I Enjoy the Fragrance of Rajnigandha Flowers at Night but Dislike Strong Floral Perfumes — Which Softer White Floral Compositions Should I Explore?

I Enjoy the Fragrance of Rajnigandha Flowers at Night but Dislike Strong Floral Perfumes — Which Softer White Floral Compositions Should I Explore?

★ ★ SOSA makes no rajnigandha or tuberose composition at any size, so the four dials on this page turn the listing you are reading somewhere else, not a bottle of mineWhat you get instead: why a lower dose shortens a heavy white floral instead of softening it, and the four things in a listing that genuinely change its weightMy recommendation here is ₹0 · softness has to be built in beside a flower like this, and nothing in my range is this flower to begin with
★ SOSA Attars — Verified Buyer Reviews
Readers who love one flower at ten at night and cannot wear a single perfume built from it, and who have been told to simply use less
★ ★ ★ ★ ★
★★★★★
"Our old water diffuser couldn't fill the living-dining. This one does the whole floor and you can't hear it running."
Homeowner Hyderabad
SOSA Vaayu · large home
★★★★★
"The app scheduling is the best part - strong in the mornings, gentle in the evening. Clinic feels calm all day."
Clinic Pune
SOSA Vaayu · wellness studio
★★★★★
"Paired it with the SOSA hotel oils. The projection is genuinely lobby-strength - nothing like a plug-in."
Office Manager Delhi
SOSA Vaayu · workspace
★★★★★
"My reception now smells like a five-star lobby. Guests comment on it before they even reach the desk."
Boutique Hotel Jaipur
SOSA Vaayu · lobby scenting
★★★★★
"Zero dampness, which was my worry in monsoon. The mist is completely dry and the scent carries across the whole salon."
Salon Owner Mumbai
SOSA Vaayu · spa & salon
★★★★★
"Set the timer once and forgot about it. Runs only during store hours, refills last weeks. Exactly what I wanted."
Retail Brand Bengaluru
SOSA Vaayu · showroom
★★★★★
"Our old water diffuser couldn't fill the living-dining. This one does the whole floor and you can't hear it running."
Homeowner Hyderabad
SOSA Vaayu · large home
★★★★★
"The app scheduling is the best part - strong in the mornings, gentle in the evening. Clinic feels calm all day."
Clinic Pune
SOSA Vaayu · wellness studio
★★★★★
"Paired it with the SOSA hotel oils. The projection is genuinely lobby-strength - nothing like a plug-in."
Office Manager Delhi
SOSA Vaayu · workspace
★★★★★
"My reception now smells like a five-star lobby. Guests comment on it before they even reach the desk."
Boutique Hotel Jaipur
SOSA Vaayu · lobby scenting
★★★★★
"Zero dampness, which was my worry in monsoon. The mist is completely dry and the scent carries across the whole salon."
Salon Owner Mumbai
SOSA Vaayu · spa & salon
★★★★★
"Set the timer once and forgot about it. Runs only during store hours, refills last weeks. Exactly what I wanted."
Retail Brand Bengaluru
SOSA Vaayu · showroom
★ Read the four descriptors taken apart ₹0 Tell Sonal what went wrong with the last bottle ₹0
★ No shop row here, because the dials below belong to somebody else's listing and this flower is in none of my bottles

✓ No SOSA product is offered as a softer version of this flower, because no version of it exists in the range at all ✓ The account of lactonic weight and slow materials here is general perfumery, and asserts nothing about any particular seller's product ✓ No grade, percentage or purity claim is made about any SOSA material, because the product pages publish none

