Unum

I hope you will turn into an obsession, because you aid life. You block false reality, acting in the shadows, erasing limits. The twelfth fragrance in the monolithic UNUM collection is designed to confront the most heightened of emotions: fear. Almost as per tradition, the starting point inspiring it is an extract from the Gospel of Matthew, the parable of the ten virgins. The story – which also gives the fragrance its name – is that of ten women who prudently save oil so they can burn their lamps as they await the bridegroom’s arrival. We know that of the ten, only five – described as very wise - participate in the wedding party; the others, having gone to find more oil for their lamps, find the door closed to them. “Lord, open to us”, they say upon arriving, receiving the response: “Truly I say to you: I do not know you”. We also know that, while they were awaiting the groom’s arrival, they too fell asleep, but were ready to wake up and rejoice: "stay awake, therefore, because you know neither the day nor the hour", we read in Matthew. This is just the start. The idea is to go beyond the evangelism of these words and face our fears on a deeper, more intense level, evoking conflicting emotions and experiencing the seductive charm of danger – an "amor fati" as Nietzsche claimed – or at least, the presence of things beyond our control. This is a characteristic feature of horror literature (and more); it’s the power of the uncontrolled over us. Yet the existence of fear always requires something else: not lack of courage, but the presence of what we most desire. What remains most men’s highest aspiration is also a harbinger of trouble: freedom. The perfume conveys the idea of destruction, the choice to be silent, and the introspection needed to delve into the depths of the skin’s most remote existence. Yet seeking to control it stirs attraction and even feelings of pleasure towards that sought-after, desired fear. Man is caught in a horrific fate, and our society, with the violent approval of the mob, tries to daze itself and deny the truth, or rather Being-for-death. Only in this way does man become I in his darkest, unspoken shadow, displaying his true nature made up of contradictions and desires. Faced with fear, seemingly chaotic primordial needs composed of dormant, hidden, and dangerous eroticism are triggered, making the impossible possible. The packaging is in line with the UNUM collection; this time it is sealed with a cold transparent film and a silver label. The bottle (also silver) is placed in a "silent" black velvet bag, sealed in a heat-shrunk sheath which needs to be cut physically using the metal scissors contained in the box. Following his religious fall into the realm of dust, faced with life on a fragile planet, and having lost all his bearings, man is inextricably connected to fear, forced to wander in the dark side of the soul. Inside that room, he perceives a dim light that reveals deformed limbs sharing monstrous things that seek to destroy respectability and take pleasure in suffocating souls, no longer reckoning with life’s balance sheets but with a form of salvation that’s ever more distant.

Good things are images that disappear from our minds. They are parts of us lost in the forest of habits. But the pain remains and describes what cannot be chosen. Maybe I don't want to forget maybe it won't happen I want to feel different. Only free. I remember crying because it's stronger than forgetting. But going is sweeter than staying. I don't want to live in fear of what comes from the dark or what I left behind. I am who I wanted to be even when it wasn't me speaking. They were tears to the moon always climbed as a prayer sculpting my fate. I proudly sigh a single leap into the drama not to let go of the emotions. So I follow my emerald-scented path wherever it may lead me. It's a promise to me to one another an oath a cry a sincerity a brave hymn Strong I believe and I never forget. The eleventh fragrance by Filippo Sorcinelli praises the race towards one's freedom. The initial emotional spark of this new project is still the pentagram, as evidenced by the decoration of the bottle: It is the music that moves, that descends like tears to generate the desire for freedom: the aria from Haendel's Rinaldo "Lascia ch'io pianga ”. In reality it is only the genesis since the project evolves, opening up a much more articulated path: the concept of the conquest of a precious gift that every human being possesses and which today more than ever becomes a fundamental value. Filippo Sorcinelli wants to recount his human and artistic journey through the difficult conquest of this "absolute", far from multiple slaveries: fashions, advertising, preconceptions. We realize how important freedom is only when it itself fails. And it is through the experiences of each one that the limit of prejudices is overcome to run in a straight road on a symbolically green expanse indicated by a moon that accompanies and bathes our faces in a warm and enveloping light. Freedom, a painful voice, however, does not mean arbitrarily always doing what one wants, since it must always come to terms with rights and values. It's that new song that also makes us aware of the limits, it's that sigh away from the breath that unties the tangles of our uncertainties to definitively indicate our vocation.

