If "separate scenting" means a different register in each room - jasmine in makeup, cedar in the changing area, something else again on the shooting floor - then the answer is a flat no, and the reason is a corridor. Two registers in adjoining rooms do not stay in their rooms. They meet in the doorway and in the passage between them, which is precisely where a client walks, and a seam in the air is a thing people feel without being able to name. A building running one register at three levels reads as a place with a personality. A building running three registers reads as a place that has not decided what it is.
If "separate scenting" means a different level in each room, then yes, obviously, and that is the whole craft. But when you sit down and set the level for these three rooms specifically, something awkward happens: the honest number for the makeup room is zero, the honest number for the changing room is zero, and the honest number for a shooting floor is either zero or "whatever the reception it is open to happens to be getting", which is not a separate decision at all.
So the real answer to the title question is: one register, several levels, and in these three rooms most of those levels are nothing. That sounds like a page telling you to buy less, and it is. It is also, in my experience of walking studios, the version that makes a building smell expensive.
Why not just use a different scent in each room? Because rooms leak into corridors. Two registers in adjoining spaces collide in the doorway and the passage between them, and that seam is the one place a client actually notices the air. It is also unmanageable in practice: two registers means two stock lines, two settings, two things to get wrong and no signature at all, since a signature is made by consistency rather than variety.
What should those three rooms get instead? Ventilation, laundry and housekeeping - which are the correct tools for what is actually happening in them. Fragrance adds scent and does not remove odour, so the smell of a busy styling station is an extraction and cleaning problem, not a fragrance problem. Then put the budget into reception and the consultation room with a SOSA Sukoon at ₹1,899 and the water-based Hotel Collection from ₹299.
The makeup and styling area. By ten in the morning that room contains hairspray, setting spray, primer, a hot styling tool, someone's perfume and often a hairdryer moving all of it around. Those are strong sprayed volatiles and they are winning on their own merits. A diffuser added into that does not blend with them and does not cover them, because fragrance adds scent and does not remove odour. It makes a third smell that belongs to nobody, and the makeup artist - who is in that room for nine hours with her face eighteen inches from a client's face - is the person who has to live in it. Leave it. What that room actually needs is extraction that works, a window that opens, ten minutes with the door open between clients and a bin that gets emptied before the end of the day.
The changing room. This one has a mechanism that most people have never thought about, and it is the reason I am firm about it. Fabric holds fragrance and gives it back slowly. A changing room is a room full of fabric, and every garment in it leaves the building on a person - a bride's outfit, a client's own coat, a stylist's hired samples that go back to a showroom on Monday. Whatever you put in the air of that room goes out of the door on other people's clothes, and a wedding outfit that smells faintly of your studio's reception register is not a charming detail, it is a thing you did to somebody's clothes without asking. It is also, in the plainest terms, a small room a client is standing in half-dressed, and the right instinct there is privacy and plainness rather than atmosphere. Keep it clean, keep it aired, keep it at nothing.
The shooting floor. Here the honest answer depends on your walls. If the shooting floor is a separate room with a door that shuts, it is its own body of air and the level is zero - it is the biggest and highest volume you own, it is the most expensive to fill, everyone in it is working an eight to ten hour day, and the set itself is a surface that garments and props sit on. If the shooting floor is open-plan and shares its air with reception, then it is not a separate decision at all: it will get whatever reception is getting, minus distance, and the only lever you have is to run reception lower and to place the machine at the far end. What you should not do in either case is put a machine on the set.
Which leaves the corridor argument, and it is the one that kills the multi-register idea on its own. Rooms leak. A machine in a small room with the door open scents the passage outside it, and a client walking from reception to a consultation room passes through every one of those leaks in about twelve seconds. If each room is running something different, that walk is a sequence of small collisions, and people register it as the building feeling slightly incoherent without ever knowing why. One register, several levels, some zeroes. A portion of every SOSA order supports girl-child education through Nanhi Kali.
That last clause is not a throwaway. The commonest way a carefully planned studio ends up over-scented is not a bad decision, it is a helpful one. Somebody new starts, notices there is no diffuser in the styling room, assumes it was an oversight, and moves one in from a corridor. Six weeks later the makeup artist is quietly working in a room with three fragrances in it and nobody remembers who decided what. Put the plan on paper: rooms, register, level, and the zeroes with a one-line reason beside each. A sheet of A4 in the office drawer solves a problem that no machine setting can.