Founder Diaries · Scent Memories · Flowers, Rain, Earth, Forests
By Sonal Sahani · ISIPCA Versailles 21 min read Updated October 2026
There is no rajnigandha or tuberose composition in my range, in any strength, so I cannot sell you a gentler one and I am not going to pretend a jasmine is one. The recommendation on this page is ₹0. What I can do is turn the dials on the search you are about to run, which is more useful than a bottle would be, because the obvious dial is the wrong one. You have assumed - reasonably, and almost everybody does - that a flower you love in the open air and dislike in a perfume is a flower you need at a lower dose. It is not. The part of this blossom that reads as too much is the slowest-moving part of it, so using less gives you a shorter version of exactly the same problem. Softness in a heavy white floral is a thing a perfumer builds beside the flower, and you cannot retrofit it by applying half as much. There are four things in a listing that genuinely change the weight, and they are the subject of this page.
Quick answers — read this first
I love rajnigandha at night but dislike strong floral perfumes - which softer composition should I buy? Not one of mine, because this flower is absent from my whole range at every size, so there is no soft version of it here to sell you. The honest answer is also that the move you are planning - the same flower, less of it - will not work. The facet that overwhelms you is the dense, lactonic body of the blossom, and that is the part that stays longest on skin. Four things in somebody else's listing change the weight, and they are in the table in the middle of this page.

Why does using less of a heavy white floral not make it softer? Because a dose is a quantity and weight is a proportion. Applying half as much gives you the same composition in the same proportions, quieter for a shorter time, and the heaviest materials in it are also the slowest to evaporate - so the part you dislike is the part that outlasts everything else. Twenty minutes in, a small dab and a large one smell remarkably similar. The small dab simply stops sooner.

So how is a softer white floral actually made? By building beside the flower rather than by reducing it. A dry musk base extends a blossom without adding weight to it. A genuine green facet over the top gives the nose somewhere cool to go in the first hour. Keeping the sweetness confined to the base stops the heaviness running through all three tiers. Those are compositional decisions, visible in a note list, and they are what you should be shopping for instead of a smaller bottle.
The short answer
Short answer: Nothing from me, and the reason is that this flower is absent from the whole range rather than merely from its lighter end. No rajnigandha, no tuberose, no facet of either in any of my four attars or six perfume oils. The useful part is that your plan will not work. The facet that reads as overwhelming in this blossom is its dense lactonic body, and that is the slowest material in the bottle to fade - so a lower dose shortens the experience without changing its character. Softness has to be composed in beside the flower, as a dry musk, a green top and a sweetness kept in the base.
The pick: ₹0 from me. What you take away is a four-dial specification to shop with: where the sweetness sits, whether anything green is named, whether the base is a dry musk or a resin, and oil against spray. Turn those in a listing rather than turning the size of the bottle.
Next step: read the page that takes the four descriptors apart - rich, creamy, green and narcotic - because knowing which of the four is the one that defeats you narrows the search further than any dial. If it turns out you dislike white florals as a class rather than this one's volume, the reversal at the bottom of this page sends you somewhere else entirely. Or tell me what went wrong with the last bottle and I will tell you which dial was in the wrong position.
In this guide
What I do not make, said plainly
SOSA makes no rajnigandha or tuberose composition at any strength, soft or otherwise. This is worth stating precisely, because the title asks for a softer version of something and a reader could reasonably assume I hold a stronger one. I do not hold any. There is no version of this flower in my four attars or my six perfume oils, at 3ml or 12ml, as a heart note or as a facet. So the four dials below belong to the listing you will read on somebody else's website, and none of them is a dial on a bottle of mine. Said once, and now the mechanism.
Straight answer
I enjoy the fragrance of rajnigandha flowers at night but dislike strong floral perfumes - which softer white floral compositions should I explore?
None of mine, because I make none - and before you shop anywhere else, the move you are planning does not do what you think it does. First, what your sentence actually contains. You have told me two things that look contradictory and are not. You love this blossom in the open air at night, and you dislike heavy floral perfumes. Both are true of a great many people, and the reason is that the open air is a dilution system of enormous capacity. A flowering plant in a courtyard releases into a volume of moving air you cannot measure, and what reaches you is a trace that changes every few seconds as the air moves. A perfume puts a fixed quantity of concentrated material on a warm patch of your own skin, six inches from your own nose, and holds it there for hours. The flower has not changed. The delivery has, and it has changed by an enormous factor. Second, why the obvious fix fails. If a perfume is too much, use less of it: it is the most reasonable thought anybody has ever had about fragrance, and with this family of flowers it does not work. A dose is a quantity. Weight is a proportion. Halving the dab gives you exactly the same composition, in exactly the same proportions, a little quieter and for a shorter time. And there is a second effect that makes it worse: the heaviest materials in a composition are also the slowest to evaporate, so as the lighter parts leave, the proportion of heavy material in what remains goes up. Twenty minutes into a small dab and a generous one, the two smell much more alike than they did at the start. The small one simply finishes earlier. Third, which part of this particular flower is doing it. Two facets, and both of them are slow. The lactonic body - the coconut-and-warm-butter density that gives the blossom its creaminess, explained properly on the creamy-against-candied page - is a heavy, long-lasting layer. And there is an indolic quality in white flowers of this kind that reads as faintly animal and is the last thing to leave a wrist; the mechanism behind that facet is not mine to re-derive and lives on the page that owns it. Between them they are the drydown. A lower dose therefore reduces everything except the two things you wanted reduced. Fourth, what a perfumer actually does to make a white floral soft. Three moves, none of them a reduction. A dry musk underneath extends the flower without adding weight to it, so the composition lasts without thickening - this is the single most effective tool there is. A genuine green facet over the top gives the first hour somewhere cool and sharp to live, so the dense body arrives gradually rather than immediately. And keeping all the sweetness in the base, rather than spreading it through the pyramid, stops the heaviness being present at every stage. Softness is built laterally, beside the flower, and every one of those three decisions is visible in a note list before you spend anything. Fifth, the dial that actually matters most and that almost nobody checks. It is the base. A composition of a heavy flower on a dry musk is a different experience from the same flower on amber, benzoin or a resin, and the difference is larger than the difference between 3ml and 12ml. Resinous bases thicken; dry musks thin. A reader who has only ever met this flower over a resinous base has never met the version they would like. Sixth, the honest limit of all this. There is a floor. This blossom is dense by nature, and no compositional choice makes it behave like a cologne; you are shopping for the lightest honest version rather than for a light perfume. If you need genuinely light, the answer is a different flower or a different family altogether, and I would rather say that here than let you run the dials for a year. And last, the bottle of mine I am ruling out. Ameeri is my quietest composition at the office end, and a reader who has just read a paragraph about dry musks will spot that it ends on soft oudh, amber and white musk and wonder. It is a Taif rose with Indian sandalwood. It is a rose, the sweetness in it is a design rather than a repair, and it contains nothing of the flower in this page's title. For your question it is ₹0.

