264 JOURNAL OF THE SOCIETY OF COSMETIC CHEMISTS Women are very conscious about any impressions conveyed through their eyes. Their likes and dislikes 'as far as odors are concerned, how- ever, are completely subconscious nevertheless very definite. A woman may not say that she does not use Jones' bath oil on account of the fact that that par- ticular scent, regardless of how pleasant it is by itself, does not blend with her perfume. In all probability she never consciously became aware of the fact, but subconsciously she is aware of it and as a result does not continue to use Jones' bath oil. Therefore, the beauty of a scent as such is not the only requirement which should guide you in your choice. Unless that beautiful odor at the same time possesses the ability to blend well with practically every perfume type, you are not doing full justice to your product. Light flowery bouquets and odors such as Rose, Jasmine, Lily of the Valley, Ylang, Sandalwood, and Heliotrope are good blending scents. They will go very well with practically any type perfume your customer may wear. Carnation, Lavender, Lilac, Tuberose, Narcissus, Patchouly, Hyacinth, Vetivert, Leather, and Oakmoss types, on the other hand, are scents which may clash with other perfumes. The products of most importance as far as their need for a blending scent are concerned are face powder, talcum powder, soap, and bath preparations. They impart more odor volume to the user than lip- sticks, eye shadow, mascara, and similar preparations. The manufacturer who uses only one scent for a particular cosmetic should therefore use a scent which will blend with practically any of the accepted perfume types. There are only about eight main groups: The Flowery perfumes. The Aldehydy perfumes. The 'Oakmoss types. The Amber Oriental types. The Woody types. The Leathery types. The New Mown Hay types. The Spicy types. I advise you to take the time to study how a scent which you are considering may blend with those different accepted perfume types. If it clashes, drop it from your con- sideration. Such a study will pay you off very handsomely. The manufacturer who is pro- ducing a cosmetic which he offers in more than one scent should have one which is of the blending type so that the customer who uses different per- fumes can use this cosmetic with any of the perfumes she may use on a particular day. Do not choose as your other odors for that same cos- metic, other blending scents. Why have a Rose, a Lily, and a Jasmin as the scents for, let's say, your dusting powder? Any one of the three will do as a blending scent. Choose for the others, scents which will accen- tuate a certain one of the accepted types of perfumes. Whether that is an Aldehyde type, an Oriental type, or a Woody type makes no differ- ence. The advantages that you

CORRECT SCENTING OF COSMETICS 265 then have are a cosmetic which not only has one scent which blends with all perfumes, but two more which will accentuate certain popular type odors and have a definite appeal to the woman who is using that par- ticular type of perfume. It gives your sales girls as well as your ad- vei'tising an additional and valuable talking point. I now come to the last point of consideration when choosing a scent for cosmetics. We all know that there are good, medium, and poor quality cosmetics, but we also know that the difference in the ingredient cost of a good face powder and an average quality Gce powder is a small one. The difference in cost of basic ingredients of a good toilet soap and the very finest will not be more than 10 per cent and the same holds for practically all cosmetics. Against this small difference in basic ingredient cost, we know that there is a very great difference in the selling prices, and that difference has to be justified. Unless your formulation is so outstanding that your particular cosmetic is doing a better job than your competitors, a much higher price is not justified. You will admit that many of the low-priced cos- metics are as sound and efficient from a functional standpoint as the higher priced ones. The higher priced ones, therefore, have to justify that difference in selling price by giving additional value to the customer, and the most effective increase in value is accomplished by increased odor value. I lay particu- lar stress on odor value. It. shouldn't be confused with odor volume. Let's take as an example a low- or medium-priced cleansing cream scented with Rose. The job of formulation as well as the scenting of the cream has been well done. Nevertheless there is no question of doubt that a far finer Rose odor em- ployed in the higher selling cleansing cream would warrant that higher price to th$se women who are willing to pay for the additional luxury in odor value received. Simply increasing the quantity of the Rose scent used in the lower priced cream would not accomplish that effect. As a matter of fact, it would defeat the purpose as the cream would then be overscented and disagreeable. Too many high-priced toilet soaps fail to gain and keep the sales volume they should be able to obtain be- cause the manufacturer has over- looked this point. Unless the ad- ditional odor value is present, the final results can be expressed in two words "no sales." One therefore should never have a preconceived idea of how much odor value should be added to cosmetic preparations. It should be in direct relation to their selling price. The low priced ones may possess excel- lent odor value in their price field but the high priced ones in order to be successful should have infinitely greater odor value. The customer who wants extra luxury and exclusiveness and who is willing to pay the price for it should get value received.