The Mystique of Oud in Perfumery: An Interview with Dr.Rana Babaç Çelebi

The following interview was conducted by Nilosree Biswas with Dr.Rana Babaç Çelebi for Miss.Biswas's AramcoWorld article "Centuries-Old Scent of Oud Now Perfuming East and West"

1. A little about yourself ; who you are and what do you do, how long have you been a perfumer ?

I'm Dr. Rana Babaç Çelebi. I'm a clinical aromatherapist and history of medicine lecturer at Medipol University's International School of Medicine. My work revolves around the fascinating intersection of perfume and history of medicine.

I specialize in researching how incense, perfume and eau de cologne have been used in treatments throughout history. I'm also deeply involved in practical applications of my research. For the past decade, I've been working between İstanbul, Mount Ida and Isparta, creating traditional medicine formulas using aromatic plants that we grow in our gardens.

In Mount Ida region my husband is cultivating medicinal and aromatic plants to support my work - which is a tremendous amount of support. This hands-on experience complements my academic work beautifully. I'm also proud to be the founder of CerciYusuf.org, Turkey's first online library dedicated to medicinal and aromatic plants.

In addition to my research and our production, I'm passionate about sharing knowledge. I regularly teach aromatherapy and perfume courses, both online and in person.

So while I've been working with scents and perfumes for over a decade in various capacities - research, teaching, and production - I wouldn't classify myself as a perfumer in the traditional sense. My work with aromatic plants and essential oils over the past 15 years has certainly involved aspects of perfumery, but it's more accurate to say I'm a doctor of history of medicine with a passion for reviving ancient formulas and carrying their stories to present.

2. Is this your family profession, if yes please share a bit about your legacy

As the third-generation granddaughter of an Anatolian folk physician, Cerci Yusuf, I feel a deep connection to the rich healing traditions of my homeland. This heritage has profoundly shaped my work and passion for the history of medicine, aromatic plant cultivation, and the revival of ancient perfume formulas.

My grandfather's legacy as a folk physician has been a constant source of inspiration and knowledge. Growing up, I was surrounded by stories of traditional healing practices, herbal remedies and a profound respect for nature's healing power that has been passed down through generations in Anatolia. This early exposure ignited my curiosity about the historical use of plants in medicine and fragrance.

In my work as a history of medicine researcher, this family background provides me with a unique perspective. I can bridge the gap between academic knowledge and practical, traditional wisdom. The oral traditions and hands-on experiences passed down through my family complement the written records I study, offering a more holistic understanding of how scents and plants have been used in healing throughout history.

Perhaps the most exciting aspect of my work is bringing back centuries-old perfume formulas as fragrant, edible traditional products. The recipes and techniques I've inherited, combined with my research into historical texts, allow me to recreate these ancient formulas with authenticity and respect for tradition.

These products are more than just fragrances or edibles; they're a bridge between past and present. Each formula tells a story of our ancestors' understanding of plants, their medicinal properties, and the art of creating harmony between scent and well-being. By reviving these formulas, I'm not only preserving our cultural heritage but also introducing a new generation to the wisdom of traditional Anatolian healing practices. It's really about maintaining a living connection to our ancestral knowledge and practices.

My background has taught me to approach my work with reverence for tradition while embracing modern scientific methods. It's a delicate balance, but one that I believe enriches both my research and the products I create. In essence, being the granddaughter of an Anatolian folk physician doesn't just contribute to my work – it's the very foundation upon which I've built my career and passion.

3. When did you start working with Oud first? 

I first started working with Oud during a pivotal moment in my doctoral research. As I was preparing to publish a portion of my work on the history of incense, I reached out to Bekir Kantarcı, a renowned collector, seeking high-resolution photographs of ancient Ottoman censers I had seen in a private exhibition of his perfume history artifacts.

This initial contact led to a meeting where Mr.Kantarcı and I discussed my doctoral work. It was during this conversation that I discovered his extensive oud collection. Mr.Kantarcı possessed an impressive array of oud pieces and essential oils, representing every oud species and forest worldwide.

This serendipitous encounter opened up a new realm of possibilities for me. Through Mr.Kantarcı's generosity, I gained access to high-quality oud materials, which allowed me to incorporate this precious ingredient into my work.

So this encounter marked the beginning of my journey with oud, enriching both my research, my practical classes and traditional medicine formulations.

4.  As a perfumer what do you think of Oud?

I find oud to be a fascinating and complex substance with a rich and multi-dimentional historical significance.

Oud has been revered for centuries across various cultures for its medicinal properties as well as its use in spiritual practices. For instance as an incense, oud has played a significant role in religious and spiritual practices of quite a number cultures. In Buddhism, it's burned to aid meditation, creating an atmosphere conducive to spiritual contemplation. In Islamic cultures, the use of oud as bakhoor (incense) is deeply ingrained in social customs, used to perfume homes, especially on Fridays or during special occasions like Ramadan and weddings. It's also a sign of hospitality, with hosts burning incense for their guests.

So as a perfume note oud offers a unique blend of history, complexity, and sensory experience. Its ability to evoke emotion and create lasting impressions makes it a truly remarkable ingredient in the perfumer's palette.

In perfumery, oud is considered a base note due to its tenacity and depth. Its aroma is incredibly complex, with facets that can be described as woody, earthy, smoky, and even slightly animalic. Some varieties of oud - which also happen to be my favorites - can also have sweet, fruity, or floral nuances, adding to its complexity.

