Perfumes | NBITOR | Barcelona y España

Our new perfume, created by Miguel Matos, is inspired by one of Goya's Black Paintings, known as The Witches' Sabbath, The Great He-Goat, or The Akelarre. It is believed that his work, The Akelarre, was a critique of the oppressive practices and persecution of the Inquisition, exploring themes such as violence, intimidation, and, at the same time, aging and death. Goya was around 75 years old at the time, living alone and suffering from severe mental and physical ailments.

nBitor's new perfume is a very risky project and proposition, even for the world of niche-artistic perfumes. As Miguel Matos explains, to represent Goya's work, "I had to create a truly dark and almost anguished fragrance, one that would evoke turbulent feelings and events, and at the same time, a perfume that would convey beauty in its grotesque form. It's a very earthy and metallic perfume, with a very sensual heart, something capable of awakening very intense feelings and images. I've used many unusual notes with the aim of making the result extremely impactful, a scent that may not be easy to wear but that holds a great deal of thought and emotion within."

Top notes: White truffle, coffee, nuts, cinnamon, apple.

Heart notes: Rose, metallic notes, cypriol, geosmin.

Top notes: Patchouli, amber, cedar, hyraceum.

Nose: Miguel Matos.

Between the 14th and 18th centuries, religious and cultic superstitions, magic, sorcery, and witchcraft evolved in a unique way throughout all areas of European Christendom. Fear spread everywhere. Many were convinced that God, to punish the sins of humankind, allowed the Devil to act in the world through his agents. The artist Francisco Goya was a staunch defender of the principles of the Enlightenment, which prioritized reason over the religious and cultic superstitions that had existed for centuries. Between 1819 and 1823, Goya painted fourteen works (known as the Black Paintings) dedicated to this dark vision, incited by the religious superstitions of the society he detested. The fourteen works were painted using the dry-set oil technique (on plaster-covered walls) at his home, "La Quinta del Sordo," on the outskirts of Madrid. Goya lived as a solitary, deaf recluse. Art historians believe that these works reflect his great disillusionment with society and the deterioration of his health, as they express his deepest fears and darkest depression in a nightmarish and disturbing way.

It is believed that his work, The Witches' Sabbath or The Great He-Goat, was a critique of the oppressive practices and persecution of the Inquisition. Goya's The Witches' Sabbath explores themes such as violence, intimidation, aging, and death. The silhouette of Satan, in the form of a goat, is projected in the moonlight over a coven of terrified witches. The term "witches' sabbath" is a generic term for a gathering or meeting of witches for the performance of rituals and spells, whether as a pre-Christian or neo-pagan religious belief, or accepted in Christian writings as acts of invocation and worship of Lucifer.

nBitor's new perfume is a very risky project and proposition, even for the world of niche-artistic perfumes. As Miguel Matos explains, to represent Goya's work, "I had to create a truly dark and almost anguished fragrance, one that would evoke turbulent feelings and events, and at the same time, a perfume that would convey beauty in its grotesque form. It's a very earthy and metallic perfume, with a very sensual heart, something capable of awakening very intense feelings and images. I've used many unusual notes with the aim of creating an extremely impactful result—a scent that may not be easy to wear but that holds a great deal of thought and emotion within."

On one hand, Akelarre represents the dark side that humanity carries within, often born of ignorance. On the other, it represents the positive side of our capacity to grow and evolve into something better. The perfume symbolizes the negative aspects that can lead to acts like the Inquisition, but also the advancement of society thanks to the principles of the Enlightenment, which prioritized reason over religious superstitions and cults. Surprisingly, and unfortunately, in many societies today, there is a resurgence or trend that rejects the Enlightenment and logic. As a society, we must be acutely aware of this reality to be prepared to combat it, just as Alonso de Salazar y Frías did during the Inquisition, and thus prevent the rise of a society where ignorance and darkness once again prevail.

Alonso de Salazar y Frías (1564-1636) was the inquisitor who tried to stop the collective hysteria surrounding religious superstitions, sorcery, and witchcraft (which originated in other European countries). He succeeded in getting the Spanish Inquisition to declare that witchcraft could not be persecuted because it did not exist, thus ending the superstition decades or even centuries before other European countries. During those epidemics of collective hysteria that erupted around witchcraft, few people kept their cool. And he not only achieved that, but he also managed to quell the situation in Zugarramurdi and bring about a legislative change: in 1614, the Supreme Court of the Inquisition, and from there to the civil courts, denied the existence of witchcraft. The truth is that in Spain there was little persecution of witchcraft, and in fact, not only were there fewer cases, but they ended sooner.

Babieca is a tremendously smoky and animalic fragrance with notes of leather, tobacco, hay with an exquisite gourmand touch.

