LET GO Bath Brew

Two coarse salts from ancient inland seas, and a fine dendritic carrier.

Dead Sea salt is mineral-dense in a way that most salts aren't — the water it comes from has one of the highest mineral concentrations on earth. It's been used therapeutically for thousands of years. The dual grain creates visible depth in the jar: coarse and medium together, different weights catching light differently. Epsom brings magnesium for the muscles. Dendritic salt holds the scent.

Rhassoul clay

A mineral-rich clay from the Atlas Mountains of Morocco, used in hammam bathing for over a thousand years.

Rhassoul has a warm brown-grey color and a long history as a skin-conditioning and cleansing agent. It's one of the few ingredients in this line with an unbroken cultural story — the hammam tradition in North Africa and the Middle East is still alive, still practiced, still meaningful. This clay belongs to that lineage. It tints the water the faintest mineral grey. It earns its place on the label.

White sage

Salvia apiana — a silver-grey plant native to the coastal mountains of California and Baja.

White sage has been used ceremonially by Indigenous peoples of the American Southwest for generations, and its association with clearing and release runs deep. The dried leaves are silver-grey and light-catching — in a jar designed around restraint, they are the botanical you notice. Use with awareness of where this plant comes from and what it means.

An eucalyptus branch

Silver-dollar eucalyptus — Eucalyptus polyanthemos — a branch cut to jar-width, with intact paired leaves.

This is the only branch drama element in the line. It doesn't sit in the salt — it spans above it, a small architectural gesture. Eucalyptus has been used in steam bathing traditions across cultures for its clearing, respiratory quality. In the water it will release what it holds. There may be a faint mineral ring from the resin — this is eucalyptus doing what eucalyptus does.

The scent blend

Eight plants — lavender, sweet orange, mandarin, frankincense, geranium, cedarwood, bergamot, and vetiver — carried in a plant-derived base.

Lavender leads deliberately, and at a volume that owns this blend entirely. This isn't lavender as background note — it's lavender as statement. Sweet orange and mandarin open the top with brightness that contrasts the heavy base. Frankincense is the anchor — resinous, ancient, sharing the same North African register as the rhassoul clay. These two were made to be together. Cedarwood deepens the dry-down. Vetiver sits at the very bottom, barely visible, adding an earthy depth that you feel more than name. The jar reads cold and clearing. The scent delivers warm release. That tension is intentional.

Clear quartz

One of the most common minerals on earth, and one of the most consistently kept close.

Clear quartz catches light. It stays cool. It gives the hands something honest to hold — especially useful when you're trying to put something else down.

Snowflake obsidian

Black volcanic glass with white feldspar inclusions — the snowflake pattern forms as the lava cools.

Obsidian is formed in moments of rapid change — lava meeting cold air or water, solidifying in an instant. Snowflake obsidian specifically reads like something found on a forest floor after frost. It sits beneath the pale sage in the jar: dark stones under light botanicals. It has been used in many traditions as a stone for releasing what no longer serves. It asks you to look at what you're holding.

Smoky quartz

A brown-grey variety of quartz, its color formed by natural irradiation over millions of years.

Smoky quartz bridges the pale and the dark in this jar — neither fully clear nor fully black. It has been used across many traditions as a grounding stone, associated with the capacity to move through difficulty without being consumed by it. It is quiet in the hand. It belongs here.