The last tobacco blend, Kasturi Cola — or as some affectionately called it, Cigar Cola — was quite a polarizing composition. Some fell in love with the entire arrangement. Others almost sang about individual notes they could pick out. A few found it too gourmand to wear. Such is the challenge of perfumery.
I was discussing this recently with a customer. One of the difficulties I find — and perhaps other perfumers do as well — comes from working with materials in their raw form. Sometimes you lose the ability to experience them the way others do. Or perhaps more accurately, you stop meshing them together in quite the same way. After years of smelling the raw materials, you become intimately familiar with their individual character, while customers encounter the finished composition as a whole.
Why did I gravitate towards Genres? And why are their formulas so elaborate—built like full compositions rather than simple accords?
The answer is interaction.
Materials don’t behave independently in a blend. Nothing is additive. Everything is contextual. Each addition reshapes perception—brightness, texture, diffusion, contrast. A material that seems minor on its own can rewrite how everything around it is read the moment it enters the structure. Formulation, then, is a system in motion. Every intervention changes the ground it stands on. You are not working inside fixed conditions. You are moving them as you go.
In perfumery, a Genre is infrastructure—an environment of interacting conditions rather than a fixed formula.
Some structures are too sparse to hold complexity. Introduce a material into a simple base, and it disappears or flattens. There is nothing for it to push against. But place it inside a Genre, and it meets resistance, contrast, and structure. It becomes legible through interaction.
This is why Genres are built like full compositions. They are not placeholders for ideas—they are complete fields designed to absorb change without collapsing.
Any blend built from a Genre carries that structure forward. The signature is already embedded—in the way tension holds, how contrast resolves, how space is carved.
A Genre is ultimately a strategy for reintroduction without repetition. A way to return to a familiar climate, introduce a new variable, and let both the system and the material reshape each other in real time.
This is the lure of Genres for me. They are more complex, more demanding to build, and carry higher risk—both in failure and in the risk of being constrained by their own internal logic. I don’t plan to build everything through this lens, but I think it is worth exploring in the next few projects.
For some reason, it’s widely accepted that consumers can demand suppliers be “neutral”—usually expressed as “stay out of politics.” I’ve outlined my view on this in Art with Bias, but recent conversations make me feel I should be more direct: I reject that fiction, especially at a time when official channels continue to suppress, ignore, or shut down voices that don’t align with power.
Neutrality risks becoming complicity, particularly when it is demanded by those uncomfortable with hearing the voices of the oppressed.
Art has never been neutral. Commerce has never been neutral. Media, design, and entertainment are all saturated with ideology, even when they claim otherwise. So no, I will not strip the politics from my reality. If that makes people uneasy, it should.
Recently, a few members of my small but growing community told me that some people had left my brand because I am “political.”
I expected it, but I am indifferent. In fact, through the lens of basic human dignity, I am glad.
I am glad my blends are not used to adorn their world—a world where justice is rationed to the powerful, and privilege is disguised as entitlement.
For me, this is not about comfort or convenience. It is about whether I am willing to bow to the pressure of profit, or to the expectations of those whose moral compass only functions within what is comfortable.
I sometimes wonder if those who argue for separating “politics and business” realize that taking a stance is itself political, just as much as refusing to take one.
Silence is a choice. Indifference is a choice. I made mine. Others can make theirs.
Yes, I have had customers leave. I have had social media accounts banned. I was let go from a job for my stance against war-for-profit and colonization. That is a price—but it is small compared to what is actually at stake. The cost of silence is far greater.
This is about refusing silence, and standing with a collective voice that is pushing against the erasure of Palestine.
Palestine was not “nearly forgotten.” The struggle did not begin in October 2023. It began over 75 years ago and has continued since—with more loss, more violence, more dispossession, and more denial. It is not a recent story.
I am open to discussion. We can talk history, theology, logic, and more. But if the expectation is my silence, then I have nothing further to say beyond this: you are welcome to explore the work of other perfumers.
For those who celebrate the independence of their state, I ask only this: do you also acknowledge the resistance that made it possible? Do you teach your children about the sacrifices of previous generations? Would you not speak against the exploitation or colonization of your own history?
I am not asking anyone to take a stance for Palestine. I am simply stating that I will not abandon mine.
If I have a voice, a platform, and the ability to speak, then, God willing, I will use it.
For me, Palestine is worth it.
EDIT Nov 11 2025.
I came across this short today, which I felt very much speaks to the same irony:
Maher
I was a kid who couldn’t stop creating. I filled school books with drawings of TV cartoons, and I could play their themes on a keyboard, both hands, no training, just by ear. I sketched lifelike portraits of my teachers in class, and after hanging out with friends I’d go home and recreate a meal I’d tasted at a tiny street food shop in Sharjah. I’ve always been intrigued by how sound, flavor, or form come together to create experiences.
That interest carried me into architecture, where my graduation project focused on decoding urban patterns and expressing them as abstract designs. I spent months observing how people moved through space, learning how structure can quietly shape how a space is used.
I went on to graduate studies in computational design and generative systems, where I learned how small changes can create wide variations, how complexity can be explored, organized, and refined, and how systems can be modeled from a user-interaction standpoint. I later began doctoral research in human-computer interaction, prototyping tools for parallel editing, and I designed and taught computational design courses at both graduate and undergraduate levels. Later, I dropped out of the PhD program, seeking to implement those frameworks in industry.
