Thoughts
Reception of the New Generation Amouage Attars has been mixed, the reasons for which are not exactly rocket science. First, in order to explicitly associate these new perfumes with the OG attars that had garnered such praise for the brand prior to their discontinuation in 2015, Amouage called these perfumes ‘attars’.
Reader, the New Generation Amouage Attars are not attars. But then, neither were the Old Generation Amouage Attars. The word ‘attar’ refers to a specific (and specifically Indian) manner of production, i.e., the steam distillation of a fragrant material, like rose or vetiver roots, over a base of pure sandalwood oil. These are not that.
Rather, these perfumes are ‘luxe’ concentrated perfume oils along the lines of Alexandria II (Xerjoff), Absolute Amber (Clive Christian), Cardamusc (Hermès), Parfum Fin (Nabucco), Patchouli (Jalaine), or any one of those Henry Jacques oils sold in Harrods. Of course, there is prestige attached to the notion of an attar, so some of these are (erroneously) referred to as ‘attars’ in the marketing materials.
Not to get too technical about it, but it is worth knowing that niche CPOs are not distilled (as in traditional Indian attars) or mixed (as in mukhallats) but instead made to a precise formula in a laboratory in one of Europe’s big oil factories, like Givaudan, IFF, or Symrise, by a perfumer working to a brief. Just like any other perfume, in other words, only instead of being mixed with perfumer’s alcohol and sent off in pallets of 500 units to Sephora or Douglas, these particular formulas remain in oil format, are poured into dinky little bottles, and get sold at terrifyingly high prices as ‘attars’.
The OG Amouage ‘attars’, while not attars at all from a construction perspective, were still definitely authentic mukhallats rather than luxe CPOs. They employed a distinctly Middle Eastern approach to perfumery in both manner of construction and artistic intent. In terms of construction, the OG oils followed a Middle Eastern tradition of mixing (‘mukhallat’ meaning ‘mix’) already distilled attars with oud oil, musks, and resin oils. In terms of artistic intent, the OG oils existed to draw the world’s attention to the glories of an Eastern tradition of perfume making and a wholly Eastern set of raw materials, from the silvery Omani frankincense and peppery Ta’ifi roses to lusty Sambac jasmine, Hindi oud, and Egyptian orange blossom.
It doesn’t take a genius to figure out why Amouage branded the OG oils as ‘attars’ and hard to blame them for doing it. By the time of the original launch, the word ‘attar’ had already come to exemplify – for Westerners – the exoticism, whether real or imagined, of the East. Amouage is an Omani brand with a proud tradition of mukhallat perfumery rather than a Kannauj distiller. But Amouage, being a corporation, has a right to segment its market according to what is deemed to be profitable. So ‘attar’ it was.
Sadly, the OG Amouage ‘attars’ were discontinued and are now largely unobtanium outside of the UAE or the secondary market. But now we come to 2021 and Amouage, seeing the rising popularity of oil-based perfumery, wants to claw back its rightful share of the ‘attar’ market. This time around, they want to position themselves in the high-end consumer bracket, which has been steadily growing. To cut a long story short, that means niche perfume oils that correspond to the luxury consumer’s idea of a perfume rather than maintaining authenticity or fidelity to the Eastern manner of perfume making.
The brand must have been aware that while the OG ‘attars’, in being mukhallats, were one step removed from actual distilled attars, these new oils were now two steps removed – not attars, not even mukhallats, but concentrated perfume oils. In other words, no different than Alexandria II by Xerjoff or even the oil version of Santal 33 by Le Labo. But the wheels had been set in motion for this particular fiction decades ago, so Amouage deciding to go all in and call these 2021 attars too was probably the only logical move. And naturally, the brand would want to cash in some of that OG fairy dust for the 2021 release. Thus, the word ‘attar’ front and center, expectations were raised.
Which begs the question – what did Amouage think would happen when these expectations were not met?