The other thing worth writing down is who owns the dial. One person. Not because anyone is untrustworthy, but because a setting that three people can nudge is a setting that only ever goes one direction, since the person who nudges it is by definition the person standing in the room, and the person standing in the room stopped smelling it about four minutes after they arrived.
Three rooms, three different reasons - and only one of them is about air volume
What makes this question genuinely worth a page rather than a sentence is that the three rooms in the title fail for three completely different reasons. Only one of them is the reason people expect.
The makeup room fails because of competing volatiles. It is not too big or too small or badly ventilated; it is already full of strong, deliberately sprayed aromatic material, and adding another one to the mix is an arithmetic problem with no good answer. The changing room fails because of transfer. It is not about the air in the room at all; it is about the fabric passing through it and where that fabric goes afterwards. And the shooting floor fails because of volume and attention - it is the largest body of air in the building and it contains the fewest people who are available to notice anything.
Three different mechanisms, one shared conclusion, which is unusual and which is why the answer holds up under pressure. If the only argument against scenting the makeup room were "it is a work room", you could reasonably counter that receptions are work rooms too for the person on the desk. But the makeup room argument does not rest on that at all; it rests on the fact that a room already saturated with hairspray does not have space in it for anything else.
It is also worth separating two things that get muddled in this conversation: register and level. Register is the character - white tea, cedar, amber, jasmine. It is an aesthetic decision, it should be made once, and it should not change from room to room in a building people walk through. Level is how much of it is in the air, and it should absolutely change room by room, because level is set by dwell time and by what else is in the room. Almost every argument about "separate scenting" turns out, once you unpick it, to be an argument about level dressed up as an argument about register. Once you say it in those terms - one register, many levels, several of them zero - the disagreements mostly dissolve.
And under all of it is the order of operations, which does not change for any room in any building: source, then ventilation, then cleaning, then fragrance. Two of the three rooms in this title are rooms where the first three steps do the entire job and the fourth step never arrives. That is not SOSA being modest. It is what those rooms actually need.
Those are strong volatiles, deliberately engineered to disperse, and they are already occupying the room. A diffuser added into that competition does not harmonise with them - nobody formulated hairspray and a white tea accord to sit together - and it certainly does not remove them, because fragrance adds scent and does not remove odour. What it does is produce a third thing that is neither the products nor your register, and that third thing is the smell of your styling room.
There is also the exposure question, which I think matters more than the aesthetic one. The makeup artist is in that room for the whole day, working with her face close to a client's face, breathing whatever is in it. Staff are the most exposed people in any building - eight to ten hours a day, five or six days a week, against a client's two or three hours twice a year - and a hair and makeup professional is the most exposed person in a photography studio by a distance. If a makeup artist mentions the scent, that is a recalibration signal and not a tolerance problem, and in this particular room it is a signal you should have anticipated rather than waited for.
So what does the styling room actually get? Extraction and air. A working extract fan that somebody switches on, a window that opens if you are lucky enough to have one, the door open for ten minutes between clients, and the discipline of not letting the room go from client to client for nine hours with no reset. Then housekeeping: a bin emptied during the day rather than at the end of it, brushes and tools cleaned, cotton and wipes out of the room, and the towels going to the laundry on a schedule rather than when somebody notices. Those steps genuinely change how that room smells, and no fragrance at any price does.
The one caveat I will give, because it is real: a styling room with a door that shuts, in a studio where the client route runs right past it, is a room whose smell escapes. That is a ventilation and door-discipline problem rather than a fragrance problem. If your makeup room vents into the corridor your bride walks down, the fix is to get the extraction working and to keep the door shut, not to scent the corridor harder in the hope of covering it. Scent added on top of hairspray in a corridor is exactly the third smell we started with, and now it is in the room you were trying to protect.
And a small note about the register you run elsewhere. If your styling room does leak a little into the client route despite everything, then the register you have chosen for the route matters slightly more than usual. The tea-and-woods registers - Quiet Luxury, White Tea Serenity, Forest Suite - sit alongside a faint cosmetic note more gracefully than a big floral does, simply because they are quieter in character. That is a reason to prefer them, not a reason to raise the level.
