell and all things olfactorial, I am going to list my top ten olfactory moments of 2014 instead, in no particular order. This list includes perfumes, real-life smells that really made a mark on me and my nose, and creative experiences based around scent and fragrance.

Sheep and twin lambs in the clean, fresh country landscape.

1. Moving to the country

Moving to a small rural town in Australia, away from the stinking, pollution-filled hubbub of Melbourne this year, has given me access to clean, fresh air, a wonderful petrichor-like smell as dusk falls and the massive fields of grasses release their oils into the atmosphere, and of course the smell of sheep. We live on a sheep farm, and I love the smell of oily, slightly animalic lanolin that pervades the air subtly at all times. It’s warm and comforting, just like the smell of your favourite woolly jumper.

Guerlain's Shalimar

Guerlain’s Shalimar

2. Shalimar

As much a constant in 2014 as the clean country air, the gorgeously rich, animalic and constantly delightful Shalimar was my most worn fragrance this year. While I own this in many different vintages and versions, including several flankers, the 2010 EDP is the version I like most. Every time I wear Shalimar, it surprises me, but it also soothes me. I wear it on special occasions, when I want to wear an old favourite, and when I need cheering up.

Bois des Iles by Chanel (vintage version)

Bois des Iles by Chanel (vintage version)

3. Smelling Bois des Iles for the first time

When a friend brought her large bottle of Chanel’s Bois des Iles to a lunch catchup last Easter, I was taken aback by this beauty. I’ve long been a fan of sandalwood, and smelling Bois des Iles for the first time, I felt like I’d discovered the superlative sandalwood fragrance. This fragrance is such a gorgeous melange of creamy sandalwood, ylang ylang and spice, held together with the floaty, fizzy lightness of aldehydes. This will be a life-long love, up there with my favourite fragrance Shalimar.

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Smell walks

4. Smell Walks

When I started this blog, I started going on smell walks. Smell walks are an exercise in mindfulness, appreciating the present, and the everyday smells around me. These walks open my nose up to all kinds of smells, and I’m learning to notice and appreciate all the odours around me, not just those that are considered pretty or pleasant. A good side-effect of these walks is that I am more mindful of the smells around me most of the time now, whether I choose to write about them for Perfume Polytechnic, or not. If you’re interested, you can read about my Smell Walks here.

Karatta House – finally restored

5. Making my own “Karatta” perfume with Emma Leah at Fleurage

Not only was this a creative person’s dream activity, making perfume for the first time under the guidance of perfumer Emma Leah, but I had a ball sniffing all of the 80 ingredients available to me! What fun for a perfume enthusiast! Best of all, I got to create a perfume that was a tribute both to a wonderful old family holiday house, Karatta (in Robe, South Australia), and to my now-departed father, who had dreams of restoring this lovely old mansion from a state of extreme disrepair, but was not able to do so.  You can read about my experience at Fleurage making my own perfume here and here.

Karatta Beach, Robe

Karatta Beach, Robe

6. The smell of the ocean at Robe

Just before Christmas I made a pilgrimage back to Robe, South Australia, the little seaside town where we spent many family holidays throughout my childhood. I wanted to see Karatta House, and I wanted to see if my smell memories (from creating Karatta perfume, see above) were accurate. The ocean at Robe has the most beautiful smell: intensely salty, strong, slightly fishy, and incredibly fresh. It was marvellous, and I think Emma at Fleurage captured this salty sea smell very well in the Karatta perfume that we created together.

Giant Morton Bay fig tree

Giant Morton Bay fig tree

7. The Moreton Bay fig tree

Smelling the Moreton Bay fig tree at my childhood holiday house in Robe for the first time in almost 27 years was a treat. This fig note also made it into my Karatta perfume, but smelling the actual tree, in real life again, offered so much more than I remembered. If you haven’t smelled a Moreton Bay fig (it’s an Australian type of ficus), let me describe it for you: it’s a bit like a standard fig tree, but with some differences. It’s sweet and figgy, but also dusty, slightly earthy and powdery. It’s a strong smell and this massive old tree gave off quite a fabulous aroma.

