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This aromatic compound developed in the 1960s has become one of the most frequently used. When isolated, it evokes the floral and very fresh delicacy of Grandiflorum jasmine, with a slight lemony facet, like a slice of lemon dipped in a glass. In its natural state, it comes into the composition of the scent of tea and jasmine, even if it is quite different, more airy, more luminous. In addition to this transparency and lightness, it binds other ingredients and adds freshness, volume and diffusion to a creation. Francis Kurkdjian refers to it as a breeze of petals.

Ambroxan^TM is obtained from sclareol, one of the natural constituents of clary sage. It was created in the 50s and gradually superseded ambergris, a natural excrement of the sperm whale. Ambroxan^TM emulates its various amber, dry woody and mineral facets. It is a kind of super-potent woody note with a lingering sillage that adds a modern sensuality to any kind of composition. Ambroxan^TM has spawned a large family of similar molecules, often called "amber woods".

As its name suggests, it belongs to the woody family. It intervenes in the heart and in the base, which brings a sort of verticality to the perfumes. In perfumery, we can use different types of cedar with more or less accentuated olfactory facets. The most commonly used is Virginia cedar, Juniperus Virginiana, with the typical odor that emerges when sharpening a pencil: woody, dry, slightly spicy and creamy. It is quite different from the two other major varieties used in perfumery, Texas cedar, which is drier, and Atlas cedar, which is animal and leathery.

Coming from the pistil of a variety of crocuses, this most expensive spice in the world is nicknamed "red gold". Natural saffron is not used in perfumery because it contains safrol, a highly allergenic compound. But its effect is reproduced with one of its derivatives, saffronal. Its very powerful perfume is bitter and slightly metallic, blowing hot and cold on the rest of the composition with also a leathery, tarred facet. Francis Kurkdjian likes to use it in the top layer of a fragrance to break the sweetness of citrus notes. It is often associated with Oud-based perfumes and amber accords.