My industry work spanned construction, where I led scopes of technology delivery on large-scale projects, and later automotive and aviation, where I built automation, integrations, and custom tooling: PLM workflows, CAD automation, and DevOps pipelines. I built for large teams and small ones, for production operations and for experimentation.
That taught me the value of iteration as a form of optimization: seek clarity and define goals, then build, test, evaluate, and repeat, each pass getting closer to the end state, or at least its neighborhood, and sometimes opening a path to something better.
Back then, I shared some of that work publicly through 3DXAutomation, a blog where I showed how to automate 3DExperience tasks related to geometry rationalization, assembly setup, and template creation using Knowledge-Based Engineering practices, among other topics. I eventually shut it down after realizing that companies that made weapons were among its regular visitors. If you find the stance I take in Art Not Fiction strange, consider this a precursor.
Perfumery came into my life through that same iterative loop. It started as a customer’s curiosity. I was buying artisanal blends and exploring the space, and I kept feeling the urge to change them: to add a note, soften an edge, make something smell the way I thought it should. At first it was occasional. Then it became more often than not. I approached materials, notes, and their interactions as analytically as I did artistically. It was somehow both at once: the engineer and software developer on one side, and on the other, the person venturing into creation, relying on hunch, intuition, and a developing sense of taste. Both were united by the same drive: to pursue a goal and solve whatever stands in its way.
I started sharing what I made with a small circle of friends and collectors, and their response encouraged me to keep going. A couple of blends turned into a few, then into a collection. I began producing on a small scale, and it grew from there, one release at a time.
I view creating perfume as a problem-solving activity. I start with a goal inspired by an idea and explore different ways to reach it, sometimes taking the most direct path, other times experimenting freely, with a subtle influence of search and applied optimization. However, my aim is not to repeat a product.
I think of this approach as intentional improvisation, and it keeps each release artistic and unique. It pushes me to explore rather than fall back on something that already worked, to learn what my own skills are and put them to use in what I do best, and to keep refining a direction that is recognizably mine. A formula can replicate an idea, but it can’t carry the intention and flow behind it, so I cultivate intuition instead: deliberate choices made as a blend takes shape. I wrote more about this in Take On Perfumery.
A blend might serve as an extensible base to be built upon or reinterpreted, or it might be a singular, self-contained composition designed to shift perception, taking the front row in one edition and the back row in another. I’ve tried to bring this modularity directly to the end user through X-editions on my website, a system of mass customization where each person can shape and explore their own experience. Each blend becomes a deliberate exploration within a framework: a balance of design, experimentation, and taste.
Even this website reflects that mindset. I continuously rebuild and refine it, not just for design, but to make it a better reflection of how I work and think.
That’s my story.
Maher
Where:Everywhere, Personal / home , Social / outings , Work / public , Small groups / personal space, Active / indoor
When:Morning
Frequency?:Occasionally
How accurate was the description in your experience?:
Very different
Spot on
Watermelon masterclass
When i first heard that Maher was releasing a Watermelon fragrance i thought 2 things;
(1) what a amazing idea for a Palestinian Perfumer to release something to support those who are being oppressed
(2) i was worried as perfumes that have a watermelon accord usually either smell too sweet or overly synthetic.
But as per usual i put my trust in Mahers craft and boy was i surprised. The opening is a photorealistic juicy watermelon, not just the meat of the watermelon but the skin and seeds too. It smells vibrant and refreshing and not synthetic at all. Soon after a feint dry tobacco starts to appear adding another layer to this work of art and making sure it doesn’t become to linear. The melody of Ouds most noticeably the Green, crisp, silky Malinau and the slightly sweet honeyed, melon like Hainan create a base that adds so much character and smoothness to this composition. Bateekh is not too airy or dense, not too sweet and fruity or too resinous. But it is a completely unique work of art that proves Maher keeps getting better with every blend.
Where:Work / public , Everywhere, Personal / home , Social / outings
When:Anytime
Frequency?:Weekly
How accurate was the description in your experience?:
Very different
Spot on
A wonderful new Signature Scent.
I now own five Elkhaldi perfumes and this is going to be a favourite. It is very intense and complex and I love that about the Ouds that I have bought from this House. I’ve already worn Castore Rouge half a dozen times since I unwrapped it, and each time I’ve worn it in public spaces, I've had compliments from other people about it. I feel a $million when I wear it. Also, it projects amazingly so it carries everywhere I go. It's great.
How accurate was the description in your experience?:
Very different
Spot on
Watermelon accord perfection
First off, I purchased the Bateekh with Malinau purely off convos with Maher. I have always loved the Malinau profile and never even thought of watermelon as a successful accord but I trust Maher’s nose entirely. On first spray I was blown away by the accuracy of this watermelon accord! Sweet but not cloying, fresh and juicy. Then the dry-down blew me away because it slowly worked its way down to the Malinau profile like a perfect match I had never imagined. Next thing you know the watermelon had morphed into beautiful Malinau woods that lasted on skin the whole day and on clothes for days!