SKU: 54151520113
white lily oil

white lily oil Buy White Lily Fragrance Oil at Best Price –

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Description

white lily oil Buy White Lily Fragrance Oil at Best Price –BRM White Lily Fragrance Oil Oil Soluble delivers a soft, serene floral note that captures the dewy freshness of blooming white lilies. Its delicately sweet and powdery, making it a go to fragrance for elegant and gentle hand care formulations. Its oil soluble nature ensures smooth blending in clear or creamy liquid handwash bases. Formulation: Liquid Handwash with White Lily Oil Soluble Fragrance Oil White Lily Floor Cleaner Formula (1 kg Batch)

BRM White Lily Fragrance Oil – Oil Soluble delivers a soft, serene floral note that captures the dewy freshness of blooming white lilies. It’s delicately sweet and powdery, making it a go-to fragrance for elegant and gentle hand care formulations.

Its oil-soluble nature ensures smooth blending in clear or creamy liquid handwash bases.

Formulation: Liquid Handwash with White Lily Oil Soluble Fragrance Oil

White Lily Floor Cleaner Formula (1 kg Batch)

Ingredient
 Quantity Purpose
Water (Purified/RO) 500-550g (50-55%) Solvent
Linear Alkyl Benzene Sulphonic Acid (LABSA 90%) 100g (10%) Main surfactant/degreaser
Sodium Hydroxide (NaOH 50%) or Soda Ash As needed Neutralizing agent
Sodium Lauryl Ether Sulfate (SLES 28%) 100-120g (10-12%) High foaming surfactant
Cocamidopropyl Betaine (CAPB) 20-50g (2-5%) Foam booster & skin-friendly
Sodium Chloride (Common Salt) 15-20g (1.5-2%) Viscosity builder
BRM Fragrance Oil 5-10g (0.5-1%) Natural White Lily fragrance
Preservative (e.g., Phenoxyethanol, DMDM Hydantoin) 2-3g (0.2-0.3%) Shelf-life protection
Color (Optional) As needed Visual enhancement


How to Prepare

  1. Pour 50-55% of purified water into a mixing tank.

  2. Add LABSA slowly while stirring to avoid splashing.

  3. Neutralise LABSA using NaOH or soda ash until the pH reaches ~6.5-7.

  4. Gently add SLES while continuing to stir.

  5. Add CAPB to improve foam and gentleness on skin.

  6. Introduce common salt gradually to thicken the base.

  7. Blend in BRM Fragrance Oil, preservatives, and colour.

  8. Top up with the remaining water and stir until fully homogeneous.

  9. Let the solution settle before filtering and packaging.

Key Benefits of White Lily Oil Soluble Fragrance Oil

1. Elegant & Feminine Floral Scent

A romantic, clean aroma ideal for daily use.

2. Clear Blending with Surfactants

Designed to remain stable and clear in water-heavy systems.

3. Everyday Appeal

Suits family-friendly and kids’ product lines thanks to its soft scent.

4. Ideal for Premium Hand Care

Pairs well with sulfate-free or mild surfactant systems, too.

5. Bulk-Ready

Available in packs from 1L to 200kg. You can choose the right size for your needs, from home projects to big batches.

Applications of White Lily Oil Soluble Fragrance Oil

  • Delicate floral handwashes
  • Giftable personal care lines
  • Bridal or spa-themed hygiene products
  • Transparent gel bases with a floral core
  • Calm and elegant refills or dispensers

Why Choose BRM for Bulk & Wholesale Supply?

1. Trusted for Hand Care

Our fragrances are developed to stay stable in pH-balanced personal care products like handwashes and gels.

2. No Oil Separation

Our oil-soluble blends ensure fragrance integrity in formulas.

3. Custom Packaging Options

From 100ml up to 200kg drums; choose your size as your production grows.

4. Lab-Tested Purity

Each batch is accompanied by COA and MSDS for full transparency and trust.

5. Competitive Bulk Pricing

Ideal for businesses looking for premium oils at accessible wholesale rates.

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
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SKU: 54151520113

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4.6 ★★★★★
Based on 18 reviews
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Product Reviews
D
Verified Purchase
David R. Papke
Natrona Heights, US
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
D
Verified Purchase
DoubtfulReader
Houston, US
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 27, 2017
M
Verified Purchase
Matt M.
Grantham, US
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 19, 2021
J
Verified Purchase
J. Christian
Massapequa, US
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 20, 2014
C
Verified Purchase
Classics professor
Belleville, US
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 20, 2017

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