Babieca is a perfume that evokes moments from the Reconquista. A fragrance with the scents of ancient cavalry battles associated with the Crusades. The fragrance is uniquely bold in its composition, with a very smoky and animalic character, yet ultimately refined, provocative, and singular.

Top notes: Raspberry, Saffron, Aldehydes, Cade.

Heart notes: Osmanthus, Tobacco, Hay, Cypriol.

Base notes: Leather, Musk, Vanilla, Caramel, Oakmoss, Patchouli, Civet.

Nose: Miguel Matos.

Babieca by Miguel Matos is a tremendously smoky and animalic fragrance with notes of leather, tobacco, hay with an exquisite gourmand touch.

Babieca was El Cid's warhorse. El Cid is also known as "El Cid Campeador" (master of pitched battles). The "Poem of El Cid" is an anonymous epic poem that recounts heroic deeds inspired by the later years of the life of the Castilian knight Rodrigo Díaz de Vivar, the most famous hero of the Spanish Reconquista. He is a figure straddling the line between historical reality and legend. "El Cid Campeador" came to dominate virtually all of eastern Iberia at the end of the 11th century, alongside his famous horse Babieca.

There are several stories about El Cid and Babieca. A well-known legend about El Cid describes how he acquired the horse. According to this story, Rodrigo's godfather, Pedro the Great, was a monk in a Carthusian monastery. Pedro's coming-of-age gift to El Cid was his choice of a horse from an Andalusian herd. "Choose the colt you like best," he told him. Rodrigo chose a particularly ugly one, so his godfather, disappointed, exclaimed, "That's a Babieca!" In other words, a horse of little presence, weak and clumsy. Thus, it became the name of El Cid's horse. However, over time, it would become a historical horse. Finally, many people don't know that Babieca was a mare.

We hope our Babieca perfume inspires a lot of love and affection for horses and for history and culture in general. And just like Babieca, you should never judge a book by its cover.

Inspired by the legacy of "Las Meninas," Bucaro Royal immerses us in a sensory journey that evokes the majesty of bygone eras. The initial notes of grapefruit and bergamot, with their sparkling freshness, instantly transport us to the lush gardens of the royal court, where freshly harvested citrus fruits fill the air with their intoxicating aroma.

As the fragrance unfolds, we encounter an exquisite floral bouquet, where narcissus, raspberry, and rose intertwine in a harmonious dance of aromas. These notes, reminiscent of the bouquets that adorned royal halls, fill the heart of Bucaro Royal with timeless elegance.

But it is in the depths of this fragrance where its true magic lies. Tobacco, with its smoky and earthy aroma, transports us to the opulent halls of the court, where nobles indulged in the decadent pleasures of perfumes infused with this exotic plant. Guaiac wood and sandalwood evoke the richness of the hand-carved furniture that adorned the royal chambers, while vanilla adds a warm and comforting note, like the embrace of a loved one.

Oakmoss, castoreum, and coumarin add an intriguing depth to the fragrance, creating an aura of mystery that invites you to delve deeper into its essence. And finally, Chinese cedar, with its resinous and woody aroma, reminds us of the vastness of the colonial territories that enriched the Spanish empire and its court.

Top notes: Grapefruit, bergamot.

Heart notes: Narcissus, raspberry, rose, tobacco.

Base notes: Tobacco, guaiac wood, sandalwood, vanilla, oakmoss, castoreum, coumarin, Chinese cedar.

Nose: Miguel Matos.

Bucaro Royal received an Honorable Mention in the Best Independent Perfume category at the 11th Art and Olfaction Awards in 2025 held in Los Angeles.

Bucaro Royal pays homage to the splendor of the Spanish Golden Age. With Bucaro Royal, we have created more than a perfume; we have designed an olfactory experience that celebrates the richness and complexity of "Las Meninas" and its legacy. Immerse yourself in the world of the 17th-century Spanish court and be captivated by the magic of the búcaro with Bucaro Royal. This perfume invites you to embark on a journey through time, discovering the charm of a unique fragrance that celebrates "Las Meninas," where history, art, and fragrance merge into a captivating olfactory masterpiece.

At the heart of our creation, Bucaro Royal, lies the very essence of Velázquez's masterpiece, "Las Meninas." We have delved into the history and significance of the búcaro, a vibrant symbol that captures the essence of a time and place. According to the renowned historian Byron Ellsworth Hamann, "The búcaro depicted in 'Las Meninas,' presented to the Infanta Margarita, is a ceramic piece originating from the New World. Its distinctive reddish hue not only sets it apart aesthetically but also symbolizes the influence of the Americas on 17th-century European art. Placed in the center of the royal chamber, the búcaro resonates with its history and meaning. It is more than just a vessel; it is a focal point representing the crossroads between the Old and New Worlds, between tradition and innovation."

