neither the day nor the hour

I hope you become an obsession,

because you help me live.

You darken the feigned reality

and act in the shadows,

by removing the boundaries.

The twelfth fragrance of the monolithic UNUM collection aims to explore the emotion of emotions: fear. It begins, almost traditionally, with an excerpt from the Gospel of Matthew, which tells the parable of the ten virgins, from which the name also derives; the story of the women who wisely set aside oil for their lamps upon the bridegroom's arrival. We know that of the ten women, only five – described as wise – will partake in the wedding feast, while the others, searching for oil for their lamps, will find the door shut. "Lord, open to us," they will say upon their arrival, and receive the reply, "Truly, I say to you, I do not know you." We also know that they too fell asleep while waiting, yet were ready to awaken and rejoice in the bridegroom's arrival: "Watch therefore, for you know neither the day nor the hour," Matthew states.
But that is only the beginning. In reality, it's about going beyond the words of the Gospel and addressing fear in a more intense and profound way, where even contradictory feelings are exposed to the seductive allure of danger, an "amor fati," as Nietzsche said, but in the presence of the uncontrollable. This element characterizes horror literature and beyond, and it is precisely the dominance of the uncontrollable over us. Yet, fear still needs something else to be so: not the absence of courage, but the presence of the untameable.
But controlling fear creates an attraction to it, even a pleasure in a sought-after, desired, and controlled fear.

Man is, in fact, enveloped by a terrible destiny, and our society, with its violent mass advertisements, seeks to anesthetize and deny the truth, i.e., being-for-death.
Only then, in his dullest and most obscure shadow, does man become the self and reveal his true nature, composed of contradictions and desires. In the face of fear, primal needs of apparent disorder are actually created, which also consist of dormant, hidden, and dangerous eroticism, making the impossible possible.

The silver bottle is encased in a "matte" black pouch, sealed like shrink wrap, which must be cut open with metal scissors (inside the box).

Given life, on a planet of the fragile, after the religious fall into the realm of dust, having lost every secure reference, man is inextricably bound to fear, which forces him to wander in the nocturnal pages of the soul, and in this space, which he perceives as a dim light that materializes a deformation of the limbs, to pause and share monstrous things that intend to consume honor, to delight in it by suffocating souls, no longer counting on the balance of life, but on a form of salvation that is ever more distant.