Fabric holds fragrance. That is not a controversial claim - it is why a jumper smells of a restaurant the morning after, and it is why the soft furnishings in a studio hold on to a crew lunch for days. Now look at what a changing room is. It is a small volume, usually with poor air movement because it is a box carved out of a bigger space, and it is full of textiles that are passing through: a bride's outfit, a client's own coat and bag, a rail of stylist's samples that are going back to a showroom, a groom's sherwani that will be worn again at a family function. Everything hanging in there for twenty minutes is picking up a little of whatever is in that air, and then it is leaving your building.
A wedding outfit that faintly smells of your studio's reception register is not a signature. It is something you did to a stranger's clothes on the most photographed day of their life, and they did not ask for it. Hired samples that go back smelling of a fragrance are a conversation with a stylist that you do not want. And a client's own coat is their own coat.
Then the human part, which I think is the stronger argument even though it is less technical. A changing room is the one place in your studio where a client is physically vulnerable. They are half-dressed, they are usually a bit self-conscious about being photographed, and they are alone in a small room in a building they do not know. What that room should feel like is clean. Plain, well-lit, dry, uncluttered, with a hook that works and a mirror and a chair. Adding an atmosphere to it does not read as luxury; at close range in a small box it reads as trying too hard, and at the wrong level it reads as covering something up.
So the changing room is a laundry and ventilation job. Get air into it - a small extract, a grille, a door left open between clients. Launder the robes and towels on a schedule rather than on inspection. Take the used tissues, tags and packaging out during the day. Keep the floor dry. Do not store the steamer in there. If the room smells of anything, that is a source problem with a source fix, and no diffuser will change it.
The same reasoning covers the loo, which every studio treats as a fragrance problem and which is almost always an extraction problem first. Fix the extraction, then if you want something in there, a single SOSA reed diffuser from ₹749 is plenty - and it should be a quieter version of whatever the client route is running rather than a completely different smell that announces itself down the passage. That is the one small exception in this part of the building, and it exists because a loo has no fabric passing through it and nobody stands in it for twenty minutes deciding how they feel about your studio.
If the shooting floor is a separate room with a door that shuts, it is its own connected body of air and it gets its own decision, and the decision is zero. Run the arithmetic and you will see why: floor area multiplied by ceiling height gives cubic feet, cubic feet divided by 35.3 gives cubic metres. A 1,000 sq ft studio floor at 12 ft is 12,000 cu ft, about 340 m3. At 14 ft it is 14,000 cu ft, about 397 m3. A 1,500 sq ft floor at 14 ft is 21,000 cu ft, about 595 m3. Compare that with a 250 sq ft consultation room at 10 ft, which is 2,500 cu ft, about 71 m3. The shooting floor is five to eight times the volume of the room where your client sits for four hours making a decision about money, and the people in the big room are all working. There is no version of that trade that favours the big room. And that is before the tall-ceiling case, which gets worse quickly and is worked through at how to fragrance a studio with a large double-height shooting area.
If the shooting floor is open-plan and shares air with reception - which describes a great many studios in converted apartments, godowns and mill units - then it was never a separate scenting question in the first place, and pretending otherwise is how people end up buying a second machine they do not need. One connected body of air is one volume. Reception at 136 m3 open to a studio floor at 340 m3 is a single 476 m3 room with a sofa at one end, and a machine placed anywhere in it is scenting all of it. The honest strategy there is: run the whole connected volume at a lower level than you would run a closed reception, place the machine at the reception end and out of the path of any supply grille, and accept that the far end of the set will get a trace of it. What you never do is add a second machine on the set to "even it out". That doubles the load in a room where the only people are working.
The set itself deserves one paragraph on its own terms, because it applies at any ceiling height. A shooting set is a working surface. Garments come out of bags onto it, props and samples sit on it, a stylist steams a jacket beside it, a client changes fifteen feet from it, and a photographer opens a case and changes a lens on it. Ordinary studio prudence applies: keep any machine well away from open equipment cases and away from the spot where lenses get changed, and do not point a mist machine at anything you care about. That is prudence and housekeeping, and SOSA publishes no claim in either direction about any product and photographic equipment - not that it protects it, not that it harms it, not that it is certified for it.
Which brings the three rooms together. The makeup room is full. The changing room exports. The shooting floor is either separate and not worth it, or joined and not a separate decision. Meanwhile the reception and the consultation room, which are small, cheap and full of clients who are sitting still, are the rooms where a modest amount of money does real work. That is the trade this page is asking you to make, and it is the same trade whichever of the three rooms you started out wanting to scent.