Hyper-Natural at the NGV

Hyper-Natural at the NGV

8. Chandler Burr’s Hyper-Natural scent exhibition at the National Gallery of Victoria

Melbournites were treated to an exhibition curated by Chandler Burr at the National Gallery of Victoria (NGV) this past spring. This scent exhibition, situated in the gardens behind the NGV, was a delight. It featured sniffing stations, or “pods” that contained seven different Guerlain fragrances and the corresponding aromachemicals that feature in each fragrance, and atmospheric mist (sadly unscented, but visually pleasing) was pumped into the air around the garden. The sniffing stations were arranged chronologically in the garden, starting with Jicky (1889), and ending with one of Guerlain’s most recent releases, L’Homme Idéal. I attended the opening keynote speech given by Chandler, and a guided tour with him the next morning, and visited the exhibition a couple more times. Hyper-Natural was my first ever fragrance exhibition, and as Guerlain is my favourite house, this event was pretty exciting! I also made lots of new fragrance buddies and met some online fragrance friends in person for the first time. You can read my blog posts about Hyper-Natural here.

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Cèpes Mushroom

9. The smell of Cèpes Mushroom Absolute

At a meetup at Fleurage Pefume Atelier a few months back, a small group of Melbourne perfumistas got to smell many rare and unusual fragrance ingredients. A highlight of the night for many was the cèpes mushroom. This unusual perfume ingredient smelled of an intensely savoury and rich combination of mushroom and vegemite. I would love to smell this ingredient in a perfume one day. If you want to smell this magnificent, rare ingredient for yourself, you can purchase some from my friend, perfumer Mark Evans (of Evocative Perfumes and Hermitage Oils) here.

Rainbow Lorikeet feeding on a lemon myrtle tree. Copyright  James Niland, Brisbane, Australia.

Rainbow Lorikeet feeding on a lemon myrtle tree.
Copyright James Niland, Brisbane, Australia. URL: http://upload.wikimedia.org/wikipedia/commons/2/20/Trichoglossus_haematodus_-Brisbane%2C_Queensland%2C_Australia-8.jpg

10. Native Australian Spices at Saltbush Kitchen, Ballarat.

Olly Technic and I had a thrill just yesterday while we were snacking at the new Saltbush Kitchen Cafe at the Museum of Australian Democracy at Eureka (M.A.D.E.) in Ballarat. As well as offering scrumptious food and drinks using Australian ingredients (something that is done far too infrequently in Australia), they had for sale some Australian “Bushfood” spices that smelled absolutely incredible. Our favourites were Lemon Myrtle (a sharp and vibrant smell reminiscent of fresh lemongrass, but somehow richer), Strawberry Gum (a combination of eucalyptus, and intensely sweet, sharp strawberry), and Aniseed Myrtle (a strong, sweet aniseed smell with a hint of lemon myrtle). It was a great olfactory experience to finish off 2014! You can read about Saltbush Kitchen here, and while their yummy herbs and spices are not yet for sale online, they do have plenty of other temptations to indulge in. Or if you’re visiting Ballarat, drop in and see them at M.A.D.E.


I do hope you’ve enjoyed my top ten wrap-up of olfactory experiences in 2014. What were some of the best things you’ve smelled this year? I’d love to know – make a comment in the box below!

Happy New Year readers and followers and thanks for your support in 2014. See you next year!

Polly Technic

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How Does Hyper-Natural Smell? Scent Chemicals at Chandler Burr’s National Gallery of Victoria Exhibition

Yesterday I revisited the Chandler Burr scent exhibition, Hyper-Natural, at the National Gallery of Victoria (NGV) in Melbourne, Australia. To recap, the Hyper-Natural exhibition showcases seven fragrances by Guerlain, presenting them in scent stations, or “pods” in the garden at the rear of the NGV. Each of these pods contains pools of each fragrance, and also the synthetic scent chemical (molecule) used prominently in each of these fragrances. There is also some curatorial information inside each pod (which I draw from in this post) about each scent chemical and fragrance and the significance of the chemical and how it is used in the completed fragrance. I gave an overview of the opening events of Burr’s exhibition a few weeks ago, including the Keynote Address and a curator’s tour. You can read that post and see some great photos of Hyper-Natural here. You can also visit the NGV website to read about the exhibition.