My guess is that the brand simply hoped that their positioning of the 2021 oil releases at the luxury consumer market would circumvent the small but vocal group of true perfume (and attar) aficionados that had bought the OG stuff.
You see, the people who will be interested in buying these newer Amouage ‘attars’ are not the same as those who were buying the OG ‘attars’. The folks who bought the OG Amouage Attars were investing in the authenticity of a Middle Eastern or Indian raw material, like oud or sandalwood, whereas the folks who will buy the New Generation Amouage Attars are mostly looking for the prestige of dabbing on an oil out of a tiny, exquisite bottle. The first is a desire for art, the second a desire for luxury.
Amouage likely looked at the market and decided that they could generate more revenue from the people who view a bottle of the newest attar from Amouage in the same way they view all other luxury consumables like, say, an Hermès handbag or a Lisa Eldridge lipstick or the latest iPhone – opulent, high-spec things that give the pleasure of an object well made, none of which will scare the horses – than from the much smaller group of fragrance enthusiasts who stay up until 4 am, sweatily gripping their computer mouse, to secure 3 mls of the latest sandalwood oil from Areej Le Doré or the newest Hindi drop from Ensar.
It goes without saying that one group is not morally inferior (or superior) to the other. Their buying parameters are just different. Some folks long for the authenticity and artistic derring-do of some of the original Amouage attars, while others will much prefer these smoother, more Westernized pleasantries. And from a marketing perspective, it is perfectly legitimate for Amouage to decide to switch lanes for the 2021 release.
Where Amouage might have messed up was in not communicating the differences between the 2021 ‘attars’ and the OG ‘attars’ as clearly as they might have to the group of people still intensely loyal to the artistry of the brand’s original oil output. Sure, from a business perspective, no corporation has to go the extra mile to explicitly explain a change in direction, manufacture, or artistic intent such as this. However, some of the most pointed criticism about these oils may have been averted and some goodwill created amongst the very community that helped raise and maintain Amouage’s reputation for excellence. Instead, the brand done took a match to a couple of bridges.
Surely, for example, the brand could have explained their rationale for using Western perfumers to compose these ‘attars’. In an age where awareness about cultural misappropriation and decolonization has scaled new heights, the brand might have anticipated that its clumsy pairing of the word ‘attar’ – traditionally an Indian art – with ‘master’ European perfumers such as Dominique Ropion would create some uncomfortable associations or even take some of the shine off the brand.
Amouage has always kept schtum about who composed the original ‘attars’. It is likely that they used Middle Eastern perfumers with experience in mukhallat perfumery but didn’t name them (the company did name, however, the Western perfumers like Guy Roberts and Bertrand Duchaufour who worked on their spray-based fragrances). For this new release of ‘attars’, Amouage’s strategy was to hire Western perfumers experienced in composing formulas for niche and designer perfumes, like Cécile Zarokian, Julien Rasquinet, and Dominique Ropion. Now, to me, this makes perfect sense. If you are creating a line of luxe perfume oils that are basically supposed to be a haute luxe or niche fragrance, just in oil format, then it makes sense to hire perfumers who are used to producing this sort of formula for other high end niche companies.
However, the brand didn’t explain that these new attars weren’t really attars at all (probably because this particular bit of fiction is now decades deep and it’s too late to walk it back), and therefore left itself wide open to accusations that it was aiding and abetting Western perfumers to misappropriate a traditionally Indian art of perfumery.
Now that you (yes, you Dear Reader!) understand that these oils are not attars but simply posh niche perfumes in oil format, I bet you don’t care if the formula was composed by a perfumer in Grasse or by one in Delhi or Dubai, do you? Right. It ceases to be an issue. But the brand didn’t or couldn’t communicate this, thereby running straight into the fire that any 19-year-old social media manager worth their salt would have been able to predict was coming their way.