In 17th-century aristocratic circles, the búcaro, besides being a vessel for perfuming the hands, was a symbol of status and refinement, a central piece in the culture and aesthetics of the time. Used as a fashionable object to perfume the hands and other parts of the body, the búcaro added a touch of elegance and refinement to its owners, enhancing the sensory experience of the royal court with its perfumed waters infused with aromatic substances such as flowers and herbs. This object not only served a practical function but also conveyed symbolic and allegorical messages that reflected the beliefs and values of the aristocratic society of the time. Furthermore, the búcaro was used to perfume the rooms of palaces and mansions, filling the air with exquisite fragrances and contributing to creating fragrant environments that added a touch of luxury and sophistication to the aristocratic homes of the 17th century.

In 17th-century aristocratic circles, the búcaro transcended its original function as a simple vessel for perfuming water, becoming a symbol of status and sophistication. The practice of biting the rim of the búcaro was considered fashionable, but it carried physical and psychological risks. It was believed that consuming búcaro clay would contribute to skin whitening, a desirable indicator of wealth. However, this could cause problems such as a reduction in red blood cells and muscle paralysis.

This connection to the búcaro (a type of earthenware jug) is evident in works of art such as "Las Meninas," where its presence in the hands of the Infanta Margarita invites us to reflect on the fleeting nature of life and the search for spiritual transcendence. Furthermore, its presence adds depth, revealing the complex intersections between fashion, status, health, and beauty during that era.

In 17th-century Spanish aristocratic circles, it became fashionable for girls and young women to gnaw on the rims of these porous clay jugs and devour them completely. This resulted in a dramatic lightening of the skin, considered an aesthetic aspiration and a sign of wealth.

Ingesting clay from a búcaro also carried risks, such as a reduction in red blood cells and muscle paralysis. When we consider these effects in "Las Meninas," the painting takes on a disquieting meaning, inviting us to meditate on the fleeting nature of life and the illusion of material identity. The altered consciousness of the Infanta, whose fingers encircle the búcaro (has she just nibbled on it?), suddenly expands from the epicenter of the action on the canvas to encompass the entire mentality of the painting. Furthermore, we can see that Velázquez's brush points to a patch of the same intense red on his palette, the very same one from which the búcaro originates.

Ghostly in her pallor, the Infanta also seems to levitate from the ground, an effect achieved by the shadow the artist casts beneath the hem of her dress in the shape of a parachute. Even the Infanta's parents, whose images float directly above the vase, begin to resemble holographic spirits projected from another dimension rather than mere reflections in a mirror. Suddenly, we see "Las Meninas" for what it is: not just a snapshot of a moment, but a meditation on the evanescence of the material world and the inevitable evaporation of the self.

Bucaro Royal received an Honorable Mention in the Best Independent Perfume category at the 11th Art and Olfaction Awards in 2025 held in Los Angeles.

Erauso is a captivating perfume that transports you on a journey through the extraordinary life of Catalina de Erauso. It opens with a burst of vibrant energy, as if you were stepping into the lush landscapes of her homeland, with notes of ripe fig and the intensely smoky essence of cade oil, reminiscent of the fires and smoky battlefields she faced. The cade oil, with its earthy aroma nuanced with a touch of leather, evokes the rugged landscapes and the image of the leather garments and equipment worn by Catalina during her time as a soldier and adventurer.

As the fragrance unfolds, a bouquet of jasmine grandiflorum and roses emerges, symbolizing Catherine's femininity amidst her daring adventures. The air is tinged with the metallic edge of rose oxide, a reminder of swords and the battles she fought and the sacrifices she made. Beneath it all, a sense of warmth and sweetness lingers, infused with honey and raspberry, capturing moments of joy and laughter amidst the chaos of war.

At its base, rich, earthy notes of patchouli and Chinese cedar anchor the fragrance, while ambergris, reminiscent of Catalina's ocean voyages, adds depth and mystery, connecting her journey across the Atlantic to distant lands. Incense, reminiscent of her time in the convent preparing to become a nun, intertwines with the smoky elements, symbolizing both her spiritual quest and the battles she faced. "Erauso" is a fragrance of contrasts: bold yet delicate, robust yet refined, just like the extraordinary woman who inspired it. With every breath, it invites you to embrace your own courage and resilience and embark on your own daring adventure.

Top Notes: Fig, Cade Oil.

Heart: Jasmine grandiflorum, rose, rose oxide, neroli oxide, raspberry.

Base notes: Patchouli, amber, ambergris, incense, Chinese cedar, honey.

Nose: Miguel Matos.