I leave what remains… Relic is a term derived from Latin and it is mean “I leave”. The latin word “reliquiae” and the greek word “λείψανα” are similar , their general meaning is “What remains” and the phrase refers to the human body or to one of it’s part. With this word in the Christian context we refer to a part of the body of Christ or an object belonging to Christ, or to Mother of Christ or to the mortal remains of those who are recognized as martyrs or saints and, in general, to all objects that have been in contact with them.  The new fragrance of Filippo Sorcinelli, after his tribute to Mario Giacomelli with “io_non_ho_mani_che_mi_accarezzino_il_volto”, back to Senigallia to describe a simply extraordinary place, a place rich in history and works of art but above all great custody of important relics of the passion of Christ: the Church of the Cross considered one of the jewels of the Italian Baroque. This oratory, dating back to 1608, was built on the will of the brotherhood of the sacrament and the cross which is still operating today and of which Filippo is part with precise duties as organist and artistic director. Reliqvia speaks of walls clad in golden wood, finely decorated with carvings and reliefs, that speaks of the incensed steps towards the great high altar, like a golden embroidery, inside which the statue of the dead Christ is kept, wooden work of the seventeenth century and visible only once a year.  Also wants to frame in synthetic form the altarpiece of Federico Barocci, The transport of Christ to the tomb, one of the most beautiful works of the painter of Urbino executed in 1582, for which he also designed the frame. Reliqvia is a place to meet and to recall the memory, is a place to remember the time that passes and that becomes precious and authentic, message of corruptibility and incorruptibility. Reliqvia is the concrete trace, the last trace, to describe a living existence above us, different and prodigious. It’s the closet always closed, the precious custody of the holy men that makes us understand that time is precious and time is likely to be consumed without leaving a clear furrow in life. Reliqvia is the nail of Passion, stratified incense and torbato from the solemn and sacred years.  There is no the sacred, if men do not recognize it as such, and exalt it in perfect rites. Reliqvia is the perfect sacred space. Touching relics, touching something that has been in contact with them is a grace and a guarantee: for this reason the ancient Romans tore apart the veils that had covered the holy martyrs and in which were wrapped the corpses of the pontiffs. For this reason pontiffs were wrapped right in those veils. In front of the relics the mentally ill are healed and the possessed and the obsessed were freed, the blind find their sight, the lame start walking again.

Don’t forget to ask for forgiveness… Persecuted by remorse, in the fury of fate.And anger grows. Unexpected wounds mark the silence, Violence and mist.Nobody want to talk.Ignorance. The inhumanity of life leads us to be insensitive, not to know humility,not to recognize the faults,to wither. To numb the pain. But only that pain lived and full of signs,scarring and sculpts the memory,only scratches caused by anguish as to ask forgiveness shape the choice.And weep for a courage that moves the colors of change, giving suffered flowersand breath on the petals. Forgive me.

Maria Callas, the “Divina” was staged at the scale of Milan in the 50s to sing “l’aria della follia” of the opera Lucia di Lammermoor by the composer Gaetano Donizetti. Deaf place, incense, lily of the valley, chords and opiate chords in an absolutely entrancing opera.

A violent fragrance at the beginning, which is long in its evolution, which celebrates a special but authentic love: that Hannibal Lecter and Clarice in the film also shot in Florence,”Answer me Clarice, would you to tell me: Stop, if you love me Stop?”.