More accurate than the cultural misappropriation (which is itself based on a misguided belief in the fragrance community is that only Indian or Middle Eastern perfumers can or should be involved in the creation of attar, oud, and mukhallat perfumery*) is the accusation that, in naming the 2021 oils ‘attars’, Amouage was cynically cashing in its previous reputation for authenticity and ‘realness’. There is no real comeback to this. The 2021 oils are, at best, a good ole cash grab, and at worst, a thumb in the face of loyal perfume fans who believed that Amouage anything was special, not to mention one of their vaunted attars. While the general specialness of Amouage is less true today than it was ten, fifteen years ago, the 2021 ‘attar’ release still feels like a line in the sand between the brand’s proud artistic past and its now far more glossily commercial future.
Whether or not this is a successful strategy from a business perspective is something only the Amouage CPA can tell us.
Reviews
Now onto the actual reviews. Spoiler alert: I enjoyed each and every single one of these new CPOs from Amouage, and as long as you go into it expecting luxe perfume oils rather than genuine distilled attars from India or authentic mukhallats from the Middle East, then there is no reason why you shouldn’t either. Are they groundbreaking or original? No. But they are all extremely pleasant, smooth, and yes, luxurious-smelling perfumes.
Of the six that I have smelled, two oils didn’t smell at all Middle Eastern, pursuing instead traditionally Western (read: French) perfumery themes such as vanilla and orris. Two of the ‘attars’ smelled straight up like an oil version of existing Amouage spray perfumes. But they are all extremely nice and well executed, and thankfully (mostly) subtle in their use of modern woody ambers like Norlimbanol or Amber Extreme.
Are they $540 good? Again, nope. That’s my annual car insurance. To be fair, I’m not the target market, and unless you’re the rare Birkin bag buyer whose SEO somehow re-routed you to this blog, then it’s safe to assume that neither are you. The only reason I have to review these is that (a) I am currently publishing a Guide to Attars (which covers attars, mukhallats, essential oils like oud, and concentrated perfume oils) so this release kind of is my business, and (b) a very dear friend sent me her sample set free of charge. So, there you go.
Photo by Veronika Nakhtman on Unsplash
Orris Wakan, composed by Julien Rasquinet, focuses on the famously cool, rooty aroma of orris butter to the exclusion of all else. In fact, it smells suspiciously close to an ionone-rich orris butter dilution I have in my collection, which is to say a heady blend of the following: parsnip roots pulled from the soil on a freezing December morning, spermicidal jelly, a silver spoon, soap, and freshly-poured concrete or latex paint. Why all of this should add up to a scent that Chandler Burr once described as ‘liquid good taste’ is a mystery, but God knows it does.
Orris Wakan is unusual for an ‘attar’ or oil-based perfume in that it manages to capture the very nuances of orris butter that normally get ‘squashed’ by other, heavier materials in oil format. This is all rhizome, no flower. In fact, in keeping the structure simple, Rasquinet has managed to produce something that briefly reproduces the opening of Iris Silver Mist (Serge Lutens).
This is quite the achievement until you remember that orris butter itself is so lovely and complex a material that all the perfumer really had to do here was set it in place and leave well enough alone. To Rasquinet’s credit, he didn’t overstuff the composition with any shouty materials that might detract from the orris. It just fizzles out quietly into an ether of soft, frothy musks. Like your first roll in the hay, Orris Wakan is poignantly beautiful for all of the thirty minutes it lasts.
It is worth noting that Orris Wakan is one of the two 2021 perfume oils that are completely Western (read: French) in both theme and construction. I imagine this being a big seller for the luxury leather goods crowd, because the scent of orris has a natural affinity with creamy leather, suede, and hawthorn accords.
Photo by Linus Mimietz on Unsplash
Rose Aqor, composed by Cécile Zarokian, well – let me just stop right there. Even without looking it up, it is clear that this is a Cécile Zarokian creation. I love her work, but this central accord of soda fizz rose, sparkling ‘white’ incense, piquant black or pink pepper, doughy benzoin, cinnamon, and radiant golden ambers is as identifiable a fingerprint as anything done by Bertrand Duchaufour. Rose Aqor is very lovely, as it should be, as it is a near note-for-note recreation of Zarokian’s 2009 Epic Woman (Amouage) in oil format. Epic Woman is my most worn Amouage perfume, so I know her.