Catalina de Erauso, the novice who exchanged her coif for a helmet and sword.

Novice, cloistered nun, soldier, virgin and near-martyr, rebellious, passionate, disguised as a man for most of her life, Catalina de Erauso, better known as the Lieutenant Nun, is one of the most controversial and exceptional figures of the Spanish Golden Age. Catalina de Erauso, also known as the "Lieutenant Nun," was a fascinating and unconventional figure in the 17th century.

One of the earliest known autobiographies by a woman, this extraordinary account is known as "The Lieutenant Nun: Memoirs of a Basque Transvestite in the New World." These memoirs detail her exploits, struggles, and the challenges she faced as a woman living as a man in an era dominated by rigid gender roles.

Born in 1592 in San Sebastián, Spain, Catalina de Erauso's life was marked by a series of extraordinary events and a rejection of societal norms. At the age of four, after her mother's death, Catalina was abandoned and raised in a Dominican convent.

On March 18, 1600, at the age of 15, Catherine, seeking a different life, fashioned a man's suit from her convent clothes and ran away from the convent. Dressed as a man, she adopted the name Francisco Loyola, began her life as a man, and embarked on a journey that took her to various places, including South America and Mexico.

Her life as a transvestite adventurer led her to participate in various duels, perform military service, and even serve as a soldier in the Spanish viceroyalties. Despite her disguise, she rose through the ranks to become a lieutenant.

Her life is often considered a testament to her courage, resourcefulness, and ability to navigate a male-dominated world. The story of Catalina de Erauso challenges conventional notions of gender identity and societal expectations, making her a remarkable historical figure who defied norms and forged her own path in an era of rigid societal rules.

When she returned to Spain, her fame had already spread across the Atlantic, and, aware of Catalina's lifestyle, she was sent to Madrid in 1625 to meet with the King of Spain. Incredibly, King Philip IV granted her a lifetime pension for all her remarkable services to the Crown. Catalina also traveled to Rome, where she met with Pope Urban VIII and told him about her life, travels, and adventures. She explained that she was biologically a woman and a virgin, and, recognizing her unique lifestyle, he granted her permission to continue dressing as a man and maintaining her nomadic way of life.

Hombre de Palo is a robustly herbal, woody, resinous, metallic, and animalic fragrance. Its green-herbal character comes from its top note of thyme and its base of oakmoss. Thyme has an intense herbal scent reminiscent of the Mediterranean mountains, with spicy nuances and notes of clove, camphor, and mint. In contrast, the oakmoss note evokes a green forest scent with its earthy, damp, and salty undertones. Oakmoss is a lichen (a symbiotic relationship between a fungus and an alga).

The woody note of Hombre de Palo comes from several types of wood: Hinoki, Atlas Cedar, Oak, and Rosewood. Hinoki, which means white cedar in Japan, has a woody aroma with lemony undertones. Its wonderful scent is fantastic for uplifting spiritual awareness and emotions. In ancient times, Hinoki was used to refresh the soul, calm the mind, and relax the body. Atlas Cedar is a warm, sweet, balsamic, slightly floral, rich, and complex wood. Cedar always produces an aroma reminiscent of the outdoors, while Oak is characterized by notes of vanilla, clove, coconut, spices, and leather, as well as earthy and vegetal undertones. Rosewood gives Hombre de Palo a lively, citrusy aroma with a smoky touch. Finally, Geosmin gives us a petrichor scent (the smell of wet earth) and Costus gives us that animalic note that resembles the smell of goats, which reminds us so much of the smell of the horses that always participate in Corpus Christi and those characteristic aromas of the Middle Ages.

The Hombre de Palo perfume is an olfactory representation of a fusion between the figure of the Hombre de Palo and the Corpus Christi of Toledo.

Top notes: Thyme, Camphor.

Heart notes: Rosewood, Hinoki.

Base notes: Myrrh, Oakwood, Oakmoss, Geosmin, Atlas Cedar, Costus.

Nose: Miguel Matos.

The Hombre de Palo perfume is an olfactory representation of a fusion between the figure of the Hombre de Palo and the Corpus Christi of Toledo.

On one of Toledo's most central streets, a popular destination for tourists from around the world, lies a street with a rather curious name: Hombre de Palo (Wooden Man). The street's name comes from a remarkable 40-centimeter-tall automaton equipped with sophisticated clockwork mechanisms. It was the first automaton ever created and was built in the 16th century. The automaton depicted a Franciscan monk who walked in various directions, moved his head and eyes, opened his mouth, and moved his arms in the gesture of presenting a crucifix, begging for alms for his creator in exchange for being seen moving. Hombre de Palo was the invention of Juanelo Turriano.

