The house
Seventeen fragrances
and no story about
a French coastline.
AURYX is new, and small enough that the person reading your email is the person filling the bottle. We are not going to invent a heritage we do not have. The proposition is narrow and unromantic: compose well, blend in small quantities, list what is inside, and charge for the materials rather than the myth.
- 17
- Fragrances
- 6
- At 20% or above
- 26%
- Peak concentration
- 200
- Bottles per batch
How we work
- We publish the notes
- Every material in every bottle is printed on the carton and listed on the product page. The industry norm is a legally minimal allergen list and a paragraph of poetry. There is no commercial reason for that beyond making comparison difficult.
- We blend in batches of two hundred
- Small enough that a batch of orris butter can be judged on its own merits rather than blended to a specification. It means occasional variation between batches, which we regard as evidence rather than a defect.
- We price at the concentration
- An eau de parfum at 26% costs more to make than an eau de toilette at 8%, and we charge accordingly — which is why Cashmere Night is £13.99 and Burnt Sugar is £69.99. The difference is in the bottle, not the marketing.
- We do not do seasonal launches
- Seventeen fragrances is enough. When one stops being good we will withdraw it; when we compose something genuinely new we will add it. There is no calendar driving either decision.
How it is made
Compositions are developed in-house and blended to order in batches of roughly two hundred bottles. Materials are bought from the same suppliers the large houses use, which is the part of the industry that is genuinely commoditised — the difference between a good fragrance and a poor one is the composition and the concentration, not a secret source.
Because the batches are small, there is variation between them. A given crop of orris or rose absolute is not identical to the last one. We would rather tell you that than blend to a fixed specification and lose what makes the material interesting.
Every note is listed on the product page and the carton, along with the declarable allergens. If a fragrance does not work on you, thirty days and an opened bottle are both fine.
Materials
We use synthetics where synthetics are better, and naturals where they are not.
There is a persistent idea that natural materials are inherently superior. They are not. Synthetic musks do not require the animal they were once extracted from; a synthetic sandalwood molecule does not deplete a slow-growing Mysore forest; and some materials — the ozone accord in Salt & Ozone, the cold-water note in Cold Iris — do not exist in nature at all. Equally, no laboratory has yet reproduced orris butter or rose absolute convincingly, so we buy those at considerable expense and pass the cost on.
Bottles are glass with aluminium collars and are built to be refilled. Cartons are uncoated board, printed with vegetable inks and free of the cellophane wrap that serves no purpose beyond looking sealed.
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