Like Epic Woman, Rose Aqor tucks a sweet-n-sour, heavily peppered rose inside a powdery incense-amber accord that is part pickles, part sherbet. As roses go, Rose Aqor is a complete meal in and of itself, from the lip-smacking savor of kimchi to the meaty, peppery rose and a thimbleful of thin crème anglaise to sweeten the tongue at the very end. It diverges slightly from the Epic Woman template in some parts, most notably with a touch of the slightly doughy bubblegum-benzoin accord and zesty cardamom ‘fuzz’ borrowed from Fêtes Persanes (Parfums MDCI), another perfume by – you guessed it – Cécile Zarokian.
I am predisposed to enjoy Rose Aqor because I also enjoy Epic Woman and Fêtes Persanes. But unless you have a very small collection and you’re specifically in the market for this type of rose (spicy, ambery, incensey), then it is likely you already own something very like this. For me personally, Rose Aqor is redundant. But remember, neither you nor I am the target market for Rose Aqor.
It is in Rose Aqor, by the way, that the key differences between the 2021 ‘attars’ and the OG ‘attars’ emerge most clearly. Smell Rose Aqor and immediately the closest equivalents that jump to mind are themselves niche perfumes that pursue a vaguely ‘exotic’, Middle Eastern theme albeit via the heavily filtered lens of a Western luxury buyer. Contrast this with OG Amouage rose-centric ‘attars’ like Ayoon Al Maha (rose and sandalwood) or the infamous Homage (Taifi rose, frankincense) and, straight away, you can tell the difference. Rose Aqor smells like a niche perfume in oil format; Homage smells like the fiercest distilled attars of Taifi rose and frankincense oil mixed together. The first is a complete perfume composition, clearly made under temperature-controlled conditions in a lab, while the second smells like something violently wrested from this good earth. And that right there is largely the difference between a concentrated perfume oil and an attar (or mukhallat).
Photo by allison christine on Unsplash
Vanilla Barka, composed by Dominique Ropion, is guilty of what Luca Turin named the ‘one-liner tendency’ in today’s niche perfume market, which is the fashion for composing a perfume around one of two headlining materials and allowing that be the whole artistic point of the fragrance. Imagine a scale of compositional complexity with L’Heure Bleue (Guerlain) at one end and Vanille Benjoin (Affinescence) at the other, where the closer you move towards Vanille Benjoin, the more ideas your perfume sheds. Vanilla Barka is positioned right at the Affinescence point on that scale.
After one thrilling note of frankincense, in all its silvery-lemony severity, this devolves very quickly into the plain white sugar + vanilla-tonka bean sludge you see everywhere from Tihota (Indult) to Vaniglia (Mazzolari) and even, to be honest, Vanille (Molinard). It is slightly plasticky, albeit in a nice way, like Vanyl (Bruno Acampora). You can even get reasonable versions of this accord from indie oil perfume houses, like Solstice Scents, and have it work out at $18 for a 5ml bottle. Vanilla Barka costs $540, for scale.
Vanilla Barka is far from unpleasant, just to be clear. There is a not insignificant amount of hygge to be mined in its deeply doughy, almost almondy dollhead embrace. But let’s be honest. Wearing Vanilla Barka is the scent equivalent of eating white frosting or raw cookie dough straight from the packet, while mindlessly binging Netflix in your slouchiest sweatpants. Yeah, it’s insanely comforting. But you also kind of know it’s not good for your teeth or your IQ. Not to mention that, for $540, you can pick up two whole bottles of Tihota. Of course, Amouage is counting on Dubai mall foot traffic not to know about Tihota. So, there’s that.
