Take On Perfumery

Perfumery as Intentional Improvisation

I view perfumery as a dynamic art form—one rooted in intentional improvisation. Fragrances evolve as individual notes interact, accords emerge, and elements blend into a cohesive whole. True artistry, I believe, flourishes when it’s free from rigid formulas, constraints, or imposed expectations—when it’s created unscripted.

I began crafting perfumes to evoke the scents I longed for but couldn’t find. To me, fragrance is like a puzzle—both a mental and olfactory challenge, balancing structure with adaptability. I often draw inspiration from systems theory, where modularity and flexibility guide my process. Each scent becomes an evolving base, open to reinterpretation. Other times, it’s pure experimentation—an exploration of possibilities in pursuit of a goal. It’s a challenge I welcome, every single time.

Deterministic, Not Predetermined

While recipes and formulas serve their purpose in replicating an idea, they can never fully capture the soul of an artisanal creation. Documentation alone cannot convey the nuance, intention, or flow of the creative process.

Intentionality in my work isn’t about following a predetermined formula—it’s about deterministic exploration: making deliberate, thoughtful choices as a fragrance takes shape. My process prioritizes cultivating intuition—an essential skill in this craft.

This isn’t just an artistic choice; it also serves practical purposes:

• Every batch is inherently unique—its limited nature defines its artisanal value.
• It fosters continuous exploration, encouraging adaptation to diverse preferences and evolving trends.
• It sustains a thriving secondary market, where scarcity and individuality make secondhand ownership just as meaningful as the original purchase.

Personalization: Making the Scent Your Own

Imagine dining at your favorite restaurant and being told you can’t have salt and pepper—frustrating, right? I believe fragrance should be just as personal.

Whether you want to enhance a blend with complementary oils, experiment with oils I provide, or incorporate your own materials, I’m happy to assist. I charge only for the oils, shipping, and a minimal fee for my time—even for a 15ml bottle. What matters is that you receive a perfume that truly reflects your preferences. Think of it like a bespoke tailor—adjusting every detail to fit you perfectly.

Transparency and Full Disclosure

My descriptions focus on intent—what I set out to achieve with each project. I aim for them to remain objective, even quantifiable, grounded in experiences or sensory references others can relate to—almost like universal units of measure.

I also provide pre-release samples to trusted reviewers (aka frag/oud-heads), allowing them to share independent impressions without interference. Trust is earned and fragile, so I never influence their assessments. Their credibility is on the line as much as mine.

On Sample Sets

Whenever possible, I offer samples—though availability is limited due to the small-batch nature of my work, and sometimes due to logistics and timing. I work iteratively and sequentially on multiple blends in parallel, but not all of them mature at the same pace.

I won’t include a blend in a discovery set just to complete one; if a fragrance isn’t ready, it waits. Likewise, I can’t always delay ready releases, as revenue from sales often helps fund and complete ongoing projects.

On Pricing

Cost does not disappear when growth becomes a goal. Here’s why:

When I’m small, I purchase ingredients in small quantities—often at higher prices. As production scales, I can source materials in larger volumes and reduce certain costs. However, this shift introduces new layers of expense: producing more bottles, managing logistics, hiring help, handling shipping, marketing, and distribution. In other words, a lower material cost does not directly translate into a lower bottle price—because other operational costs rise in parallel.

Liquidity is also essential. Each project I work on requires time and financing—sometimes months of preparation before a single drop is ready. Cash flow sustains that cycle. Think of it like the rhythm of the seasons: periods of creation, maturation, and release, each requiring resources to bring the next to life.

Then there’s the question—why are good oils expensive?
The answer lies in the nature of the materials themselves. These are often rare, labor-intensive ingredients, sourced through long and delicate supply chains that involve skilled, often seasonal workers. Each drop represents the collective effort of many hands and the unpredictable conditions of nature.

Unlike gold, whose price is based on a universally recognized and measurable purity, perfumery materials exist in a much more complex world. Quality is subjective, and value is shaped by artistry, rarity, and interpretation. This is why prices vary widely from one perfumer to another.

Ultimately, a customer chooses a perfume not for the raw material cost but for the artistry—for the creative vision that gives those materials form and meaning. Much like how you don’t buy a phone merely for the metal or the pixels that make up its display, but for the experience it offers—the years of refinement, the skilled hands, and the collective expertise that brought that experience to life.

You are not just paying for what exists today, but also for the craftsmanship, research, and growth that will shape what comes next.

In conclusion..

I’m deeply grateful that my work has resonated with members of the perfume community.

Maher