Karma Sumatra Attar

Nagarmotha (Pakistani, Bengali, Indian & an Aged Indian)

Vetiver (Aged Indonesian, Aged Indian, Kerala & Java)

Sumatra Oud

Patchouli Sandalwood Blend (Indonesian)

Aged Patchouli (Indonesian)

Red Sandalwood (Tamor)

This has been a deeply personal project, years in the making—one that’s finally come to life. I was fortunate enough to acquire a generous amount of exceptionally high-quality Sumatra Oud. It opens dry and woody with subtle tobacco nuances, then gradually softens into a sweeter, fruitier expression, accented by minty, earthy hints of vetiver. Immaculately clean.

For a long time, I debated whether to showcase this oud in a blend or offer it neat. Then, by sheer luck, I encountered an aged Indonesian Vetiver—unlike any vetiver I’ve experienced. It’s rich and pure, heavy yet not overly thick—and it pours almost like caramel. Strangely, when applied to skin, it mirrored the Sumatra Oud: earthy, woody, and unexpectedly similar. As it develops, it becomes fresher and greener, yet never loses its oudy depth.

I shared both oils with Faizal, and his enthusiastic approval affirmed my instinct. In fact, he loved the vetiver so much he wanted more—but the supplier, recognizing its rarity, kept the remaining stock for himself.

Wanting to preserve the integrity of the composition, I sourced only oils from the same region or nearby. Java Vetiver was added to reinforce the Indonesian vetiver’s body, while Kerala brought a fresh lift. Aged Indonesian Patchouli contributed a spicy, woody edge, and Tamor Red Sandalwood helped smooth out the patchouli’s sharper facets.

When I revisited the blend months later, I found the freshness had overtaken the composition. The Sumatra Oud and aged Vetiver—meant to be the stars—had become background players. That wasn’t the vision.

Around that time, I had acquired four distinct Nagarmotha oils: two from India (one aged, one fresh), one from Bangladesh, and another from Pakistan. The Pakistani oil in particular stood out—complex and multifaceted, offering nuances of oud, incense, woods, dry earth, root, even a whisper of florals and menthol. I used the aged Indian oil for its oudy richness, the fresh Indian variant for lift, the Bangladeshi for its unique dry, ashy cedarwood tone—and unexpectedly, a banana-like sweetness I couldn’t ignore. The Pakistani oil brought depth and cohesion.

Still, the heart of the fragrance—Sumatra Oud and aged Vetiver—wasn’t shining as I intended. So, over several weeks, I gradually increased their presence until the balance felt just right.

The final composition now contains so much Sumatra Oud, it makes up nearly 25% of the blend—a bold, opulent tribute to two of the finest oils I’ve ever worked with.