Why a heavy white floral does not get softer when you use less of it

I want to spend a few paragraphs on this because it is the single most expensive misunderstanding in the whole category, and because once you have it you will stop buying smaller bottles of things you dislike.

Start with what a dab does. You put a measured quantity of oil on skin at roughly thirty-two degrees. Everything in that quantity begins to leave, but not at the same rate: light materials - citrus peel, green notes, some spices - are gone in under an hour, floral materials sit in the middle, and the heavy end of the composition is still there at hour six. That is not a flaw, it is the mechanism by which a perfume has stages at all. What it means for your question is that the composition on your wrist at hour two is not the composition in the bottle. It is the slow part of it, concentrated by the departure of everything else.

Now apply half as much. The same sequence runs, in the same order, with the same proportions, at a slightly lower volume for a shorter total time. There is no stage at which the heavy end is a smaller share of the whole, because share is determined by the formula and not by the amount you applied. So what you have purchased with your restraint is forty minutes less of the wear, not a lighter wear. Readers do this two or three times, conclude that they are unusually sensitive to the flower, and stop buying a whole family of perfume on the basis of a mechanical misunderstanding.

There is one honest caveat, and it is about where rather than how much. A dab on the inner wrist sits on a warm pulse point with good air movement around it and your own nose passes over it constantly. The same dab at the nape, or on the inside of an elbow, is in a cooler and more sheltered place with much less traffic past your own nose, and it genuinely reads quieter to the wearer. That is a placement effect rather than a dose effect, and it is the only version of use-less advice that does anything at all.