Today I want to talk about how Hyper-Natural smells. For those of you who don’t live in Melbourne or who don’t have the good fortune of being able to visit Hyper-Natural, I want to describe to you how the scent chemicals (molecules) in the exhibition smell. The Guerlain fragrances themselves are generally easily found in department stores and will be well-known to many of you, so I won’t spend too much time describing them here. We don’t often have access to the isolated chemicals or ingredients used in perfumery, however, so it is a treat to be able to smell them and describe them to you, so you can share in the experience of Hyper-Natural.

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One of the scent stations at Hyper-Natural, with Chandler Burr standing to the right of the “pod”.

Before heading out to the garden to sniff the exhibition, gallery patrons are encouraged to pick up a card containing tear-off strips to dip into each scent chemical and fragrance, to facilitate the sniffing process.

Cards to tear off, dip and sniff.

Scent Station 1 – Scent Chemical: Coumarin / Fragrance: Jicky

Coumarin is the common name for scent molecule 2H-chromen-2-one. It was created out of necessity, at a time (the 1800s, in Europe) when it was hard to source certain raw, natural perfume materials. Coumarin is supposed to smell like the tonka bean from South America. It was synthesised by an English chemist in 1868 and was used by perfumer Aimé Guerlain in Jicky in 1889.

What does coumarin smell like to me?

Coumarin does smell like tonka beans, an unusual ingredient I’ve been lucky enough to find and smell at a boutique spice shop in Melbourne called Gewurzhaus. I’ve also eaten it as a flavouring in white chocolate, where it imparted a soft, vanilla-like taste. For a scent chemical, coumarin actually smells very natural. It has a subtle almond, marzipan, creamy vanilla kind of smell.

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The inside of Scent Station 1: Coumarin/Jicky

Scent Station 2 – Scent Chemical: Ethyl Vanillin / Fragrance: Shalimar

Ethyl Vanillin was created by chemists in 1872. It is described by Burr, in the curatorial notes, as a more powerful version of natural vanillin. This chemical is a good example of a “hyper-natural” smell: it’s like the natural smell that it references, but is amplified. Because of the strength of the chemical, Shalimar only uses 2% ethyl vanillin, yet the vanilla note in Shalimar, for those of us that know it, is very dominant, testifying to the strength of ethyl vanillin. Jacques Guerlain created Shalimar in 1925; rumour has it, he added a quantity of ethyl vanillin to Jicky to create Shalimar. Whether or not the creation of Shalimar was this simple (there are other differences between the compositions of the fragrances too), Shalimar does smell like a more vanillic version of Jicky.

What does ethyl vanillin smell like to me?

Like coumarin, this scent chemical also smells very natural, but as Burr says, it is more intense than natural vanillin. To me it is a sharp, savoury, strong, natural-smelling vanilla.

Scent Station 3 – Scent Chemical: Sulfox / Fragrance: Chamade

While this scent molecule is extracted from a shrub, it doesn’t smell particularly natural. At Chandler Burr’s Keynote Address, audience members had different ways of attempting to label this smell, with the general consensus being that the smell is strong, fruity, chemical, yet not particularly nature-identical (unlike coumarin and ethyl vanillin). In Chamade, perfumer Jean-Paul Guerlain balanced out the “oomph” of this synthetic ingredient with large quantities of similarly powerful ingredients such as blackcurrant and galbanum.

What does sulfox smell like to me?

To me sulfox smells like a slightly funky version of passionfruit, specifically the inside of passionfruit skin, after you’ve cut it open and eaten it with a spoon, crossed with a faint, chemical, burning smell, like that of burning rubber.

Scent Station 4 – Scent Chemical: Polysantol / Fragrance: Samsara

Sniffing station 4: Polysantol / Samsara. At the curator’s tour with Chandler Burr and the NGV’s Ewan McEoin.

Mysore Sandalwood, much used in perfumery, has been over-harvested, leading to a world-wide shortage and the need to create synthetic versions of this very popular fragrance ingredient. Polysantol is just one of the synthetic versions of sandalwood to have emerged, which each representing a facet of the natural material, but unable to replicate natural sandalwood in its entire complexity. Burr considers polysantol to be an abstracted, streamlined version of sandalwood, stripped of its cedar and tar-like aspects. Polysantol is a starring note in Jean-Paul Guerlain’s Samsara, a gorgeously creamy, rich fragrance that combines faux-sandalwood and jasmine in a heady and comforting combination.

What does polysantol smell like to me?

