EO 1: Sultani Ensar Oud

EO No°1 represents one of the most dazzling blueprints in the niche or artisan Olympus. In this regard, Ensar made a remarkable statement a few years ago that still resonates among connoisseurs today.

Unfortunately, I have never had the pleasure of holding the original work in my hands. Its descendants are numerous and mostly successful - quality has certainly been a priority for Ensar.

Now, having the opportunity to test the latest flanker, which according to the manufacturer’s website is supposed to come close to the original and even surpass it in terms of raw material selection, evokes a feeling of anticipation, but also doubt, in me.

Behind the eloquent formulations found on the product page lies undoubtedly a lot of passion, but the whiny ode to their own industriousness, wanting to bring out the best for themselves and their customers, is annoying in light of the obvious marketing.

For some time now, Ensar has been trying to take new (distribution) paths, not least with the offshoot Oudbar - based in London. With a few notable exceptions, such as the brilliant Moshpit Pavarotti, nothing has really captivated me lately; this primarily applies to the perfumes.

It is evident that I am not alone in this stance, as various critical entries regarding current releases in the statements section show.

If one examines these complaints in detail, it becomes clear that they are not without justification. Everywhere, people seem more inclined to criticize than to support this topic, even though the sum of all releases brings forth far more positive than negative statements.

Proponents of this recent development will say that Ensar has finally opened up, while critics, on the other hand, feel a continuous dilution stemming from a hollowed-out brand DNA that no longer deserves the name Oud. So: A departure to new shores or a continuation as before?!

EO 1: Sultani likely represents the latter, skillfully continuing existing themes (in a similar way) - thus it is aimed more at the representatives of the status quo.

For from the moment the dense spray mist settles on my wrist, I am overshadowed by the peculiar feeling of having succumbed (once again) to the familiar.

And yet, somehow everything is different: Finest, spicy-ambered (not moth-repelling) lavender pairs with fresh floral hints of rose, transitioning into a balsamic, somewhat lightly animalistic serious woodiness (no stink!), which gradually sheds its skin to reveal dark-shimmering, dry oud.

The rose oil used is of astonishing quality and rounds off the composition skillfully, rather than distributing unnecessarily throughout the scent development. Its rather smoothing function takes away some sharpness from the base, but this does not detract from the overall picture.

The amber tincture employed gives the oud a (slightly) mineral note even after several hours and exemplarily underscores its dry framework, which only becomes more pronounced towards the end.

With such impressions in tow, one approaches the report soberly. Not at all dejected, but confirmed in the realization: That at Ensar, little still appears as brilliant as it shines golden.

EO 1: Sultani is not the hoped-for big hit, but a skillful reinterpretation at the highest quality level.

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Final words on the subject of rose-oud or rose components in oud fragrances:

I usually look forward to every release that attempts to apply oud in as natural a way as possible, away from known and/or trampled rose paths.

Rose is not just rose - an appeal that seems all the more understandable when one considers the multitude of released rose-ouds.

Almost every brand seems to (feel) try their hand at this dualism and usually fails regularly to implement something skillfully anew. Thus, it is less surprising that the market is already hopelessly oversaturated, which does not prevent the big corporations and niche brands from merrily continuing to produce. The goal is not variability, but profitability; a successful financial review primarily focuses on the areas of longevity and sillage, which seems to move today’s consumer segments more than ever.

In the end, more is revealed - through existing marketing - than is left unspoken about individual formulas: The sky of ideas appears completely disenchanted, extracts from it have recently lost their magic and/or somewhat outlived themselves, as money can be made with everything and everyone anyway.

That is the only sorrow I somewhat share as my gaze wanders over the numerous unnecessary releases of recent times, which simply seem to have no end. One could also say: continuous (soulless) tweaking of screws in a blank-firing mode.