Juanelo Turriano was the engineer, architect, and royal clockmaker of Philip II, and the church was built during the time when Toledo was the capital of Spain. A large part of the Corpus Christi procession, celebrated since 1247, passes through this same street, its air always filled with the aromas of myrrh, thyme, rosemary, and wood.

nBitor reveals a historical sweetness transformed into fragrance: the most endearing dessert made into perfume…with a few unexpected twists.

Laban Arruz is born from the most cherished recipe in Spanish memory: rice pudding. Milk cooked patiently, short-grain rice, a cinnamon stick, and fresh lemon peel, all balanced with a touch of brown sugar and vanilla. Sometimes, the smoothness of cream, the floral whisper of rose or orange blossom water, and a veil of butter add an unexpected brilliance, like variations on the same melody.

This perfume pays homage to one of Spain's most beloved desserts, whose first written recipe dates back to the 17th century. Four hundred years later, that humble yet festive delicacy continues to perfume kitchens and memories, now transformed into an olfactory language.

Its name comes from Arabic (laban arruz, “milk with rice”), recalling the legacy of Al-Andalus, when rice, citrus fruits and spices arrived on the peninsula to transform our table… and our memory.

Laban Arruz is sweetness, tradition and emotion served in a unique fragrance.

Notes: Rice, sugar, vanilla, milk, lemon, cinnamon, musk, nuts, tonka bean, sandalwood, carrot seeds, patchouli, chocolate, civet.

Nose: Miguel Matos.

A gourmand perfume that tells a millennia-old story of cultural fusion, sweetness, and memory. Laban Arruz is a fragrant ode to one of the most cherished flavors in Spanish memory: rice pudding. But this is neither a complacent nor merely nostalgic fragrance. Like all our creations at nbitor, Laban Arruz explores the boundaries of the known, transforming the everyday into art, and taste into olfactory language.

This perfume is crafted like an Andalusian alchemist: with patience, mastery, and a deep respect for history. Its creamy heart, enveloped in spiced, milky notes, evokes the aromas that filled the convent kitchens of Castile and the stately homes of southern Spain, where rice pudding became a symbol of hospitality, sweetness, and cultural heritage.

The name—Laban Arruz—comes from the Arabic اللبن الأرز, literally “rice milk.” During the splendor of Al-Andalus, rice was introduced from Asia throughout the Islamic world, finding fertile ground in the Iberian Peninsula to take root. Along with it came cinnamon, citrus fruits, rosewater, and the art of spiced, complex, and aromatic pastry making. Thus was born the precursor to our rice pudding.

But it was in Spain where this recipe was transformed. After the Reconquista, the dessert was adopted by convents, stately homes, and humble families. Cane sugar, brought from the Americas, was added, and cow's milk—softer and creamier—replaced the traditional milks of the Arab world. Slow cooking was perfected in monasteries, and in Asturias, the version with a caramelized crust was created, now considered a jewel of regional gastronomy.

Rice pudding wouldn't be what it is without cinnamon, brought from the East through the Arab world, a sacred spice to the Greeks and Romans, and a symbol of status in the Middle Ages. Nor would it be without cane sugar, which, after centuries of cultivation in Al-Andalus, was replaced by the massive influx of sugar from the New World. Rice, originating in Asia and spread by Islam, found ideal conditions in the Iberian Peninsula's eastern plains. And milk, once sheep or goat's milk, became softer and richer with the expansion of cattle farming. This dessert is, quite literally, the sum of the ancient world in a spoon.

And throughout this sensory journey, one ingredient endures as a signature note: lemon peel. Present from the earliest convent kitchens to 21st-century family kitchens, its fresh, subtly acidic aroma lends the dish an ethereal lightness, a ray of sunshine that balances the rich, creamy flavor. At Laban Arruz, this citrus note is much more than a nuance: it's a burst of Mediterranean memory.

The first written recipe for rice pudding in Castilian Spanish appears in the 17th century, specifically in the Libro de Arte de Cozina (1607), a work by the cook Domingo Hernández de Maceras, who recorded it as a humble and nutritious dish. However, all indications are that rice pudding had been prepared in Spain at least since the 13th century, adapting and evolving over the centuries to become one of the most emblematic desserts of Hispanic tradition.

Thus, what began as an oriental dish became a symbol of the Spanish soul. And that historical, sensory, and emotional journey is what we wanted to capture in Laban Arruz.

This gourmand fragrance awakens not only desire, but emotion. Like a spoonful of warm rice pudding in winter, or the memory of a grandmother perfuming the home with cinnamon, lemon peel, and patience, Laban Arruz is the perfume of collective childhood, reinterpreted for lovers of art, history, and boundless beauty.

