Фужерний акорд

The English term fougère was first used to refer to perfume in 1882, with the release of the first perfume of this family. The French word was inherited from Old French fulgiere, which in turn originates from the Vulgar Latin filicaria and Classical Latin filix. The fougère genre was established in 1882 with the creation of a perfume composed by the perfumer Paul Parquet. That perfume quickly gained popularity among male consumers, particularly dandies and refined urban men. It was discontinued in the 1950s, but its central accord of oakmoss, coumarin and lavender was re-used and adapted into many other fragrances. The perfume was later added to the scent archives known as the Osmothèque in Versailles, France, and was re-introduced in 2010.

Coumarin was first isolated from tonka beans in 1820. William Henry Perkin first synthesized it in 1868. Coumarin has been an integral part of the fougère genre of perfume since it was first used in the 1882 perfume that founded the genre. That perfume is considered one of the first modern perfumes for its usage of synthetic aromachemicals. Paul Parquet became joint owner of the fragrance house in 1880 and created that perfume in 1882. Coumarin is a colorless crystalline solid that melts at 71 °C. Humans metabolize coumarin mainly to 7-hydroxycoumarin, a compound of lower toxicity. Its name comes from coumarou, the French word for the tonka bean, which in turn comes from the Old Tupi word for the tree, kumarú. A. Vogel of Munich and Nicholas Guibourt of France isolated it independently in 1820; Vogel at first mistook it for benzoic acid, while Guibourt recognized that it was a new substance and named it coumarine.

Oakmoss (Evernia prunastri) is a species of lichen found in many mountainous temperate forests throughout the Northern Hemisphere. It grows primarily on the trunk and branches of oak trees, but is also commonly found on the bark of other deciduous trees and conifers such as fir and pine. Isoamyl salicylate was added to the fougère skeleton in 1898.

The result was an abstract composition, a radical departure from the late 19th-century taste for realistic evocations of particular flowers. It opens with fresh top notes of lavender and bergamot, develops into a heart of geranium and finishes on a base of coumarin, oakmoss and vetiver.

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