Ecco by Princess Marcella Borghese c1960

Ecco by Princess Marcella Borghese, launched in 1960, is a fragrance that captures both the fresh optimism of a new decade and the timeless elegance of Italian style. The name Ecco (pronounced EH-koh) is an Italian word that translates loosely as “Here it is!” or “Behold!” It’s an exclamation used to draw attention—sometimes to something long-awaited or suddenly revealed. It suggests a flourish, an unveiling, or even a revelation. In the context of a perfume, it feels like a dramatic introduction: Here I am!, a scent arriving with presence and grace. Choosing a name like Ecco reflects not only the confident tone of the perfume itself but also Princess Marcella Borghese’s own identity—rooted in Roman nobility, Italian heritage, and a flair for elegance that was both natural and cultivated.

The year 1960 marked the dawn of a new era. The postwar gloom had fully lifted, and the world—especially in Europe and America—was entering a period of renewed prosperity, cultural expansion, and visual sophistication. Italy, in particular, was experiencing La Dolce Vita, a cultural renaissance celebrated in film, fashion, and style. Fellini’s famous film of the same name was released that year, showcasing Rome as a playground for beauty, drama, and indulgence. The fashion world had turned its eyes toward Italian designers, while American women looked to Europe for beauty cues. Princess Borghese, a Roman aristocrat who partnered with Revlon to launch her luxury cosmetics and fragrance brand, was perfectly positioned to embody this moment—blending regal old-world charm with sleek modern glamour.

In this vibrant context, Ecco would have appealed to women seeking something both classic and new. Classified as an aldehydic floral, the fragrance would have felt modern and radiant, yet comfortably feminine. