Which Attar Is Suitable for a Woman Who Likes Jasmine but Finds Some Jasmine Perfumes Too Intense or Indolic for Daily Wear?

Which Attar Is Suitable for a Woman Who Likes Jasmine but Finds Some Jasmine Perfumes Too Intense or Indolic for Daily Wear?

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★ ★ One molecule explains why the flower outside your window and the bottle on your table disagreeSOSA Adaa 3ml ₹379 - jasmine sambac, magnolia and ylang ylang over white musk, vetiver and cedarwoodSOSA Mastani 3ml ₹389 - night-blooming jasmine and Damask rose over sandalwood, oudh, vanilla and tonka
The short version — five things worth checking
For the reader who loves jasmine on the bush and has twice bought a jasmine perfume she could not wear past eleven in the morning
  • 1 Indole is a real molecule present in living white flowers, jasmine among them. At low dilution it reads warm and skin-like; at high concentration the same molecule reads heavy and animalic. Nothing about that is a defect.
  • 2 A flowering bush is metres away and moving air dilutes it. A perfume is on warm skin at a few centimetres and does not. The same material arrives at your nose at two very different strengths.
  • 3 Adaa's heart is jasmine sambac, with magnolia and ylang ylang, over a base of white musk, vetiver and cedarwood - the green, tea-like, sharper reading of the flower on a dry floor.
  • 4 Mastani's heart is night-blooming jasmine with Damask rose, over Mysore sandalwood, oudh, Madagascar vanilla and tonka - the nocturnal, heavier reading of the same flower, with warmth underneath it.
  • 5 Quantity changes an indolic floral more than it changes anything else. Half a dab and three dabs of the same jasmine composition are not the same fragrance in any sense that matters socially.
★ See SOSA Adaa - the green reading of jasmine ₹379 Ask Sonal which of the two jasmines is yours ₹0
★ The two jasmines in the range, and the rose for comparison
SOSA Adaa AttarSOSA Adaa Attar · 3ml ₹379Calabrian bergamot, green cardamom and neroli over jasmine sambac, magnolia and ylang ylang, on white musk, vetiver and cedarwood - the green reading of the flower, on a dry floor that does not amplify itView Adaa →SOSA Mastani AttarSOSA Mastani Attar · 3ml ₹389Litchi, bergamot and pink pepper over night-blooming jasmine and Damask rose, on Mysore sandalwood, oudh, Madagascar vanilla and tonka - the nocturnal reading, warm underneath, and the heavier of the two on purposeView Mastani →SOSA Ameeri AttarSOSA Ameeri Attar · 3ml ₹385Persian saffron, pink pepper and bergamot over Taif rose and Indian sandalwood, on soft oudh, amber and white musk - no jasmine at all, and the honest answer if the flower itself is the problemView Ameeri →
✓ Both jasmine positions named here are quoted from the live SOSA product pages ✓ No projection or radius figure appears on this page, because SOSA publishes none ✓ Nothing here predicts what anyone else will notice, say or think about how you smell

Founder Diaries · Close Range · Presence Without Projection
By Sonal Sahani · ISIPCA Versailles 18 min read Updated October 2026
The jasmine on the bush and the jasmine in the bottle are the same flower, and they disagree for two reasons that have nothing to do with quality. One is a molecule called indole, which is in the living flower and behaves completely differently at different concentrations. The other is distance: a flowering bush is several metres from you in moving air, and a perfume is a few centimetres from you on warm skin. Put those two together and you have the whole explanation for why a reader can love jasmine in a garden and find a jasmine perfume unwearable by eleven in the morning. It is not that she has poor taste in perfume. It is that she has been meeting a different concentration of the same thing.
Quick answers — read this first
Why does a jasmine perfume smell different from a real jasmine flower? Two reasons. First, indole - a molecule present in living white flowers that reads warm and skin-like when very dilute and heavy and animalic when it is not. A perfume fixes the concentration; a living flower is a moving target that changes through the evening. Second, distance: a bush is metres away in open air and a perfume is centimetres away on warm skin, so the same material arrives much stronger.

Which SOSA attar is the lighter jasmine? SOSA Adaa, the 3ml at ₹379. Its heart is jasmine sambac with magnolia and ylang ylang, which is the greener, sharper, tea-like reading of the flower, and it sits on a base of white musk, vetiver and cedarwood. A dry base does not amplify an indolic floral; a sweet one does, which is the whole of the difference between the two jasmines in this range.

Why is Mastani's jasmine heavier? Because it is a different reading of the flower and it sits on a different floor. Mastani uses night-blooming jasmine, the nocturnal and more indolic reading, beside Damask rose, over Mysore sandalwood, oudh, Madagascar vanilla and tonka. Warmth underneath an indolic floral extends it rather than cutting it. That is a design decision rather than an accident, and it makes Mastani an evening composition.
The short answer
Short answer: Buy SOSA Adaa, the 3ml at ₹379, if you love jasmine but have found jasmine perfumes too much. Indole is the molecule that explains the gap. It is present in living white flowers and it reads warm and skin-like at low dilution and heavy at high concentration, so the same material is charming at three metres in a garden and overwhelming at three centimetres on a wrist. The base under the flower decides which version you get: Adaa puts jasmine sambac over white musk, vetiver and cedarwood, which is dry and does not extend it, while Mastani puts night-blooming jasmine over sandalwood, oudh, vanilla and tonka, which does.
The pick: the Adaa 3ml at ₹379, at half a dab for the first few wearings, because an indolic floral is the register most changed by quantity. If the green reading turns out to be too sharp for you, Mastani at ₹389 is the warmer one; if the flower itself is the problem, Ameeri at ₹385 has no jasmine in it at all.
Next step: read the soft-floral page if rose and sugar are also on your list of refusals, and the family hub for the rest of this group. Or tell me which jasmine you have met and disliked and I will tell you which of the two readings it was.
In this guide
Straight answer
Which attar suits a jasmine lover who has found some jasmine perfumes too intense or indolic for daily wear?
Adaa, the 3ml at ₹379, at half a dab to begin with - and the explanation is the most useful thing in this family, because it will change how you read every floral listing from now on. First, the molecule. Indole is a real, nameable aromatic compound present in living white flowers, jasmine foremost among them. Its defining property is that it does not behave consistently across concentrations. Very dilute, it reads warm, soft, faintly skin-like, and it is the thing that makes a jasmine smell alive rather than like a drawing of a flower. Concentrated, the same molecule reads heavy, animalic, and to many people frankly unpleasant - a quality variously described as overripe or mothballed. Nothing changes but the amount. This is unusual; most materials simply get louder. Indole changes character, and that single fact explains almost every complaint about jasmine perfume ever written. Second, the distance, which compounds it. When you stand near a flowering jasmine in a garden, the flower is a metre or several metres away and the air between you is moving. You receive an enormously dilute version of what the flower is actually emitting, and you receive it as a changing thing - more at dusk, less at noon, different after rain. When you wear a jasmine perfume, the material is on your own warm skin at a distance of a few centimetres, fixed at whatever concentration the perfumer chose, and it does not move. The garden is a whisper from across a room. The wrist is a voice at your ear. Same flower. Third, what perfumers do about it, honestly. A jasmine in a composition is either an extract of the flower or a reconstruction built from its components, and in both cases the perfumer decides how much of the indolic character to keep. Keep too little and the result smells like soap and loses everything that made the flower worth using. Keep too much and the fragrance becomes an event rather than a thing you can wear to lunch. Where a house lands on that dial is a stylistic choice, and nobody publishes the number. What you can read, on any listing, is the base - because the base is what the flower is standing on, and that is the second lever. Fourth, the two readings in my own range, which is the practical part. Adaa uses jasmine sambac, which is the greener, sharper, more tea-like reading of the flower, and places it with magnolia and ylang ylang over a base of white musk, vetiver and cedarwood. Those three base materials are dry. A dry base does not extend an indolic floral - it sits underneath and lets the flower be a flower. Mastani uses night-blooming jasmine, which is the nocturnal reading, heavier and more indolic by nature, beside Damask rose, and places it over Mysore sandalwood, oudh, Madagascar vanilla and tonka. Vanilla and tonka are fixatives as well as sweeteners, so they hold the indolic character in place and give it warmth to lean on. That is why Mastani is an evening composition and Adaa is not, and it is a deliberate difference rather than one being better made than the other. Fifth, the quantity, which is the lever you hold. Because indole changes character with concentration, a jasmine fragrance is the single register in which dose does the most work. Half a dab of an indolic composition at the inner wrist and three dabs of the same bottle at the throat are not two volumes of one fragrance - they are closer to two different fragrances, because the character of the dominant material has moved. If you have bought a jasmine perfume and found it too much, the first thing I would try before concluding you dislike it is a quarter of the quantity, on a wrist, applied half an hour before you leave the house.

