Ballad of Oud
$420.00Notes
Sumatran Tigerwood
SQ Maroke Oud
Red Hojari
Yellow Hojari
Red incense accord
Choya Raal
Cocoa CO₂ extract
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Get 10% off when you subscribe. Please note that delivery typically takes around 7-10 days. If the logistics provider shows as SF EXPRESS, please don't worry—check your email for a message from, Kris. It contains the correct tracking number and instructions! We fully understand that operations in China may not always be as fast as expected, but to show our appreciation, we are preparing a small gift with every order. We promise the wait will be worth it!
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Notes
Sumatran Tigerwood
SQ Maroke Oud
Red Hojari
Yellow Hojari
Red incense accord
Choya Raal
Cocoa CO₂ extract
Size:30ml
Concentration:Extrait
Notes:Dam al-akhawain from Socotra tincture , Red and yellow Hojari frankincense. Olibanum. Opoponax. Mastic. Styrax. Tolu balsam. Orris , Green Kinam oud. Saffron. Jasmine chameli. Vanilla , Black ambergris. Gold ambergris. Civet. Castoreum. Muskrat , Green pine. Blue hemlock. Eucalyptus. Oakmoss.
Dam al-akhawain (دم الأخوين). The blood of the two brothers. The name the resin has carried in Arabic for over a thousand years. Consanguine is the Latin for what the name says. Of the same blood.
The Arabic tradition tells of two brothers of Socotra , Darsa and Samha , who killed each other on the land. The first tree grew where the blood fell. When its trunk is cut , it bleeds red. Dracaena cinnabari grows only on Socotra. The two smaller islands nearest to it are called al-Akhawain , the brothers , after the two who died. The land and the material carry the same name.
The composition holds the tree whole. The milky texture of the fresh resin. The red it dries to. The smoke of its burning. The florals of the land around it. The mythology the resin carries.
The perfume carries what the name carries.
Size:30ml
concentration:Extrait
Ingredients:
Cultivated black kinam , cultivated green kinam , wild Sumatran oud , wild sinensis oud , blue lotus , white lotus , pink lotus , aged tobacco (five varieties) , ambergris , damask rose , civet absolute , Chinese jasmine , saffron , cinnamon , bergamot , grapefruit.
Ijtimāʿ begins with two materials held in opposition. Three lotuses: blue , white , pink , each carrying a different water. Five tobaccos from different soils and different decades. Lotus rises. Tobacco grounds. Water and smoke. Cold and warm. These are materials from entirely different worlds; different climates , different geographies , different places in ritual and memory. Even within the same tradition they are never asked to sit beside each other. The perfume does not try to dissolve the difference. It holds it.
Around this centre , the rest of the composition forms the architecture of balance. Cultivated black and green kinam. Oud from Sumatra and from the wild sinensis species. Ambergris. Silk. Saffron. Civet. Rose. Each material a pillar , positioned to hold the weight of the opposing forces at the heart of the composition. Mizaan: the scale , the balance , the principle by which contrast itself is found.
What Ijtimāʿ does is what contrast does. Opposing forces held in proximity , structured by careful architecture , released together as something neither could have been alone. The ingredients enter the bottle as themselves. On the skin they disperse as remnants of what they were: influenced , changed , marked by their meeting with everything else in the vessel. They do not return to what they were before.
茶马, the tea-horse road. For a thousand years, compressed tea travelled by caravan from Yunnan and Sichuan across high passes into Tibet. The routes were not single paths but a living network, through forests, along rivers, over mountains where the air thinned and the light changed. The stone underfoot, worn by hooves and decades of passage, took on the smoothness of jade.
Jade of Chama is built from that altitude. Seven roses, among them Indian red and pink, open into black tea and green tea, clean and almost alpine in character. Osmanthus brings a quiet, apricot-edged warmth. Himalayan cedarwood holds the base: dry, resinous, mountain wood rather than perfumed sweetness. In the drydown the cedarwood pulls the composition rounded and grounded.
The effect is not floral in any conventional sense. It is tea served at elevation, calm, bright, slightly cool, with the roses dissolved into it rather than standing apart. A fragrance of stillness and passage.
Acacia, 7 Roses, Saffron, Rosewood, White Lotus, Rose Oud Co-distill, Rose Honey Co-distill, Cedar Wood, Green Tea, Black Tea, Osmanthus, Nanmu Wood, Bai Zhi, Chuan Xiong, Hainan Oud, Tangerine Peels, Honeysuckle, Chamomile, Helichrysum, Red Rose, Pink Rose, Taifi Rose, Bulgarian Rose, Omani Rose, French Rose
Extrait de Parfum. 25% concentration. 30ml.
28ml Extrait
Notes:
NEROLI、Pandan Leaf、Kewra、Ylang-Ylang、Rose、Jasmine、Tuberose、Champaca、Kupang Sandalwood、Mongolian Deer Musk、Chinese Deer Musk、Sulawesi Wild Oud
Cocoa absolute, Sandalwood, Fermented Hindi Oud, Butter CO2, Butter tincture, Vanilla oleoresin, Hazelnut absolute, Bitter Almond absolute, Tonka Bean, Madagascan Vanilla tincture
Purple Majestic is built to feel like the colour itself. Not an interpretation, not a metaphor, but purple made sensible through scent. The perfume moves through immortelle’s golden shadow, the cool powder of iris, the soft haze of violet, and the deep velvet of orris butter. At its centre rests a rare purple oud, aged and quiet, holding the entire composition together with a dense, vintage warmth.
The structure isn’t made to show individual notes. Instead, each ingredient completes the others, revealing new dimensions as they settle. The result is a rich and saturated atmosphere, calm, dark, floral, and slightly sweet, shaped to feel like standing inside a deep shade of purple. A scent with weight, stillness, and depth, made to be worn slowly.
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