For the longest time, I resisted creating a rose-oud perfume. It’s a combination so revered yet so overdone that I questioned whether another interpretation was necessary. But when a semi-bespoke request challenged me to take it on, I finally gave in.
Rose and oud are an undeniable pairing—timeless, evocative, and deeply ingrained in perfumery. Yet, for any perfume house, crafting a rose-oud composition is more than just tradition; it is a test of mastery. A true measure of:
Blending expertise – How seamlessly can the elements be woven together?
Material access – Are the finest, most rare ingredients chosen with precision?
Creativity – What sets this apart from the thousands before it?
Finesse – Is every note intentional, every layer a story
With Melati Gaharu, I explored the floral-oud dynamic through jasmine. But a rose-oud creation is a necessary milestone for any perfumer. And so, Sultan Noir was born—an homage to both the classical and the unconventional.
In this composition, I sought a balance between tradition and artistic freedom. I carefully selected multiple oud varieties—Nepali, Indonesian, Malaysian, and Cambodian—to complement the specific rose profiles I envisioned: Taifi, Malay, Bulgarian, Omani, and Indian. Unlike many rose-oud perfumes, I deliberately avoided Hindi oud to sidestep the expected barnyard intensity. Instead, I introduced a twist—honey, hay, and tonka bean absolute—to shape, soften, and refine the interaction between the floral and woody facets.
The result? A fragrance that doesn’t just showcase rose and oud, but elevates them into something more—a journey through shadows and light, through opulence and restraint. A scent that speaks of heritage, yet whispers of something entirely new.
Sultan Noir is more than a perfume; it is a testament to craftsmanship, restraint, and the infinite possibilities of two of perfumery’s most iconic ingredients.