"At the heart of Laban Arruz resides this aroma: milk cooked with patience, tender rice, warm cinnamon, and the sun-kissed freshness of lemon peel. This recipe is not an addendum to the perfume—it is its secret origin."

From aroma to palate

Laban Arruz is more than a fragrance: it's a memory reborn. At its heart beats arroz con leche, that tender Spanish dessert where milk, rice, cinnamon, and lemon zest meet in a harmony of patience and sweetness. What we've captured in aroma, you can also bring to life in your own kitchen.

Preparing rice pudding is like stirring centuries of history into a single pot. The first written recipe in Spanish appears at the beginning of the 17th century in Domingo Hernández de Maceras's *Libro de Arte de Cozina* (Book of the Art of Cooking), although the dessert was already being enjoyed in homes long before it was written down. Each ingredient holds within it the warmth of convent kitchens, the refinement of stately homes, and the simple devotion of family tables. It is a recipe where time itself becomes an ingredient, transforming the everyday into the eternal.

Here we share with you not just a recipe, but a story you can savor. Follow the steps and discover how a humble spoonful of rice and milk can hold the fragrance of memory, the poetry of the Mediterranean, and the sweetness of love passed down through generations.

Nuevalos is a marine gourmand perfume. It evokes the era of the incredible voyages of Spain's great explorers, voyages that would forever change the world and its civilizations. The fragrance is a warm, yet bold, cocoa-salt scent, perfect for those seeking an exceptional marine gourmand.

Nuevalos is inspired by one of Hernán Cortés's great voyages between Spain and the Americas. In 1524, Cortés sent the first shipment of cacao to Spain. The Spanish conquistador recognized the value of the energizing beverage consumed by the Aztecs and Mayans and used this argument to present it to King Charles V. A single cup was enough to keep a warrior going all day.

Thanks to Hernán Cortés's assistance, it was Friar Jerónimo de Aguilar who sent cacao to the Monastery of Piedra de Nuevalos, in the province of Zaragoza. Nuevalos is a perfume inspired by cacao and the Atlantic Ocean, but it's important to note that it was in Nuevalos where cacao was later mixed with cane sugar for the first time in history to make chocolate. Before the Spanish invented chocolate, cacao was consumed as a cold beverage with a bitter, spiced flavor.

The cultivation and consumption of cacao have given chocolate increasing social, religious, medicinal, political, and economic significance in various societies. Its spread, acceptance, and dissemination throughout the world are such that there is currently no region untouched by its influence. Its consumption and subsequent production involve millions of people and numerous nations worldwide.

Ocaña is a penetrating, sweet, vintage, and incredibly cosmopolitan fragrance. Its sweetness comes from the combination of floral notes such as orange blossom, tuberose, and tiare flower, and notes of vanilla, tonka bean, and benzoin resin.

The Tiare flower, or "Gardenia tahitensis," originates from French Polynesia and is undeniably tropical. Like a white floral, it evokes the scent of tuberose and gardenia, but with a slightly creamy undertone, almost like coconut, lending a very exotic touch to the fragrance. Meanwhile, its notes of carrot seed, tobacco, and yerba mate offer a woody, earthy, and toasted element that makes Ocaña also very warm and inviting.

But the notes that make Ocaña such an unusual, bold, and incredibly radical white flower perfume are cumin and costus. Cumin gives Ocaña that touch of aged sweat, and costus provides that goat-like note.

Top notes: Orange blossom, Cumin

Heart notes: Tuberose, Tiare, Carrot Seed, Tobacco, Mate Tea

Base notes: Siamese benzoin, vanilla, musk, ambergris, tonka bean, costus

Nose: Miguel Matos.

Ocaña received an Honorable Mention in the category of best independent perfume at the 10th Art and Olfaction Awards in 2024 held in Los Angeles.

Ocaña perfume is a fragrance of white flowers where the star is the orange blossom – a flower very characteristic and representative of Seville. Ocaña is a tribute to José Pérez Ocaña. Born in Cantillana, Seville in 1947, he moved to Barcelona in 1971 where he developed his artistic career. There he lived in the Plaça Reial. He was an icon of resistance to the Franco dictatorship during the Spanish transition to democracy.

He is one of the key figures forgotten by Spanish art history. His various performances and actions, contemporaneous with the birth of the punk movement and the first protest movements, foreshadowed the practices of sexual and gender disobedience that began to be grouped under the name of "queer activism" in the early 1980s. He was a typical character on Las Ramblas, cross-dressing without shame in broad daylight with a blend of Andalusian identity and religiosity typical of his region, and lived surrounded by those who loved and understood him.

Thanks to figures like José Pérez Ocaña, Spain is considered one of the most culturally liberal and respectful countries towards the LGBT community in the world.