The four dials that are actually connected
What to change in the listing you are reading, what each change does to the weight, and what it costs you
What to change What it does to the smell What it costs you
Where the sweetness sits in the pyramid Sweetness confined to the base gives you a first hour that belongs to the flower and whatever green sits over it, then a warm landing. Sweetness named in all three tiers is present from the first second to the last and reads as heavy at every stage, which is the commonest reason a composition feels relentless Almost nothing, and this is the dial to turn first. The only cost is that a base-only sweetness makes the opening less immediately charming, which is precisely what you said you wanted
Whether a green facet is named in the actual pyramid A real green note over a heavy flower gives the nose somewhere cool and slightly sharp to be during the first hour, so the dense body arrives gradually instead of at once. It is the closest thing there is to a volume control on a white floral Some people find green florals austere for the first ten minutes, and a green top will not survive into the afternoon - so you are buying a better opening rather than a lighter perfume overall
Whether the base is a dry musk or a resin The largest single effect on this page. A dry musk extends a flower without adding weight to it; amber, benzoin and resinous bases add body and warmth and make the whole thing thicker. The same blossom over those two bases is effectively two different perfumes A dry musk base is quieter and less impressive, projects less and can read as plain on paper. Readers who want a perfume that announces itself will find it disappointing, which is the trade you are making deliberately
Oil against alcoholic spray An oil releases slowly, keeps the opening quiet and stays close to the skin; a spray flashes off, pushes the top accord outward and projects away from you. For a heavy flower the oil is usually the gentler experience for everybody except the wearer, whose own nose is nearest to it An oil will never fill a room, so if you wanted presence you have given it up. And because an oil keeps the slow materials close for longer, the drydown you were trying to avoid is the part you will smell most of
Turn those four and you will find the lightest honest version of this flower that the market makes. Notice that none of them is the size of the bottle, and notice too that none of them is a dial on anything of mine - this blossom is absent from my range entirely, so the table is a specification for shopping elsewhere. If you want to narrow it further, work out which of the four descriptors on the character page is the one that actually defeats you, because a reader who dislikes the creaminess needs a different bottle from one who dislikes the volume.
I make no version of this flower at any strength, so the figure here is ₹0 and the dials belong to somebody else's listing. Using less does not soften a heavy white floral: the lactonic body and the indolic facet are the slowest materials in the bottle, so as the light parts leave their share of what remains rises. Softness is built beside the flower - a dry musk base, a genuine green top, sweetness kept in the base - and all three are visible in a note list before you pay. Flip: placement does work where dose does not, and a dab at the nape reads quieter to the wearer than the same dab on an inner wrist.

What to do with the four dials, in the order that saves the most money

Run them as a sequence rather than a checklist, because the first one eliminates most of the market in about thirty seconds. Start with the base: if the pyramid's base is amber, benzoin or anything resinous, stop reading and move on, whatever the rest of the listing says. That single screen removes the majority of bottles bearing this flower's name, because a resinous base is the cheapest way to make a white floral feel expensive.

Then look for green anywhere in the actual note list, not in the atmospheric paragraph above it. Then check whether the sweetness is confined to the base or spread upward. Then decide the format, and decide it by thinking about who else is in the room rather than about what you like - an oil is close and quiet to everybody but you, which is the right trade in company and the wrong one if presence is the point.

One more piece of practical advice, and it costs nothing. Whatever you buy, judge it at hour two rather than at minute two. The first ten minutes of any composition is the part designed to be liked in a shop, and the drydown is the part you will actually live with - and with a flower of this weight the drydown is where the whole question is settled. A reader who buys on an opening and complains about an afternoon has judged the wrong half of the bottle.