- Pick ONE register for the whole building before you decide anything about rooms.
- Mark makeup and changing at zero, and give each a ventilation and laundry fix instead.
- Decide whether the shooting floor has a shut door - that answers whether it is separate.
- Write the plan down: room, register, level, and a reason beside every zero.
One register, several levels, and the rooms that sit at zero
So if it is one register, which one - and at what level in each room that is not at zero?
Choose the register for the room every client passes through, which is reception, and let that single decision carry the building. The seven water-based Hotel Collection registers are each SOSA's own hotel-inspired interpretation, and SOSA is independent and is not affiliated with, endorsed by or connected to any hotel brand.
Quiet Luxury is white tea, bergamot and cedar - hushed, polished lobby calm, and the default answer for a studio that holds a bride at eleven and a headshot client at three. It is the register I recommend when an owner has no strong view, and it has a specific virtue in this discussion: it is quiet enough that if a trace of the styling room ever does reach the corridor, the two are not shouting at each other. White Tea Serenity is white tea, aloe and cedar - clean, weightless and spa-like, and the right answer for a pale, daylight-heavy studio with linen, white cyclorama and light oak. Forest Suite is cedarwood, vetiver and green leaves - grounding and biophilic green, the register for concrete, steel, plants and a warehouse shell, and the one a mixed crew reads as neutral rather than as somebody's floral choice.
Tea Garden is jasmine, green tea and white tea - serene tea-and-jasmine calm, and the best floral for a long-dwell bridal consultation because the jasmine sits inside the tea rather than on top of it. Warm Welcome is citrus, floral and sandalwood - warm, gracious hospitality, a threshold register for a studio whose positioning is family and welcome rather than editorial cool. Old-World Glamour is amber, violet and woods - plush and evening-elegant, right for a dark portrait room and heavy in a room where somebody sits for four hours. Lobby Bar is citrus, pepper and amber - bold, playful and after-dark, with one honest home in this vertical, which is a studio that hosts evening events.
Now the levels, and this is the part to write down. Reception gets the highest level in the building, which surprises people who assume the most important room should get the most. It is the opposite: reception is a thirty-second to two-minute room with a door opening onto the street, a lot of air change and nobody in it long enough to tire of anything, so it can carry a little presence and presence at the threshold is what people remember. The consultation, bridal or album-selection room gets the lowest level that is not zero - a whisper. It is a small closed room, and a couple choosing forty images out of nine hundred will sit in it for three to six hours. A scent you love for ten minutes becomes tiring at hour three, and the bride is very often wearing her own fragrance and sometimes trialling one for the wedding day, which your studio has no business competing with. The waiting area sits between the two, closer to the consultation room than to reception if people wait there for more than a few minutes.
And then the zeroes, stated plainly because vagueness here is how they get undone. The makeup and styling area: zero. The changing room: zero. The equipment store: zero. The active shooting sets: zero, unless they are open-plan with reception, in which case they are not a separate room and they get whatever the connected volume gets at a lower overall setting. A newborn photography room: zero, without hedging. Pregnant clients are commonly scent-sensitive and nausea is ordinary in pregnancy, which is a plain reason to keep those rooms unscented; it is not a basis for any health, safety or calming claim in either direction, and this page makes none. The client's own preference overrides everything written here, in every room, always.
One last note on how to hold this, because the plan is easy to write and harder to keep. Set the level for the person arriving from outside, not for you at four in the afternoon, because you went nose-blind to your own studio within minutes of walking in this morning. Judge it from the doorway on a morning the building has been shut. Leave it alone for a fortnight before you decide anything. And expect to make two small adjustments a year for season - a studio in February with the doors open is not the same room as the same studio in May with the AC running hard - rather than two a week in reaction to one bad afternoon.