What indole is, and why concentration changes it completely

Let me be more exact, because this is the part that is genuinely worth learning. Indole is a nitrogen-containing aromatic compound. It occurs in jasmine, in orange blossom and in several other white flowers, and it also occurs in places that have given it a bad reputation in casual writing about perfume. That reputation is misleading in both directions: the molecule is not a contaminant and it is not a trick. It is one of the things a white flower actually smells of, and a jasmine built without it does not smell like jasmine.

What makes it unusual is the non-linearity. Most aromatic materials scale in a way your nose finds intuitive - more of a bergamot is more bergamot. Indole does something else: below a certain dilution it is warm and faintly fleshy in a way that reads as living, and above it the same molecule reads as heavy and animal. There is no sharp line, and where an individual nose places it varies. Which is why two readers can wear the same jasmine fragrance and describe it in incompatible terms, and both of them are reporting accurately.

The practical consequence is a rule you can use on any brand's product page. A white floral is the register in which you should assume the smallest sensible quantity first, and in which a bad experience is most likely to have been a quantity error rather than a composition error. I would not say that about a vetiver or a citrus. I say it about jasmine, orange blossom and the rest of the indolic family every time, and it is the reason the recommendation at the bottom of this page comes with half a dab attached to it.

Why a bush and a bottle are not the same encounter

The second half of the explanation is geometry rather than chemistry, and almost nobody mentions it. Consider what is actually happening when you stand near a flowering jasmine at dusk. There are hundreds of small flowers, each emitting continuously into open, moving air. By the time that reaches you it has been diluted by an enormous volume of atmosphere, and it arrives in gusts rather than steadily. The experience is of something intermittent and far away, which is exactly the condition in which indole is at its most beautiful.

Now consider a perfume. The material is on your skin, warmed to body temperature, a few centimetres from your own nose and well inside the personal space of anyone in conversation with you. There is no intervening volume of air to dilute it and no gusting to make it intermittent. It is continuous and it is close. A composition designed to be lovely in that position has to be built differently from the flower it refers to, and any perfumer who tells you they have bottled the garden is describing an ambition rather than a product.

There is a third difference worth naming, which is time. The living flower changes through the evening - jasmine emits more after dark, and the character shifts as it does. A fragrance has a development too, but it is the development of an evaporation rather than of a living thing, and it runs in one direction only: top, heart, base, quieter and quieter. What you cannot have is the thing coming back at ten o'clock the way a garden does. That is not a failure of perfumery. It is a difference in kind, and recognising it is what stops a reader from being perpetually disappointed by bottles.

The two jasmines in this range, and what each is built on

Jasmine sambac, in Adaa. Sambac is the jasmine of garlands and of tea, and it reads greener, sharper and more citrus-adjacent than the other common perfumery jasmine. In Adaa it sits with magnolia and ylang ylang - magnolia bringing a lemony lift and ylang ylang a creamy floral body - under a top of Calabrian bergamot, green cardamom and neroli. Everything above the heart is bright and green, which pulls the flower in the same direction. And underneath it is a base of white musk, vetiver and cedarwood: three dry materials, nothing sweet, nothing resinous. The result is a jasmine that stays a flower rather than becoming a statement.