Incense Rori, composed by Julien Rasquinet, is the standout of the 2021 line for me. No wonder, because it takes as its starting point the wonderful Omani silver frankincense that Amouage made so famous throughout the world. The opening note is marvelously fizzy, dark, and sooty – picture the smoked out remains of an open fire in a traditional stone church. It smells like handfuls of charcoal dust dumped into Schweppe’s Bitter Tonic, with this clean edge that frank fans will find utterly addictive. Cedar and I think a good deal of unlisted amber join forces to lend the soaring frankincense some basso fondo, creating a rich, resiny background that swings between ashy (pipe tobacco) and sweetly whiskey-ish (amber, immortelle).
This darting contrast between achingly dry smoke and ‘wet’ booze is incredible, reminding me variously of a mash-up between the original Vetiver (Annick Goutal), Jeke (Slumberhouse), Tobacco Oud (Tom Ford), and Black (Comme des Garcons). The drydown lays out a rich, salty oakmoss for our consideration, which is the precise point at which Incense Rori does a fabulous impression of the latter stages of L’Air de Rien (Miller Harris), where all that funky oakmoss dries out on a bed of halitosis. Incense Rori isn’t at all animalic, but it shares something of the scalpy moss funk of the Miller Harris – likely that same metallic, musky, slightly cheap suit shininess of Evernyl Prunastri. Add a rubbery, saline myrrh (deflated latex condom and all) in the far reaches, and you have the complete incense madness that is Incense Rori.
Incense Rori is the perfume that I imagine most appealing to the Old Guard of the perfume community, i.e., the ones who bought the OG Amouage attars. It smells pure and smoky enough to grab the attention of the most ascetic of luxury buyers’ tastes, yet complex and different enough to capture the interest of even the most jaded of incense (or indeed oakmoss) freaks in our tiny corner of Fragcomm. Also, is Incense Rori possibly the 2021 Amouage apology for dropping Tribute? A very small, scaled down tribute to Tribute, mind, but better some Tribute than no Tribute at all.
Photo by marlik saffron on Unsplash
Saffron Hamra, composed by Cécile Zarokian, is the most traditionally ‘attar’-like of this collection, due to its clever use of a spice – saffron – that, as part of the age-old triumvirate of rose-sandalwood-saffron, will not fail to evoke a Pavlovian response. I smell saffron, I smell attar. Even if you think you don’t know attars, you have certainly smelled some variation of that rosy-saffron attar scent in your local Asian supermarket, round the back where the incense sticks and chunks of bakhoor and gaudy perfume oils are stocked.
On its own, saffron is piercingly medicinal, like gauze bandages soaked in iodine or the rawest piece of cowhide you ever saw, a quality that aligns the material surprisingly enough with natural oud oil. Indeed, on the lower end of the scale, you will find that all the big attar or mukhallat houses – Ajmal, Arabian Oud, Abdul Samad Al Qurashi, and so on – pad out their ‘oudy’ compositions with saffron in order to create that subliminal link in our smelling receptors to natural oud, even when none is present (the same may be said for cypriol, which is smokier and far less medicinal than saffron).
In Saffron Hamra, Zarokian allows the medicinal properties of saffron to play out in full, but wraps a soft, sweet rose around it to cushion us from its sharper edges. The result is a sort of vanilla custard tinged with iodine and dirty bandages. I assure you that this is delicious and unsettling in equal measure, which is what makes it such a successful and balanced accord. Imagine Safran Troublant by Olivia Giacobetti for L’Artisan Parfumeur but removed from the utter comfort of the Parisian salon to the harsh planes and arid environment of the Rub’ Al Khali desert in Saudi Arabia.
At this stage, Saffron Hamra strikes me as being authentically attar-like, and even worthy of being included in the original Amouage attar line-up. (It reminds me somewhat of a smoother Al Siraj by Arabian Oud, one of my favorite saffron-forward mukhallats).