Polysantol smells like a creamy, slightly fake version of sandalwood. It’s almost a little sickly sweet and too cloying on its own. In Samsara, the jasmine provides a balancing counterpoint to this sickly aspect of the scent chemical.

Scent Station 5 – Scent Chemical: Cis-3-hexanol / Fragrance: Aqua Allegoria Herba Fresca

Cis-3-hexanol is a green-smelling scent chemical. As Burr explains in the exhibition notes, there have been other green-smelling scent chemicals before, but cis-3-hexanol is unique in that it smells strongly of cut grass, crossed with the smell of an unripe (green) banana. In Aqua Allegoria Herba Fresca, perfumer Jean-Paul Guerlain uses cis-3-hexanol in combination with other green plant smells, such as mint and green tea, to create a hovering, floating, fresh scent that most certainly references nature but is somehow abstract at the same time.

What does cis-3-hexanol smell like to me?

Cis-3-hexanol smells like a chemical, hyper-natural version of cut grass to my nose. It is also a tad earthy and hints at the cool aspects of crushed peppermint. I can also detect a faint burning smell in this chemical.

Scent Station 6 – Scent Chemical: Methyl cyclopentenolone / Fragrance: La Petite Robe Noire

This scent chemical is considered a “maple lactone”, and, according to Burr’s exhibition notes, is used “to generate sugary caramel notes without associations of fairy floss.” When perfumer Thierry Wasser was working on creating La Petite Robe Noire (The Little Black Dress), he wanted to represent the colour black in the fragrance. As methyl cyclopentenolone has a very deep, dark smell, Wasser chose to use it in La Petite Robe Noire.

What does methyl cyclopentenolone smell like to me?

Methyl cyclopentenolon smells like a deep, earthy, almost-savoury, synthetic maple syrup. It is a touch woody, and burnt-smelling, like a burnt-sugar topping on a crème brulée.

Scent Station 7 – Scent Chemical: benzaldehyde / Fragrance: L’Homme Idéal

Benzaldehyde has actually been around for quite a while, as far as scent molecules/chemicals go. It was created in 1832, and is, according to Burr, notoriously difficult to use because of its intensely strong smell of bitter almond. In L’Homme Idéal, Thierry Wasser has balanced the intensity of this ingredient with coumarin (from Jicky) and ethyl vanillin (from Shalimar), no doubt rounding out its strength with these other, slightly softer gourmand notes.

What does benzaldehyde smell like to me?

Benzaldehyde has a glorious, rich, true marzipan smell. It’s a tad sweet and while it smells a bit like coumarin, is much richer and more intense. As I continue to smell it, after a few minutes I detect a strong cinnamon facet to this chemical. The aldehyde component (aldehydes give fragrance ingredients lightness and help them to “float”) helps to create an overall impression of a floating, hovering, sweet, spicy, cinnamon-infused almond tart filling. It’s incredible, dark, rich and gorgeous, and is my favourite scent molecule in this exhibition.

In Summary

I hope that this report of my own impression of these scent chemicals and a brief discussion of how they were used in the corresponding Guerlain fragrances has helped to evoke a sense of what it is like to experience Chandler Burr’s Hyper-Natural. Have you been lucky enough to smell any of these scent chemicals yourself in another context? Have you been to Hyper-Natural, and if so, what did you think of these ingredients? What did they smell like to you? I’d love you to share your thoughts in the comments below.

Bibliographical note: I drew upon the curatorial/exhibition notes from the NGV’s Hyper-Natural exhibition in order to write this report, however, the opinions stated about each scent chemical are my own.

Chandler Burr’s Hyper-Natural Exhibition at the National Gallery of Victoria

Chandler Burr’s Hyper-Natural exhibition in the garden at the National Gallery of Victoria

Chandler Burr’s scent exhibition Hyper-Natural: Scent from Design to Art opened recently at the National Gallery of Victoria (NGV). I attended the Keynote Address given by Burr on the evening of Wednesday, 24th September. Burr and co-curator Ewan McEoin introduced us to the key concepts behind the exhibition, and Burr spoke at length about his own philosophy of scent-based art and design, interspersed with discussion of the materials and fragrances that are on display in Hyper-Natural.  The talk was somewhat free-form and very high-energy. Burr riffed without notes or script, pacing up and down the stage with a headset microphone on, interrupting his address periodically to introduce to the audience, one-by-one, the seven synthetic scent molecules and related Guerlain fragrances from the exhibition. Each fragrance in the exhibition uses one of these scent molecules, some of which are nature-identical, which means that they are intended to mimic a natural smell, such as sandalwood or vanilla, while some are new smells entirely, devoid of intentional reference to existing smells.

