With Savoyard ancestors, including a certain Carlo de Loche, a Saligarian sea captain whose countless travel souvenirs, a 19th-century orientalist cosmorama, tell of distant seas, this image intertwines with that of a Hungarian grandmother whose large portrait dominates Lorenzo's study. The old Tuscan stock, in which all these branches unite, belongs, in a subtly ironic yet worldly and speculative way, to the Hagerens and Auriches, those people who, in the seclusion of the world's most bourgeois agriculture, cultivate olives in the same way they nurture old family memories. He spent a free childhood in the family villa on the slopes of Monte Morello, in close connection with nature, whose rhythms and secrets dictated by the seasons - in a rural world that almost no longer exists. The key figure in this introduction to the natural world, to the love and knowledge of botanical species and their therapeutic properties, was his father Luigi. A participating witness to a flourishing and passionate era in a Florence that still offered itself as a generous workshop of culture, he combined art and literature with simple country life. The family home, a magnificent building whose foundation dates back to the High Middle Ages and was expanded in the fifteenth century, is a privileged place for play and imagination. The very long loggia, the tempera paintings by Bartolomeo Pinelli and the neoclassical frescoes by Sarti, the shiny, centuries-old terracotta floors, the vast, mysterious cellars, like the walled garden, hortus conclusus, traversed by strict boxwood, lemon and bitter orange trees. Hortus conclusus, A chosen place for enchantments, also evoked by scents. The call of the Orient, where Lorenzo would go during his university years, constantly penetrates the history of the Villoresi. In the first truly difficult years after the war, his mother, Clarissa Villoresi, courageously retraced the paths of the old Tuscan merchants by opening a boutique in Cairo, where the finest Florentine handicrafts were offered. The Egyptian capital, a truly international crossroads where one could encounter deposed kings and spies, activists of the emerging political movements of the Near East, and members of the jet set, was experiencing a particularly intense moment. Stories and memories of this experience of his parents belong to Lorenzo's emotional and imaginary heritage. And he himself followed a few years later, to deepen and complete his studies of classical philosophy, the path of an Orient that somehow already belonged to him.

Following the trail of ancient cultures, particularly Jewish, but also Egyptian and Mesopotamian, seemingly distant yet deeply intertwined with our own, he would spend extended periods of study and travel in the Near East. While crafting a thesis on the complex subject of the concept of death in archaic Jewish and Hellenistic thought, he would discover the world of essences and scents, alongside the flavors and customs of these lands. Long journeys without a specific destination. The search for aromatic spices and fragrant oils became an opportunity to embark on a solitary adventure, free from schedules or predetermined stops, above all without haste. A willingness to surrender to fate, leading to constant enrichment. He spent entire days in the Cairo bazaar, in the Omdurman market of Khartoum, in the anguished heart of ancient Jerusalem, without specific goals, yet always rich in discoveries and encounters. On the mountains of Sinai, near the ancient monastery of St. Catherine, in places little visited at the time, Lorenzo learned from the Bedouins the orally transmitted tradition of desert medicinal plants. He learned about the native spice Habaq, used as an infusion, and other species with various healing properties. From the Orient, therefore, springs a source of scents and sensations, summoned to nourish a determined will to revive the outdated tradition of the Florentine school of perfumery. A composite corpus, permeated by lively ferments, updated through a prolonged immersion in the New York of his time, the pulsating heart of the contemporary world.

Villoresi emphasizes that perfume must become a privileged 'place' for self-design, a nuance of one's thoughts, a more or less revealed stirring of the soul, a door that is closed or open to others, an opportunity, a game, a means of seduction. Research delves deeper and deeper into a difficult-to-control, yet important palette of essences. A collection of rooted Tuscan elements, such as absolute laurel, Laurus nobilis , the Poet, or as the once precious and irreplaceable white root of the iris. Esteemed essences of the Western tradition are respectfully reinterpreted, but more often with an ironic and witchy air, mixed and infiltrated by the mystical stupors, the spiced intoxications of a familiar and beloved Orient. This results in perfumes that are coveted both for their sophisticated artisanal production methods and for the selection of noble materials - silk, leather, crystal glass, silver - for packaging and bottles. Villoresi aims to convey the respect and continuity of an abandoned but precious tradition, which perfumery was until the beginning of the modern age. He is driven by the desire to reconstruct an art with all its secrets. A world to be gradually revealed, which is related to the present day, even conflictually and without unnecessary regret, thanks in part to the use of materials that are able to transcend time and that can be recognized by us, as by our ancestors, for their inherent value. These are therefore perfumes that reflect the personality of their creator and, moreover, due to their extreme and rigorous effectiveness and their comprehensive richness, are a personal expression of those who desire them. Fragrances that live on the precarious edge of the untimely, far from the noise of contemporary consumerism and from the worn-out nostalgias of a little-known, mystified, and in any case unrepeatable past.