Ocaña received an Honorable Mention in the category of best independent perfume at the 10th Art and Olfaction Awards in 2024 held in Los Angeles.

Santalla (formerly known as La Esencia de Santa Eulalia) is a perfume with a dynamic, fresh, clean, and very energetic opening. Bergamot, lemon, and green apple give it a very fresh and clean note, and its high ginger content lends it a powerful and very positive energy. Over time, however, cardamom, frankincense, sandalwood, and vetiver transform Santalla into a rather warm, mysterious, subtle, and elegant perfume.

Top notes: Lemon, green apple, bergamot, pink peppercorns, cardamom.

Heart notes: Jasmine, ginger, patchouli, incense, violet petals.

Base notes: Teak wood, sandalwood, vetiver.

Nose: Daniel Josier

Santalla (formerly known as La Esencia de Santa Eulalia) is a perfume with a dynamic, fresh, clean, and highly energetic opening. Bergamot, lemon, and green apple lend it a very fresh and clean note, while its high ginger content provides a powerful and very positive energy. Simply applying and smelling the perfume enters the nervous system and offers an incredible energy boost. In contrast, the base of the perfume is completely different from its opening. Over time, cardamom, incense, sandalwood, and vetiver transform Santalla into a rather warm, mysterious, subtle, and elegant fragrance.

Santalla is dedicated to the ancient patron saint of Barcelona which represents an interesting fragment of the history of Barcelona/Spain.

Eulalia was born in Hispania in 290 AD into a wealthy family that had embraced Christianity, at a time when Christianity was still persecuted. According to legend, Eulalia was tending geese in Sarrià when, at the age of 13, she was condemned by the Roman Emperor Diocletian to 13 tortures (one per year) for refusing to renounce her Christian faith during the Roman era. The young girl endured thirteen painful and horrific tortures and was finally crucified.

Barcelona Cathedral has been dedicated to Saint Eulalia since 877, and 13 white geese have always lived within its cloister. Each goose represents a year of Eulalia's life, and the 13 geese are kept under the care of the Church. Saint Eulalia is buried in the crypt of the Cathedral.

Our goal with “The Essence of Saint Eulalia” was to dedicate a wonderful perfume to the former patron saint of Barcelona, a very interesting part of the history of Barcelona and of everyone.

However, we have been notified that the patron saint does not belong to everyone, and the owners of the name, and apparently the patron saint herself, are a multi-brand store in Barcelona of the same name. Hard to believe, but it seems that only they can use this name of the patron saint, which, in principle, belongs to everyone. Fortunately, the great success of our first perfume is not the name, but the perfume itself. And, as languages and words change and evolve from one century to the next, Santa Eulalia can be spelled in many ways: Santa Olalla, Santa Laia, Santa Eularia, and also Santalla. Now, “The Essence of Santa Eulalia” will be called “Santalla.” This way, we can preserve the essence of our first in-house perfume dedicated to our patron saint, Santa Eulalia. The formula and the perfume are exactly the same; only the name has changed.

Taraq is a slightly sweet, somewhat spicy, vigorously spiced, earthy, and intensely deep fragrance. Its sweetness comes from its opening with notes of plum, dried fruit, date, rose, and amber. The spicy and peppery note comes from its saffron accord, which also contributes a scent reminiscent of honey, grass, hay, and slightly metallic and tarry undertones.

The earthy note in Taraq comes from the combination of patchouli and agarwood (oud). The main chemical component of patchouli oil is patchouliol, which gives it that woody, earthy aroma. The agarwood note is similarly woody and earthy, and further enhanced by smoky and slightly animalic undertones. Finally, along with the leather, musk, amber, and sandalwood notes, Taraq is not only earthy but also intensely profound.

Top notes: Plum, saffron, nuts.

Heart notes: Rose, dried date, leather accord, oud.

Base notes: Patchouli, sandalwood, musk, amber.

Nose: Daniel Josier

Taraq perfume is an olfactory representation of a cultural fusion between the Middle East and Spain. The ratchet or clapper is a percussion instrument that has existed since the Middle Ages. It consists of a wooden body or board to which movable hammers, made of wood or metal, are attached; these hammers strike the wooden body.

The ratchet is used in Spanish churches during Holy Week and was formerly used to silence people during Passion Week or to wake them up for Matins. Also during Holy Week, some penitential brotherhoods sound ratchets during their processions.

The name "matraca" comes from the Arabic word hârraqa or hârraq, which refers to a large merchant ship (the carrack). The term could be an onomatopoeic word, based on the creaking sounds of these heavy ships. The matraca's arrival in Spain was made possible by the Arabs, since the word matraca comes from the Arabic "mitraqa," meaning hammer, and "taraq," meaning to strike.

