Filippo Sorcinelli, a lover of all things French, first played with the similarity of the words “orgue”, as in the musical instrument found in churches, and the perfumer’s “orgue”, equipment for raw materials and first mentioned in the 1884 novel A Rebours by J. K. Huysmans.

This linguistic proximity resonates with the aesthetic closeness between perfumes and music. Like perfumes, a musical piece develops in time, has a progression (a head, a heart and a substance), as well as crescendos and decrescendos. In both worlds we talk about “notes”, “compositions” and “harmony”.

As early as in 1865, Septimus Piesse had already established a range of correspondences between musical notes and the raw materials of perfumery.