Olfactory tribute to Mario Giacomelli, who was one of the most famous photographers in the world, who Filippo knew and lived in the soul. The name of the fragrance is the same of his project carried out in the Seminar of Senigallia among the young in the dress cloth.

The smell that Filippo felt when he played the organ in Rouen, the same organ played several times by Marcel Dupré, who was a great and virtuoso composer who lived in the early 1900s.

The need to find yourself and your beauty through the mists of solitude. A necessary and horizontal warm blanket which never evolves.

“Nigra sum, sed formosa” Olfactory paraphrase of the Assumption. The Virgin Mary who ascends to heaven “in body and soul”: all the materials that compose her call to mind a rose that in reality is not present.

The true smell of Gothic, which begins with the laying of the first stone of the basilica of Saint Denis at the gates of Paris in 1144.

The incense of incenses. It is the first fragrance born and still today is the Best Seller of the collection which describes and completes the smells of the Atelier of Vesti Sacre of Filippo Sorcinelli, who is renowned all over the world.

A limited edition of the best seller LAVS with onyx.

What a fairground of lights life is!Lights that make me close my eyes.They are too hard to bear.If I close my eyes I feel a shade of smiles,I shiver and my heart is swept away.Life gets distracted.What a picture of white loneliness!What a mask of tears and amusing scents.We are fixed and dilated pupils that smile without fervour.Grief.You fear what you can not identify,even when it is something familiar.You feel anxious about not recognisethe dance of an ancient face.Sadness of time and history. Dance, play, deceive.A friendly smile, a discordant note. far echo of mud and guts.Close your eyes because in the dark you can see, your thoughts become closer and deeper.And that face which distorts mine is back. Memories.Not everything is as it seems.Close your eyes now,creepy mask,lost soul,you eat peace instead of searching for it.Shaking heart of a lost man.He wants the bravery to run meaningless around himself.Not everything is as it seems.Fear of clowns, also known as coulrophobia, is a relatively common and often misunderstood phobia.This fear can manifest itself in varying degrees of intensity, from mild discomfort to paralyzing terror, and is believed to have deep roots in the human psyche.The figure of the clown is historically associated with fun and entertainment, going back to medieval jesters and harlequins of the art comedy. However, the clown's grotesque appearance, with exaggerated makeup distorting facial features, can create a sense of ambiguity and uncertainty. This distortion can cause people to perceive clowns as disturbing figures because their appearance does not match common human behaviors.Psychology suggests that the fear of clowns may stem from the difficulty of reading the true emotions behind the heavy makeup. Our usual predisposition is to read facial expressions to understand the other person's intentions. When this ability is compromised, as in the case of clowns, it can generateanxiety and fear. The often unpredictable behavior of clowns can contribute to an uneasy feeling.Popular culture has amplified the fear of these figures through negative and frightening portrayals. An emblematic example is the character of Pennywise, the wicked clown from StephenKing's novel “It,” who has terrorized generations of readers and viewers and is the foundation of the inspiration for the thirteenth fragrance in the UNUM collection.Coulrophobia, now also developed in olfaction with Filippo Sorcinelli, is a kind of completion of a research on the deep meaning of fear that began with the fragrance “but not today” in 2018 and continued last year with “né il giorno né l'ora”; it can have a significant impact on the daily lives of people who are afflicted by it. Common situations such as children's birthday parties or circus events can become a source of stress and anxiety. In extreme cases, the mere sight of an image of a clown can trigger a panic reaction.Ambiguity, is the lagoon of thoughts, awkwards movement covered with art project our anguish, thin our faces and describe wickedness.But authentic Art intervenes on the facade badness as it intervenes on the soul. Only she produces this short circuit capable of undoing what induces the negative about meanness. Art describes but does not limit or like to exaggerate negativity. It describes it because exposing it causes the matter of Beauty to take over even in negative situations. Someone needs to be bad but only the other can circumscribe his limit in the road of loneliness.And only then will the center of badness become social construction.