Here is a short snippet from an article Burr wrote in The Age prior to the exhibition – it encapsulates some of the concepts behind the exhibition:

In 1969 Jean-Paul Guerlain designed a work entitled Chamade with the synthetic p-Mentha-8-thiol-3-one, which smells like a neon fruit salad of sulfury mango and guava powered by the nuclear radiation of the Fukushima reactor. [Note: Yes, I actually want to say this, and yes, the shock is the point.] It is a shocking material, and it let Guerlain create a work that presented these natural olfactory aspects not as natural but as hyper-natural. Which is why my exhibition, in which you will smell these molecules and these works, is called Hyper-Natural.

Text quoted from this article in The Age, September 19, 2014.

Burr speaking at the Keynote Address

During Burr’s address, a group of volunteers and staff busily dipped perfume blotters (tiny white cardboard strips used to test perfume) into large silver flasks of fragrance and scent molecules that lined the stage in front of Burr and handed them out to the audience. As we sniffed each of the blotters, Burr told us what they were, and interacted with the audience: asking us whether we thought the molecules smelt like something else (natural or otherwise), and if we could identify the Guerlain fragrances. All of this was interspersed with copious amounts of audience chatter and with interesting morsels from Burr about the history of scent, anecdotes about famous perfumers, and opinions and assertions about fragrance and the arts. It was an action-packed, fascinating and lively talk, and was followed by questions from the eager audience and a preview of the exhibition.

Hyper-Natural at night

At night-time, in the garden behind the gallery, on a rainy evening, the exhibition emitted an ethereal, fantastical energy. Mist was pumped out into the air around the garden, which, along with the rain, darkness, and aromas emanating from the installation, created a magical and intriguing atmosphere. The installation consists of seven numbered pods: these are white, minimal, column-shaped sniffing stations, one for each molecule and the corresponding Guerlain fragrance. Information about each molecule and fragrance is inside each pod, with the fragrances and molecules lying in small, circular, liquid pools within. A sheet of tear-off fragrance blotters is provided (with the name of each fragrance and molecule on it) so that you can dip a blotter into each pool and have a sniff. Moving from pod number 1 to number 7 is also a chronological journey, starting with Jicky (1889), and ending with Guerlain’s recently released L’Homme Idéal (2014).

The paired synthetic scent molecules and fragrances are as follows:

  1. Molecule: coumarin / Fragrance: Jicky (1889)
  2. Molecule: ethyl vanillin / Fragrance: Shalimar (1925)
  3. Molecule: sulfox / Fragrance: Chamade (1969)
  4. Molecule: polysantol / Fragrance: Samsara (1989)
  5. Molecule: cis-3-hexenol / Fragrance: Aqua Allegoria Herba Fresca (1999)
  6. Molecule: methyl cyclopentenolone / Fragrance: La Petite Robe Noire (2009)
  7. Molecule: benzaldehyde / Fragrance: L’Homme Idéal (2014)

Sniffing station no. 1 – Jicky (1889)

The following day, I got to view the exhibition again, and took part in a short curators’ tour with Chandler Burr and Ewan McEoin. The tour was a brief, 30-minute walk around the exhibition, stopping at each station to sniff, with Burr discussing each scent molecule and fragrance as we went along. It was, more or less, a clear and concise re-run of the concepts and information from the Keynote Address the previous night.

Curators’ tour

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Hyper-Natural during the day

It was lovely to see the exhibition during the day and to watch members of the public interacting with the materials. Children seemed to love it, and enjoyed running around the garden, using the mist-generators as makeshift hurdles. Hyper-Natural is a fun, interactive and informative exhibition. It’s a great introduction to scent, the science and design that goes into it, and its history. Sniff it or miss it!

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Hyper-Natural during the day

More details about the exhibition can be found here. Hyper-Natural runs until the 30th November. You can read about some of Chandler Burr’s ideas behind Hyper-Natural in this article from The Age.