Night-blooming jasmine, in Mastani. This is the nocturnal reading - fuller, more indolic by nature, the smell of a courtyard after dark rather than of a morning garland. Beside it sits Damask rose, which is the rounder and jammier of the two roses used in this range. And underneath is a base of four materials: Mysore sandalwood, oudh, Madagascar vanilla and tonka. Every one of those four is warm, and two of them are fixatives, which means the base does not merely sit under the flower - it holds it. That is why Mastani is the heavier reading of the same genus and why I would wear it at eight in the evening rather than at eight in the morning.

Neither is a mistake and neither is the better composition. They answer different questions, and the only reason this page recommends one over the other is that the reader who arrives here has told me that some jasmine perfumes are too intense for her. For that reader the green reading on a dry base is the right one, and the nocturnal reading on a warm base is the thing she has already met and declined.

Five terms readers run together, separated

The distinctions that decide a jasmine purchase
Five words used interchangeably on product pages, and what each one actually is
The term What it actually is What it is not How to tell, on your own skin
Indolic A description of character produced by indole and related materials - warm and fleshy at low dilution, heavy and animal at higher concentration Not a synonym for strong, and not a flaw. A fragrance can be very strong and not at all indolic, or quiet and distinctly so Apply a quarter of your usual quantity and wait an hour. If the heaviness disappears and a flower remains, the material was never the problem
Jasmine sambac The greener, sharper, tea-adjacent reading of jasmine, used in Adaa's heart with magnolia and ylang ylang Not a lighter version of the same extract. It is a different flower with its own profile, rather than a dilution of the other one Wear it in daylight on a cool morning. If what you meet is green and slightly citrus rather than sweet, you are meeting sambac
Night-blooming jasmine The nocturnal reading, fuller and more indolic by nature, used in Mastani's heart beside Damask rose Not simply more of the same thing. The character is different as well as the concentration, which is why the base under it is built differently too Wear it in the evening in cool air. If it feels like a courtyard rather than a garland, that is the material doing what it was chosen to do
The base under a floral The thing the flower stands on, and the single biggest influence on how heavy an indolic floral reads over hours Not a detail at the bottom of a listing. A dry base of musk and light woods behaves completely differently from vanilla and tonka under the same flower Compare the two at hour four rather than at the first sniff. The first ten minutes are the top notes and tell you nothing about this
Too strong Most often a quantity, applied at a warm site, in a room that does not dilute - which is to say a decision rather than a property Not usually a verdict on the composition, and it is the conclusion readers reach fastest and correct least often Halve the dab and move it to the inner wrist for a week. If the problem survives that, it is the composition and you have learned something real
The last row is the one I would act on first. Of the readers who write to me convinced that they cannot wear jasmine, more than half have only ever worn it at a quantity that would be generous for a vetiver.

Why quantity matters more for jasmine than for anything else

My own assessment, not a published figure
Here is my craft assessment, labelled as a judgement rather than as a published figure, because SOSA publishes 6-8 hours on skin and nothing whatever about how far any composition reads. An indolic floral is the register in which I am most careful about quantity, and the reason is the non-linearity described above: with most materials, doubling the dose doubles the presence, and with an indolic white floral it can change the character as well. There is a second mechanism alongside it. These are fixed oils dabbed onto warm skin rather than alcohol sprays, so nothing atomises and nothing is carried outward by evaporating alcohol - which means the material stays concentrated at the point of application rather than dispersing. For a jasmine that is an advantage if you apply a little and a liability if you apply a lot.

So the method for a jasmine composition specifically: start at half a dab on one inner wrist, nowhere else, applied about half an hour before you leave. Wear it that way three times before you form any opinion. If after three wearings it reads as thin rather than quiet, increase to a full dab - but increase the quantity at the same site rather than opening a second one, because a second site is a second source and the throat in particular sits under the nose of everybody you greet.

And do not judge a jasmine in the first twenty minutes. The top of Adaa is bergamot, green cardamom and neroli, and the top of Mastani is litchi, bergamot and pink pepper; in both cases what you meet at the moment of application is the opening rather than the flower. The heart arrives from about half an hour and holds for a couple of hours, and that is the part of the wearing your question is actually about.