However, it is worth noting that the far drydown of Saffron Hamra introduces an unpleasantly metallic note that gives me a headache. Cade oil, listed in the notes, might be responsible for this element, as it is a dirty green, smoky material that can be quite pungent. To my nose, though, it reads like a trace of some woody aromachemical. A disappointing end to a perfume that started out smelling absolutely wondrous, therefore, although it also reminds me that sometimes, just sometimes, the normally thoughtful Zarokian can go ham on the woody aromachemicals (Sheiduna for Puredistance being an example).
Photo by engin akyurt on Unsplash
Oud Ulya, composed by Cécile Zarokian, is very similar to Zarokian’s own Silver Oud for Amouage, only not as earthy (there is little to no patchouli felt here). In fact, I would go so far as to suggest that, as with the Rose Aqor/Epic Woman parallel, this is Cécile Zarokian translating the formula of another of her Amouage spray perfumes to oil format.
Similar to its parent, Oud Ulya wraps a pungent oud oil (which smells authentically feral, aided no doubt by a lascivious touch of civet) in a syrupy amber-vanilla glove designed to make the medicine go down. The opening resembles Trat oud oil, which is to say, soiled hay plunged into a hot, bubbly strawberry jam. Now imagine this pungent oud-date jam spread across a huge chunk of pain d’epices and left to smolder and char at the edges on a censer, the air filling with the intense scent of burnt sugar. The point here is that the ferocity of the animalic oud is equal to the ferocity of the syrupy sweetness of the vanillamber. Add in the haunting smoke of birch tar and you are halfway to the delicious second half of Patchouli 24 (Le Labo).
It might be the equivalent of showing up to church in full drag if the whole thing wasn’t so ergonomically velvety. You see, Zarokian has managed to wrap all of this up in the most buttery of buttery leather accords, so even while part of your brain flashes on the barnyard, you also keep making that involuntary crooning sound you make whenever you see a picture of those Ritz-Carton lodges in the Maldives or when your hand brushes against the 500-count sheets on display in Harrods. Oud Ulya is a mish-mash of things for sure – there is a bit of Amber Absolute, Patchouli 24, Prive by Ormonde Jayne, among others – but it is a charming and well-balanced mish-mash, and that counts for a lot.
But again, compare Oud Ulya to the towering oudy masterpieces of Badr Al Badour (my favorite OG Amouage ‘attar’), Al Molook, or Al Shomukh, and the differences in style are immediately laid bare. Though Oud Ulya certainly contains an authentic-smelling oud, it is framed against a backdrop of sweet and smoky notes artfully arranged to evoke a fantasy of the East as expected by a Western gaze. Like Shalimar. Oud Ulya is deliberately exotic, because the perfumer has arranged the amber accords, the leather, and the smoke to create just that effect.
In Badr Al Badour, on the other hand, the combination of the oud, the rose, the ambergris, and the frankincense smells exotic because the raw materials themselves are exotic and because the perfumer has simply mixed these exotic smells together in the most pleasing way he knows how. Badr Al Badour cares not if it pleases our Western nose or not; it is wholly agnostic to our comfort. In contrast, Oud Ulya brings you on a magic carpet ride but keeps checking over its shoulder to make sure we’re still on.
*This is largely true for traditional Indian attar perfumery since genuine attar distillation is now mostly limited to Kannauj, India, but we have established that neither the old nor the new Amouage ‘attars’ are actually attars. Still, many of the most prolific and creative perfumers or distillers working in the field of oil perfumery (oud, sandalwood, and mukhallat perfumery) are themselves Western by birth or upbringing. Ensar is American, Taha Syed is Canadian, Sultan Pasha is a Londoner, JK DeLapp is from Atlanta, and Russian Adam is…well. You see where this is going. A gentle suggestion: as fragrance writers, let us put down the pitchforks and try to see the perfume sector for what it is rather than for what we think it ought to be.
Source of sample: A very dear friend of mine passed on her set of official Amouage samples to me, for which I am deeply grateful.
Cover Image: Photo taken by me. Please do not re-print without my permission.