Taraq is The Perfumery's new in-house fragrance. Belonging to the Oriental-Spicy olfactory family, Taraq is a slightly sweet, somewhat spicy, vigorously spiced, earthy, and intensely deep fragrance.

Its sweetness comes from its opening with notes of plum, dried fruits like dates, rose, and amber. The spicy and peppery note comes from its saffron accord, which also contributes a scent reminiscent of honey, with grassy hints of hay and slightly metallic/tarry undertones.

The fragrance opens with the vibrancy of the spice route. Paraguayan petitgrain evokes the orange groves of the New World; a trio of peppers—green, pink, and black—recalls the coveted exports of Asia; cardamom and ginger bring the warmth of Indian and Southeast Asian markets. Tarragon bursts forth with a sharp, unexpected, green, and aniseed note, like an unfamiliar flavor discovered in a bustling port. It is a bright and fiery opening, the scent of sails billowing in the wind.

The heart becomes exuberant and sensual. Piri-piri blazes with African heat; ylang-ylang from the Philippines blossoms creamy and tropical; jasmine sambac absolute from India offers opulence and depth; while coconut softens the accord with a sun-kissed sweetness that evokes tropical shores. They are the treasures of foreign ports, the whispers of distant gardens and markets carried in wooden chests across oceans.

The base is where the fragrance takes root. Myrrh, resinous and sacred, links Europe, Africa, and Asia in a ritual continuity. Patchouli evokes the fertile soils of the Orient, once used to wrap the finest fabrics and preserve their aroma. Vanilla from Mexico and tonka bean from South America contribute sweetness and warmth, while leather anchors the composition in the rough materiality of the ships themselves. Finally, amber and ambergris—one luminous and resinous, the other rare and oceanic—complete the journey, binding the perfume to the sea, to the waves that carried both danger and fortune.

Top notes: Paraguayan petitgrain, green pepper, pink pepper, black pepper, cardamom, ginger, tarragon.

Heart notes: Piri-piri, ylang-ylang, jasmine sambac, coconut.

Base notes: Amber, myrrh, patchouli, vanilla, tonka bean, ambergris, leather.

Nose: Miguel Matos.

The first globalization, distilled into aroma

Orbis Iberica was born from an extraordinary and decisive moment in Iberian history: the Iberian Union (1580–1640) and the Manila Galleons, which, for more than two centuries, linked Asia, America, and Europe. In that brief but transformative chapter, the crowns of Spain and Portugal were intertwined under a single monarch. For the first and only time, two hemispheres previously conceived as separate worlds united in a shared vision: Spain presiding over the Western world, while Portugal safeguarded the routes to the East.

Lisbon, Seville, Cádiz, Goa, and Manila became epicenters of a world in perpetual motion. Spain positioned itself at the very heart of this network, transforming its ports into crossroads where continents converged. Historians consider this era the first true example of globalization: a time when oceans ceased to divide and became channels of exchange. For the first time, the world was experienced as an interconnected whole.

This fragrance is an olfactory meditation on that transformation. It reimagines the Manila Galleons not as mere trading vessels, but as carriers of worlds: of silks and silver, but also of flowers, spices, flavors, and essences that forever transformed the European imagination. Orbis Iberica is not a literal reconstruction of the past, but a poetic distillation of its essence: the collision of continents, the turbulence of the voyages, the sensuality of the exchange, all seen through the Spanish lens that made those encounters possible.

Legacy

Orbis Iberica is conceived as both a tribute and a reflection. It celebrates not conquest, but exchange: the intertwining of rituals, the migration of plants and flavors, the blending of knowledge and arts. It asks how perfume, the distillation of essences, can reflect the cultural distillations that marked that first globalization.

Each note is more than just a scent: it's a fragment of history. The sweetness of the Americas, the fire of Africa, the sensuality of Asia, the ritual of Europe, and the salt of the ocean. Together they form a composition that belongs not to a single geography, but to the shared legacy of them all.

The world, for the first time, as one.

nBitor Perfume Collection – Spanish Art and Heritage

Akelarre

> Akelarre

> Description

Babieca

> Babieca

> Description

Bucaro Royal

> Bucaro Royal

> Description

Erauso

> Erauso

> Description

Catalina de Erauso, the novice who exchanged her coif for a helmet and sword.

Hombre de Palo

> Hombre de Palo

> Description

Laban Arruz

> Laban Arruz

> Description

Nuevalos

> Nuevalos

> Description

Ocaña

> Ocaña

> Description

Santalla

> Santalla

> Description

Taraq

> Taraq

> Description

Orbis Iberica

> Orbis Iberica

> Description

The first globalization, distilled into aroma

Legacy

Address

Instagram

Telephone

Email