What I would buy, in what size, and how much of it

Sonal’s recommendation
Adaa, the 3ml at ₹379, at half a dab - the green jasmine on a dry base, which is the reading you have not met
Most readers who tell me they cannot wear jasmine have met one reading of it, at one quantity, on the wrong base. That is three variables, and all three are changeable.
— Sonal Sahani, founder and perfumer, ISIPCA Versailles-trained
What to buy The SOSA Adaa 3ml at ₹379 - jasmine sambac with magnolia and ylang ylang, over white musk, vetiver and cedarwood
How much, for the first three wearings Half a dab, one inner wrist, nothing at the throat, applied about half an hour before you leave
Why this one rather than the other jasmine The reading and the floor. Sambac is the greener flower, and a dry base of musk and light woods does not extend an indolic character the way vanilla and tonka do
The warmer alternative The Mastani 3ml at ₹389, if the green reading turns out to be sharper than you wanted
If the flower itself is the problem The Ameeri 3ml at ₹385 has no jasmine in it at all - Taif rose and Indian sandalwood over soft oudh, amber and white musk
What I cannot tell you I cannot say how anyone else will read a jasmine on you, and the useful question is not whether a stranger approves of it
The 3ml is the only size I would buy for a question like this, and the reason is specific rather than general. An indolic floral is the composition most likely to behave differently on your skin than it did on anybody else's, and three millilitres is enough for a fortnight of real wearings at half a dab each. If it works, the 6ml at ₹669 is the size to own. If it does not, you have learned which of the two readings of jasmine is yours, which is worth the price of the bottle on its own and transfers to every other brand you will ever shop.
Everything above, on one page.
See SOSA Adaa · 3ml ₹379
If Adaa's heart turns out to be too green for you - and that is a real response to a real material rather than a failure of nerve - then the answer flips and Mastani is your bottle. Night-blooming jasmine over Mysore sandalwood, oudh, vanilla and tonka is the warmer, rounder reading of the same flower, and a reader who finds sambac sharp very often finds the nocturnal jasmine comfortable for exactly the reasons this page gives for avoiding it. Buy the 3ml at ₹389, wear it after six, and keep the half-dab discipline.
— the condition that changes this answer
One flower, two readings, one molecule. Two honest routes out of this page.
One of these costs ₹379 and one costs nothing.
See SOSA Adaa · 3ml ₹379
If you love jasmine and have twice bought a jasmine you could not wear. The green reading, on a dry base, at half a dab - which is the version most readers in your position have never actually tried.
Tell Sonal which jasmine you met
If you still have the bottle you gave up on, read me its base line. I will tell you whether it was the reading of the flower, the floor underneath it or simply the quantity - and whether I make the version you want.
SS
ISIPCA
Versailles
A note from Sonal

I learned this properly at Versailles, from a tutor who made us smell indole at four dilutions without telling us what it was. At the weakest it smelled of warm skin and most of the class liked it. At the strongest, several people in the room objected out loud. Then she told us it was one substance and that it was in the jasmine absolute we had all admired the week before, and the room went quiet.

I have thought about that hour more than almost anything else in my training, because it is the clearest demonstration I know that quantity is not a volume control. With some materials it is a character control. That is why I am so insistent about half a dab on these pages, and why I will not sell a 12ml to somebody who has never worn the composition.

There is a jasmine bush outside my mother's house in Pune that is the reason I do this work at all, and I have never managed to put it in a bottle. What I have made instead are two honest readings of the flower, one green and one nocturnal, and I would rather tell a reader plainly which one she has already met and disliked than let her buy the same disappointment twice.