The SOSA principle
Softness in a heavy white floral is built beside the flower, never subtracted from it. A dry musk that extends without thickening, a green facet that owns the first hour, a sweetness kept down in the base - those are compositional decisions you can read off a note list, and no amount of restraint with the applicator substitutes for any of them.
It follows that the least useful question you can ask about such a perfume is how strong it is, and the most useful is what is underneath it. The base decides the weight; the dose only decides the duration.
If it turns out that what you dislike is white florals as a class rather than this one's volume, then every dial on this page is the wrong instrument and you are in the wrong aisle altogether. The test is quick: think of two or three other heavy blossoms you have met in bottles, and ask whether the objection was the same each time. If it was, the problem is the register rather than the dose, and no green top or dry musk will fix a register. What you would probably enjoy instead is the cool, milky, slightly sour side of sandalwood, which gives you creaminess and weight with no flower in it at all - the sandalwood paste-against-smoke page explains that register and the sandalwood composite says how audible it is in each of my compositions. That is a real recommendation rather than a refusal, and it is the one place this family's reader is sometimes better served by a different family entirely.
— the condition that changes this answer

What I would do instead, and the bottle of mine I am ruling out

One part and then another. First the composition of mine that a reader who has just read about dry musk bases will find and misread. Then what I would actually do, which is to shop with the dials and spend nothing here.

The one I am ruling out, and the reason a dry musk in the base is not enough
A reader who now knows that the base decides the weight will go looking for my quietest base, and will find the wrong flower sitting on it
Composition What it actually is Why a good base does not make it an answer What I would charge you for this question
SOSA Ameeri Attar A Taif rose and Indian sandalwood composition - Persian saffron, pink pepper and bergamot on top, the rose and the sandalwood in the heart, soft oudh, amber and white musk underneath The white musk in the base is real and it does exactly what this page describes. It is also sitting under a rose, with amber beside it, and a rose is not a heavy white floral - so neither the problem nor the solution on this page applies. Nothing in the pyramid is the flower in the title ₹0 for this question. It is ₹385 for 3ml if you want the rose composition it actually is
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SOSA Adaa Attar A jasmine sambac composition - Calabrian bergamot, green cardamom and neroli on top, jasmine sambac with magnolia and ylang ylang in the heart, white musk, vetiver and cedarwood underneath, no oudh This is the closer miss and therefore the more dangerous one: a green top, a white floral heart and a dry musk base is the exact specification this page recommends. The flower in the heart is a jasmine, with a magnolia and an ylang ylang beside it, and none of the three is the blossom you love at night ₹0 for this question. It is ₹379 for 3ml as the jasmine composition it is
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Those two rows are the reason this page has a table instead of a sentence. A reader who follows my own argument will arrive at Adaa by pure logic, because the architecture matches the specification perfectly, and the material does not match at all. For the flower in this page's title the number is ₹0 at 3ml, at 6ml and at 12ml.
Sonal’s recommendation
Buy nothing from me, stop trying to use less, and screen the base before you read anything else in a listing
You have been given the same advice by everybody - wear less of it - and it was mechanically wrong every time. That is the only thing I really want you to leave with, because it is the reason you have spent money twice on the same disappointment.
— Sonal Sahani, founder and perfumer, ISIPCA Versailles-trained
What to buy from SOSA for this Nothing. ₹0, and I mean the figure. There is no version of this flower in the range at any strength, in any of the four attars or the six perfume oils
The first screen to run on any listing The base. If it is amber, benzoin or resinous, move on without reading further - that one check removes most of the bottles bearing this flower's name
The second and third Green named somewhere in the actual pyramid, and sweetness confined to the base rather than spread through all three tiers
What actually works on dose Placement, not quantity. The same dab at the nape or inside an elbow reads much quieter to the wearer than one on an inner wrist, because of air movement and your own nose's traffic
When to judge what you buy At hour two, not at minute two. With a flower this heavy the opening is the part built for a shop and the drydown is the part you live with
What I would like you to take away That the heavy part is the slow part. Everything else on this page follows from it, including why half a dab of the wrong bottle is still the wrong bottle
The easy version of this page would have put Adaa at the bottom of it, and the logic would have looked immaculate: green top, white floral heart, dry musk base, exactly as specified. The flower would have been wrong, and you would have known within a minute of opening the cap. So the recommendation is ₹0, and the single most useful next page is the one that takes this flower's four descriptors apart, because it tells you which of them is the one you actually cannot wear.
You love the flower and cannot wear the perfume. Which of those two facts is the one to work on?
Two readers reach this page from the same sentence and need opposite advice, and neither of them should be buying a smaller bottle.
Find out which descriptor defeats you
You are sure it is this flower you want, at a weight you can live with. Then narrow it before you shop: the richness, the creaminess, the green and the heaviness are four different things, and knowing which one is the obstacle turns four dials into one.
Tell Sonal what went wrong last time
You are not sure the problem is the dose at all. Send me the note list of the bottle that defeated you and tell me when in the wear it became too much. If it was the first ten minutes it is one thing; if it was hour three it is the base, and if it happens with every heavy flower it is the register and I will tell you so.
SS
ISIPCA
Versailles
A note from Sonal