| Scent | Why it suits the mood |
|---|---|
| Quiet Luxury · reception, the highest level | White tea, bergamot and cedar. Ritz-Carlton-inspired, SOSA's own interpretation. Reception is a thirty-second room with a door onto the street and a lot of air change, so it carries the most presence in the building and nobody is in it long enough to tire of it. This is the register to run if you want one decision made for you. |
| Tea Garden · consultation, the lowest level | Jasmine, green tea and white tea. Shangri-La-inspired. The same building, the same route, a whisper instead of a presence, because this is a small closed room where two people sit for three to six hours and one of them is often wearing her own fragrance. If you are running one register everywhere, this room is where you turn it down rather than where you change it. |
| Nothing · makeup and changing | Zero in both, for two different reasons. A styling station already contains hairspray, setting spray, primer and a hot tool, and fragrance adds scent rather than removing it, so anything you add becomes a third smell. A changing room hangs garments that leave the building on other people, and fabric carries whatever is in that air out of the door with them. |
| Nothing · shooting sets and equipment store | Zero if the room has a door, because it is the largest and most expensive volume you own and everyone in it is working an eight to ten hour day. If it is open-plan with reception it is not a separate room at all: one connected body of air, one machine at the reception end, and a lower overall level. Never a second machine on the set. |
What to buy, once the plan says one register and three or four zeroes, is usually less than an owner walks in expecting.
If the client route is a closed reception and a closed consultation room, those are two separate bodies of air, and two small machines are the honest answer rather than one big one, because a machine cannot push scent through a shut door. A SOSA Boond at ₹899 handles a small enclosed room; a SOSA Sukoon at ₹1,899 is right for a normal reception; both run the water-based Hotel Collection from ₹299, with 100ml refills at ₹999 and a pack of seven 15ml bottles at ₹1,799 if you want to try registers in your own air first. A waiting area that runs all day is where the SOSA Megh at ₹3,499 and its 6 litre tank stops you thinking about it at lunchtime. And where you want no plug, no noise and nothing to switch off - a small consultation room, a corner, a loo - a SOSA reed diffuser from ₹749 sits still and lasts about 6 to 10 weeks. The reeds are their own registers: Morning Freshness ₹749 (Malabar lemon, mint, eucalyptus), Garden Bloom ₹799 (British rose, night-blooming jasmine), Evening Calm ₹799 (Kashmir lavender, chamomile), Mountain Breeze ₹849 (Himalayan pine, sage, cedar) and Fresh Brew ₹849 (Coorg coffee, Kerala vanilla). The 130ml is from ₹1,249, with 300ml refills at ₹2,399 and 500ml at ₹3,499.
If the client route is genuinely open - reception, corridor and lounge joined to each other - then one machine covers the lot and the SOSA Vaayu at ₹11,999 is the commercial answer: waterless cold-air nebulising of undiluted oil, so no water, no humidity and no wet residue, which is the whole reason it belongs in a building with gear and wardrobe in it. It is rated for approximately 1000 m3 of connected air, takes a 400ml tank, mounts freestanding, on a wall or into HVAC, runs on DC 12V / 1A at 5W so it needs a live socket, and carries CE, RoHS and SGS. The Bluetooth app and timer are the feature that matters most to the argument on this page, because they let you scent your opening hours and nothing else. For genuinely large ducted buildings there is the Aangan at ₹25,999 for approximately 8,000 to 10,000 sq ft and the Meenar at ₹38,500 for approximately 12,000 to 18,000 sq ft. Two systems and they are not interchangeable: the ultrasonics are water-based cool-mist machines that put moisture into the air, the Vaayu and the ducted machines run waterless nebulising oil, and the ₹299 water-based bottle never goes into a Vaayu or an HVAC machine.
To go further on the neighbouring questions: if what you actually want is a way of keeping fragrance off the sets without giving up on the rest of the building, that mechanism is set out at how to scent a photo studio without fragrancing every shooting set. If your problem is that one room already smells strong and another smells of nothing, the diagnostic order to check it in is at why fragrance is strong in one studio room but weak in another. And the three-level strategy this page keeps referring to is written out in full at the best scenting strategy for reception, consultation and shooting areas.
What SOSA does not publish and this page will not invent: consumption rate, refill frequency, monthly running cost, machine lifespan, minimum order quantity or lead time. Those depend on run hours, connected volume and setting, all of which are yours. Send the floor plan, the ceiling heights and a note of which doors actually stay shut to WhatsApp at +91 96192 18531 and you will get an answer with your own numbers in it. Bulk orders are welcome, custom label or logo on product is available, and bespoke composition made only for your studio is a real SOSA service discussed there rather than priced on a page.