Moreover I think oud is particularly interesting as a perfume note for its ability to evolve on the skin as well. As it dries down, it reveals different facets of its character, creating a dynamic olfactory experience. This complexity allows oud to pair beautifully with a wide range of other notes, from florals and spices to woods and resins.

In my work, I strive to understand and preserve the traditional knowledge surrounding oud while also exploring its potential in creative applications. The challenge lies in balancing the cultural significance and historical use of oud with modern expectations.

5. Oud/ Agarwood grows in India, Burma, Cambodia, Vietnam, Indonesia - however it's deeply rooted in Turkish, Middle Eastern culture and traditions, particularly  = What do you think could be the reason/s?Also how much of this popularity is social,cultural and how much is rooted in the Islamic traditions?

I find the popularity of oud in Turkish and Middle Eastern cultures fascinating, especially considering its primary growth regions are in South and Southeast Asia. This popularity can be attributed to several factors, including historical trade routes, our region's cultural appreciation for fragrances and oud's suitability with warm climates due to its "cooling" effect.

I will mainly answer this question for ME, as in Turkey, oud seems to be generally known and valued by those who are somehow affiliated with the Middle Eastern world - whether through work or family.

In my experience, the popularity of oud is a blend of social, cultural, and religious factors. I'd estimate that about 60-70% of its popularity stems from social and cultural aspects. Oud is deeply integrated into the traditional perfumery of ME, it's a symbol of hospitality and refinement, and it's associated with luxury and wealth. It's used in almost all important cultural ceremonies and has significantly influenced the local perfume industry.

The remaining 30-40% of oud's popularity, I believe, is rooted in Islamic traditions. Islam encourages the use of fragrances, and oud is often burned as incense (bakhoor) before Friday prayers in many mosques. It's associated with purification rituals and is mentioned in some Hadith. So it is widely used in religious festivals and celebrations across the region.

What's particularly interesting to me is how oud has become fundamental to ME's olfactory identity, extending beyond religious contexts into our daily lives, personal grooming, and social interactions.

6. How old is the usage of Oud in Turkish and ME cultures? Records in Ottoman history?

The use of oud as incense in Turkish and Middle Eastern cultures dates back over a millennium, with its roots tracing even further into ancient civilizations.

In the Ottoman Empire, as well as its use in medicine, oud held a place of great cultural and spiritual significance.

My doctorate research focused on use of incense in the discourse of treatment throughout history. I studied more than 200 ancient medical texts that belonged to seven different medical systems and found out 210 instances where oud was used as an incense for treatment of a number of dis-eases from common cold to fever.

During my research Ottoman medical texts  provided valuable insights into the use of oud and other aromatic plants for treatment and pleasure. For instance, the recipe for "buhur suyu," a special kind of Ottoman "incense water" produced just before every Ramadan in Topkapı Palaces' Helvahane, is recorded in a special record-/recipe- book that goes by the name Helvahane defteri. This special and complex perfume recipe involves significant amounts of oud boiled together with other aromatic substances for hours.

6. Also in the last  few years Oud has caught the fancy of western brands like Tom Ford, Chopard, Dior and others, why do you think they have taken a Big liking for an aromatic from the eastern world?

I think the recent surge in oud's popularity among Western luxury brands reflects a significant shift in the global fragrance industry, bridging Eastern and Western perfumery traditions. So the adoption of oud represents a broader trend of cultural fusion in the fragrance industry.

But equally, from my perspective, several other factors also contribute to oud's appeal in the Western market. For one thing Oud offers a complex, distinctive aroma that stands out in the saturated Western perfume market. Moreover as a perfume ingredient, oud is incredibly versatile. It can be blended in various ways to create scents that appeal to Western tastes while maintaining an exotic edge.

On the other hand, in the Middle East, oud has long been synonymous with opulence. Western brands are leveraging this perception to elevate their product offerings.

And finally there's a growing interest in niche, personalized fragrances, and oud-based perfumes cater to this demand perfectly. As someone who has studied the history of both Eastern and Western perfumery, I find this trend quite exciting. It's opening up new possibilities in fragrance creation and challenging traditional boundaries in the industry.

7. What do you see in the future of Oud? Will this current craze of Oud last long?

In my opinion the future of oud in Western perfumery looks promising. I anticipate we'll see more innovative uses of this ingredient, perhaps combined with traditionally Western scents in ways we haven't seen before. I believe this trend is more than a passing fad; it's a sign of a more interconnected, globally-inspired approach to luxury fragrances.

8. What is your goal as a perfume artist?

At the heart of my work lies a passion for bridging the past and present through scent. I've dedicated myself to unearthing forgotten medicinal perfume formulas from the history and breathing new life into them. It's a delicate dance between honoring the original artistry and adapting it to contemporary tastes. I meticulously research and recreate these historical blends, then reimagine them with a modern twist. This process allows me to offer unique olfactory and aroma experience – one that's rooted in tradition yet perfectly attuned to the present day. There's something spellbinding about wearing a fragrance that carries centuries of stories within its notes, don't you think? It's like wearing a piece of history, woven with botanicals, rituals and ancient intentions, then reinterpreted for the modern world.

9. Globally which is the best Oud perfume till date- your personal opinion?

I don't think I have tried enough Oud based perfumes to make a fair comment but I really like Rose Oud by Atelier Rebul - which is a Turkish brand with a notable heritage in Istanbul.