Frequently asked questions

What does indolic mean in a perfume description?
It describes the character produced by indole and related materials, which are present in living white flowers such as jasmine. At low dilution that character reads warm and faintly skin-like; at higher concentration the same molecule reads heavy and animal. It is a description of quality rather than of strength, and a fragrance can be strong without being indolic at all.
Why does my jasmine perfume smell nothing like the flower in my garden?
Because of concentration and distance. The bush is metres away in moving air, so what reaches you is enormously diluted and arrives in gusts. The perfume is on warm skin a few centimetres from your nose, at a fixed concentration, continuously. The same material behaves differently in those two situations, and the garden version is the one almost everybody prefers.
What is the difference between jasmine sambac and night-blooming jasmine?
They are different flowers with different profiles rather than two strengths of one thing. Sambac is greener, sharper and more tea-adjacent, and it sits in Adaa's heart. Night-blooming jasmine is the nocturnal reading, fuller and more indolic by nature, and it sits in Mastani's heart beside Damask rose.
Does the base note change how heavy a jasmine feels?
Considerably, and over hours it may matter more than the flower itself. A dry base of white musk, vetiver and cedarwood sits underneath a floral without extending it. A base of sandalwood, oudh, vanilla and tonka is warm and fixed, so it holds the floral character in place and gives it something to lean on. Those are the two jasmines in this range, and the difference is deliberate.
How much of a jasmine attar should I apply?
Half a dab on one inner wrist for the first three wearings, applied about half an hour before you leave, and nothing at the base of the throat. An indolic floral is the register in which quantity does the most work, because the dominant material changes character rather than merely volume as the concentration rises.
Is there a SOSA attar with no jasmine in it?
Two. Ameeri is Persian saffron, pink pepper and bergamot over Taif rose and Indian sandalwood, on soft oudh, amber and white musk. Nawaab is white royal oud, Mysore sandalwood, Kashmir saffron and aged tobacco leaf over amber, leather and white musk. Of those two, Ameeri is the one I would put in front of a reader who likes florals but not this one.
The jasmine rule, in one line
Half a dab, one wrist, three wearings, and judge it at hour two rather than at the first sniff.
See SOSA Adaa · 3ml ₹379 Describe a feeling to SOSA
Which jasmine did you meet and give up on?
SOSA — Read me the base line off the bottle you stopped wearing. The flower is rarely the whole story. The floor underneath it and the quantity you used explain most of these, and both are fixable.
Alcohol-free, DPG-free oil attars hand-blended in Pune · 6-8 hours on skin · no projection figure claimed anywhere, because none is published
Ask Sonal which one stays close → SOSA Adaa Attar · ₹379
Continue the read
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 wants to be pleasant at conversational distance without filling a room, and the method - read the base of a pyramid, judge the format, then control the dose - applies to any brand. The product recommendations reflect the SOSA attar and perfume oil range only.

What this guide does and does not claim. Three things about a fragrance can be stated honestly, and this guide limits itself to them: what a composition contains, which SOSA publishes on each product page; how an oil behaves on skin compared with an alcohol spray, which is Sonal's own professional assessment and is marked as such wherever it appears; and how much you apply and where, which is entirely yours. The fourth thing - whether another person finds a scent pleasant, memorable or attractive - is theirs, and nothing here predicts it. SOSA makes no claim about compliments, 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 use their own judgement or consult a doctor. Where a workplace is involved, that employer's own fragrance policy decides, not SOSA.

On performance figures. SOSA publishes one and only one performance figure for its attars: they are described 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 does not publish projection, sillage or scent-radius data for any product, and no such figure appears anywhere in this guide. Any seller quoting a projection number for an attar is quoting something that was never measured. Wear time and perceived strength vary with skin, climate, dose and application site.

Facts verified 19 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, and sold in 3ml, 6ml and 12ml. 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). Those four are the whole attar range: oud is led in Nawaab and sits in the base of Ameeri and Mastani, Adaa carries none, white musk exists as a base note rather than as a scent of its own, and there is no single-note musk, no clean-linen or laundry accord and no aldehydic-soapy scent in the range. Separately, SOSA makes six perfume oils in 10ml, 50ml and 100ml - Zaffran, Tabac Noir and Samundar at ₹599, ₹1,799 and ₹3,499, and Khayaal, Chashni and Bahaar at ₹599, ₹1,899 and ₹3,599 - each an independent SOSA composition inspired by a widely known fragrance and not affiliated with, or endorsed by, the house named. SOSA does not run a sampler or tester programme; the 3ml attar is the trial size. 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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