Use less of it is the most common piece of fragrance advice in the world and it is nearly always wrong, which bothers me more than it should. It is wrong because it reads a perfume as a volume knob when it is a sequence, and because the materials people find difficult are almost always the slow ones at the bottom. I have watched readers spend money three times on the same composition in smaller and smaller bottles, getting the same afternoon each time, and concluding that there is something unusual about their own nose.

What I would rather hand over is the base. If I could change one habit in how people shop for fragrance it would be this: read the bottom line of the pyramid first. The top accord is an advertisement and the heart is the subject, but the base is what you will be wearing at four in the afternoon and it decides whether the whole thing feels heavy or not. On a flower as dense as the one in your question, the base is the entire argument.

And the plain commercial fact: I have nothing in this register to sell you. No rajnigandha, no tuberose, nothing of that flower at any strength, and nine other pages in this family say the same in their own first screens. The one honest recommendation I can make here points away from flowers altogether and towards the cool, milky end of sandalwood, which is a different answer to a related wish. Tell me what went wrong with the last bottle and I will tell you which dial was in the wrong position, with nothing of mine attached unless it genuinely fits.

Frequently asked questions

Does SOSA make a softer rajnigandha or tuberose composition?
No, and not a stronger one either. This flower is absent from the whole SOSA range at every size, in all four attars and all six perfume oils, as a heart note and as a facet. The four attars are a jasmine sambac composition, a Taif rose and Indian sandalwood composition, a night jasmine and Damask rose composition and an oud composition. This page recommends nothing from the range and the figure in its recommendation is zero.
Why does applying less of a heavy floral not make it gentler?
Because a dose is a quantity while weight is a proportion. Half as much of a perfume runs the same sequence in the same proportions, slightly quieter and for a shorter time. Worse, the heaviest materials in a composition are the slowest to evaporate, so as the light parts leave their share of what remains goes up. Twenty minutes in, a small dab and a generous one smell much more alike than they did at the start, and the small one simply finishes earlier.
How does a perfumer make a white floral feel soft?
By building beside the flower rather than reducing it. A dry musk base extends a blossom without adding weight to it. A genuine green facet over the top gives the first hour somewhere cool and sharp to live, so the dense body arrives gradually. And keeping the sweetness confined to the base, rather than spreading it through all three tiers, stops the heaviness being present at every stage. All three decisions are visible in a note list before you spend anything.
Which part of a listing should I check first?
The base. A heavy flower over a dry musk and the same flower over amber or a resin are effectively two different perfumes, and the difference is larger than any difference between bottle sizes. If a pyramid's base is resinous, that is usually enough to move on, because a resinous base is the cheapest way to make a white floral feel expensive and the surest way to make it feel thick.
Does where I apply it make any difference?
Yes, and this is the one version of use-less advice that does something. The same quantity at the nape or on the inside of an elbow reads noticeably quieter to the wearer than on an inner wrist, because those places are cooler, more sheltered from air movement and much less often passed by your own nose. That is a placement effect rather than a dose effect, and it changes your experience more than it changes anybody else's.
The heavy part is the slow part. Once you know that single sentence, the whole folklore of wearing less collapses - because what you are trying to escape is the last thing left on your wrist, and restraint with the applicator only shortens the afternoon rather than lightening it.
— Sonal Sahani, SOSA
From a flower you love at night to a specification you can shop with
SOSA — Four Dials, None of Them the Dose why softness is built beside a heavy flower, never subtracted from it
SOSA makes no rajnigandha and no tuberose composition at any strength or size, and this page recommends nothing from the range. The facet that reads as overwhelming in this blossom is its dense lactonic body, which is the slowest material in the bottle to fade - so a lower dose shortens the wear without changing its character. Softness is composed in beside the flower: a dry musk base rather than a resin, a genuine green facet over the top, and sweetness kept in the base. The four SOSA attars are jasmine, rose, night-floral and oud compositions from ₹379 for 3ml, alcohol-free and DPG-free on a sandalwood and jojoba carrier, 6-8 hours on skin, and none of them is this flower.
Ask SOSA to match a memory → SOSA Ameeri Attar · ₹385
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More from SOSA
Editorial standards & sources
About this guide: Written by Sonal Sahani, ISIPCA Versailles-trained founder and perfumer at SOSA Home & Body. It is written for a reader who knows the feeling they want and not the notes; the method of translating a place, a memory or a feeling into a fragrance family applies to any brand, and the product recommendations reflect the SOSA attar range only.

