RELATING PERSONALITY TO PERFUMES 523 LiME = AMBER • MUSK JASMIN Figure 3. Representative perfume materials placed according to effects how does one go about charting a fragrance profile? One searches for the area of greatest emphasis and marks it prominently on the appropri- ate place alongside the perimeter of the diamond pattern. Next, the secondary accents are indicated but not as outstanding as the main element. To illustrate practical application, here are a few examples of Fragrance Profiles. Figure 4A represents Perfume A, which in the parlance of "what it is" would be described as "modern-floral", "floral" because it contains a lot of flower oils or corresponding aromatics, and "modern" as a consumer-oriented synonym for higher fatty aldehydes, which are another and distinctive ingredient. In terms of psychological effects, this fragrance encompasses all, but the prominent effect is erogenic (jasmin and aldehydes). It leans somewhat to the exalting (musk) but a little more towards the tranquilizing (rose). This relative roundness, the absence of drastic contrasts or extremes, and the mild emphasis of the effects most generally desired from perfume may well explain the great popularity of this fragrance type. Figure 4B describes a different story. Perfume B shares the ero- genie effect with Perfume A, but the emphasis is on stimulating and fresh (spice and lavender). Nothing of a sultry or tranquilizing nature is found in this fragrance. Figure 4C illustrates emphasis on the opposite side. Perfume C has its erogenic and exalting components, but the prominence is in the area of sultry (amber and vanilla), which would be unbearable and artistically unsatisfactory if it were not balanced by a strong secondary accent in the soothing-neutral region (bergamot). Finally, Fig. 4D gives the profiles of an exceptional fragrance pro- duct, one without any erogenic effects. Classical cologne is refreshing (citrus) and soothing (bergamot) it leans a little to the tranquilizing side (neroli) but is sexually neutral. Thus men as well as women and even child ten can use it quite properly.

524 JOURNAL OF THE SOCIETY OF COSMETIC CHEMISTS PERFUME A PERFUME B a b PERFUME C PERFUME D c d Figure 4. Fragrance Profiles a--modern/floral bouquet b--fresh/spicy/modern/floral c--oriental d--classical eau de cologne. These examples are sufficient to demonstrate the principle involved. There is, theoretically at least, a specific fragrance profile for every original perfume. PERSONALITY PROFILE Up to this point, a method for classification of fragrances has been established, and a graphic system for its notation has been shown. How can these fragrance profiles be related to personalities ? The method consists of identifying the personality elements which need to be considered in a manner analogous to that used for the Fra- grance Profiles. Polar definitions must be set up and placed at opposite corners of the diamond pattern to obtain corresponding Personal Profiles. It has been shown three elements are required for designing Personality Profiles (4, 5). The first factor is called personality (Fig. 5A). At the top and bottom corners of the diamond are found natural and sophisticated, at the right and left corners independent and compliant. In order to establish the profile, the preferred one of each of the two pairs is checked. The next factor is called temperament (Fig. 5B). Exactly the same principle of juxtaposition is applied: cool vs. warm and vivacious vs. calm. The last factor is called dress (Fig. 5C), which should be understood to incorporate all aspects of outward appearance such as makeup and