The Vault
In this chamber are kept
the perfumes made in one batch
by the house of Harum Oleh Memori
and not made again
Made Once
Tidak Diulang
Every object here was made in a single batch and will not be made again. Some were built on materials that existed in one quantity: a tincture that took years to settle, a lot of oud distilled once. When the batch closes the object stays on the wall, enshrined. The Vault is added to and never revised.
The Chamber
Kartanegara Jazz
- Year
- 2026
- Medium
- Incense-grade oud from Kutai, Malinau and Tarakan; Siberian deer musk and grey ambergris tinctures; sweet orange, tangerine, satsuma, bergamot, neroli; mate, cistus, Peru balsam, opoponax, labdanum; oakmoss and Kupang sandalwood
- Format
- 30 ml parfum
- Edition
- One batch, made once, not repeated
- Status
- Enshrined in 2026. Every bottle of it that will ever exist has left the house.
Three ouds from the same island that do not agree with each other, held under musk and ambergris and covered in an almost excessive citrus. The disagreement is the composition.
Amor Hosanna
- Year
- 2026
- Medium
- Bergamot, violet leaf, pink and blue lotus, jambu oleoresin; Georgian rose otto and Rose de Mai; orris butter, Iris germanica resinoid and orris absolute; orange blossom and plumeria; Himalayan deer musk tincture, labdanum, oakmoss; Mysore sandalwood; Sumbawa Purple Oud and Hindi Oud CO²
- Format
- 30 ml parfum
- Edition
- One batch, ten bottles at most
- Status
- Enshrined in 2026. The batch is finished and no bottle of it will be made again.
Lotus becomes rose, rose becomes orris, orris becomes skin. Two ouds hold the floor beneath it so the flowers never turn polite. What begins as longing ends as praise.
Padishah Rubato
- Year
- 2026
- Medium
- Bergamot, blue chamomile, saffron tincture, pink pepper and osmanthus; cardamom, Rose de Mai, lily of the valley, Moroccan orris butter and Iris germanica resinoid; New Caledonia ambergris tincture and tobacco; Siberian deer musk tincture, civet, hyraceum and castoreum; oakmoss, labdanum and Vanilla Planifolia; Sumatra Soaked Oud, Papua Oud and Aged Kalakasi Oud.
- Format
- 30 ml parfum
- Edition
- One batch, ten bottles at most
A chypre that holds perfectly still while everything inside it moves. Orris goes from powder to root to cold earth, four animalics push against the polish, and three ouds trade places in the shadow. The architecture is strict. The tempo is not.
Pure ArtisanalPerfumery as material
Pure Artisanal is the part of the house where the material leads and the composition follows. A perfume in this edition usually begins with something already in the cupboard that cannot be had again in the same form: a tincture that took years to settle, a lot of oud distilled once from one river, an animalic infusion measured out in grams.
It is a focused exploration of raw materials, the origin, texture and natural complexity of each ingredient, and the intervention is kept light so the material stays recognisable. Nothing is smoothed out for being difficult. If a material is bitter, or green, or refuses to sit beside the one next to it, that argument stays in the bottle.
Wild oud, natural animalics, floral absolutes, raw spices and resins. Artisan naturals and tinctures prepared in the house, much of it Indonesian in origin, chosen for what the material already is rather than for what it can be trained to behave like.
Most of these materials are rare and cannot be recreated. To hold the real quality of one we would rather make a few bottles with it than many, which is why no variant goes past ten. The blending follows natural perfumery, built around the materials themselves, and nothing is rebuilt to match a previous batch, because there is no previous batch.
This is the HoM Haute living fragrance style. A parfum built on naturals keeps developing as it macerates, in the bottle and on the skin, so what meets you on the first day is not what it becomes by the fiftieth. Sillage, projection and longevity are a bonus. The scent experience is the point.
Ten is a ceiling, not a target. Several objects close well under it, because the material ran out before the count did. When the batch is gone the object is enshrined in the Chamber above and the formula is retired.
There is no second run, no larger reissue, no anniversary edition. An enshrined object stays on view here as a record of something that happened once, which is the only reason a vault is worth walking into.
If you are holding one of these, you are holding a real fraction of everything that will ever exist of it. We would still rather you wore it than kept it sealed.
The source room
A room of essays on the art behind each object: where the name comes from, the music it argues with, the objects and the pictures. One for every perfume in the Chamber, opened when the perfume is.
Object 01 · Kartanegara JazzKartanegara, on the MahakamSixteen centuries on one river: the yupa stones, the move to Tenggarong, Erau, and the improvised music the perfume is named for.
Object 02 · Amor HosannaBetween Prayer and PassionWhy devotion has always borrowed the words of love: the Song of Songs, Bernini’s Saint Teresa, and a Sufi poet in the camphor port of Barus.
Object 03 · Padishah RubatoThe Sovereign and the Stolen TimeTwo movements: a Persian title invented to outrank every other title, and a musician’s freedom that only exists inside a strict beat.
A vault is only interesting because of what it refuses to do again.