The SOSA scenting range
SOSA sells two different systems and one of the commonest mistakes is mixing them up. Size by the connected air volume of the room you are actually scenting - floor area multiplied by ceiling height gives cubic feet, and cubic feet divided by 35.3 gives cubic metres. A door that stays shut ends one volume and begins another.
| Machine | System | What it is for | Price |
|---|---|---|---|
| SOSA Boond | Ultrasonic · water-based | A small desk or corner unit for one enclosed room - runs the water-based Hotel Collection | ₹899 |
| SOSA Sukoon | Ultrasonic · water-based | A larger ultrasonic for a reception or consultation room - Hotel Collection from ₹299 | ₹1,899 |
| SOSA Megh | Ultrasonic · 6L tank | A large-tank ultrasonic for a bigger lounge that runs all day | ₹3,499 |
| SOSA Vaayu | Waterless cold-air nebulising | The commercial machine - approx 1000 m3 of connected air, Bluetooth app and timer, no water and no humidity | ₹11,999 |
| SOSA Aangan | HVAC nebulising | Ducted scenting for approximately 8,000 to 10,000 sq ft | ₹25,999 |
| SOSA Meenar | HVAC nebulising | Ducted scenting for approximately 12,000 to 18,000 sq ft | ₹38,500 |
Two systems, and they are not interchangeable. The ultrasonics - Boond, Sukoon and Megh - run the water-based Hotel Collection from ₹299. Vaayu and the HVAC machines run waterless nebulising oil; the ₹299 water-based bottle never goes into a Vaayu. SOSA blends are SOSA's own hotel-inspired interpretations and SOSA is independent and not affiliated with any hotel brand. A portion of every order supports girl-child education through Nanhi Kali.
- Vaayu ₹11,999 - waterless cold-air nebulising, approx 1000 m3 connected air, Bluetooth app and timer, 400ml tank, freestanding or wall / HVAC mount, DC 12V / 1A, 5W, mains powered, CE / RoHS / SGS.
- Aangan ₹25,999 for approximately 8,000 to 10,000 sq ft and Meenar ₹38,500 for approximately 12,000 to 18,000 sq ft - both ducted into HVAC.
- The ultrasonics - Boond ₹899, Sukoon ₹1,899, Megh ₹3,499 - run the water-based Hotel Collection from ₹299, with 100ml refills at ₹999.
- Not published, and therefore never stated on this page: consumption rate, refill frequency, monthly running cost, machine lifespan, installation lead time or any minimum order. Those go to WhatsApp +91 96192 18531.
Versailles
A photography studio sells a feeling before it sells a photograph. A couple sitting on your sofa choosing an album is doing something emotional, and they are doing it in your air for three or four hours. That is a long time to be in a room, and it is the reason I keep telling studio owners to go lower than they think.
The mistake I see is scenting the whole studio at one level. A reception is a thirty-second room and can carry a little presence. A consultation lounge is a three-hour room and needs a whisper. A newborn or maternity room should usually have nothing at all, and I would rather say that plainly than sell a second machine.
And the unglamorous part first: fragrance adds scent, it does not remove odour. If the studio smells of hairspray, of last night's crew dinner or of a room that has been shut since Sunday, scent laid on top makes a third smell. Find the source, air the room, clean it - and then, when the air is honest, give it a signature.
Frequently asked questions
Facts verified September 2026: SOSA Vaayu ₹11,999 is a waterless cold-air nebulising diffuser rated for approximately 1000 m3 of connected air, with Bluetooth app and timer, a 400ml tank, freestanding or wall / HVAC mounting and a DC 12V / 1A, 5W mains supply. SOSA Aangan ₹25,999 covers approximately 8,000 to 10,000 sq ft and SOSA Meenar ₹38,500 approximately 12,000 to 18,000 sq ft, both ducted into HVAC. The ultrasonic machines - Boond ₹899, Sukoon ₹1,899 and Megh ₹3,499 - run the water-based Hotel Collection fragrance from ₹299, with 100ml refills at ₹999; that water-based bottle is not used in a Vaayu or an HVAC machine. Reed diffusers start at ₹749 and last roughly 6-10 weeks. A coverage rating assumes one connected body of air; scent does not travel through a closed door. Ambient scent research supports improved evaluations of a space and its service, longer dwell and stronger recall at moderate effect sizes - it does not support claims about bookings, fees or retention. Fragrance adds scent and does not remove, neutralise or purify odour, and no SOSA product makes any health, antibacterial or air-purifying claim. SOSA blends are SOSA's own hotel-inspired interpretations; SOSA is independent and not affiliated with any hotel brand. Prices and availability are subject to change - see the live product pages.