Facts verified 16 October 2026 against the live SOSA product pages: every SOSA attar is an alcohol-free, DPG-free oil perfume carried on sandalwood and jojoba oil with a built-in dab applicator, hand-blended in Pune, sold in 3ml, 6ml and 12ml, and described by SOSA as wearing 6-8 hours on skin - longer on warm or oily skin, and always as a skin scent rather than a room scent. SOSA Adaa (3ml ₹379 · 6ml ₹669 · 12ml ₹1,149) is the lightest in the range: Calabrian bergamot, green cardamom and neroli over jasmine sambac, magnolia and ylang ylang, on white musk, vetiver and cedarwood. SOSA Ameeri (₹385 · ₹679 · ₹1,165) is Persian saffron, pink pepper and bergamot over Taif rose and Indian sandalwood, on soft oudh, amber and white musk. SOSA Mastani (₹389 · ₹685 · ₹1,179) is litchi, bergamot and pink pepper over night-blooming jasmine and Damask rose, on Mysore sandalwood, oudh, Madagascar vanilla and tonka. SOSA Nawaab (₹399 · ₹699 · ₹1,199) is the deepest in the range: white royal oud, Mysore sandalwood, Kashmir saffron and aged tobacco leaf on amber, leather and white musk. The three evening attars come together as the SOSA Attar Trio (₹1,055 · ₹1,859 · ₹3,189). The four attars above are the whole attar range, and it contains no mitti or petrichor attar, no tuberose or rajnigandha, no champa or champak, no khus or vetiver soliflore, no marigold, no pine or conifer, no moss, no coffee and no clean-linen or aldehydic accord. Vetiver and cedarwood exist only as base notes inside Adaa, and sandalwood runs through the carrier of all four. Where a reader asks for a material SOSA does not make, these pages say so plainly and do not offer a substitute as though it were the thing asked for. Separately from the attars, SOSA makes six perfume oils in 10ml, 50ml and 100ml - Zaffran, Tabac Noir, Samundar, Khayaal, Chashni and Bahaar - each an independent SOSA composition inspired by a widely known fragrance and not affiliated with, or endorsed by, the house named. Fragrance is a personal choice: SOSA makes no claim that any attar changes how others perceive, judge or respond to the wearer, no claim about attraction, confidence, mood, sleep, stress or wellbeing, and no medical, dermatological or allergy claim - anyone with sensitive skin or a fragrance allergy should patch-test and consult their own judgement or a doctor. Wear time and projection vary with skin, climate and application. A portion of every SOSA order supports girl-child education through Nanhi Kali. Prices and availability are subject to change - see the live product pages.
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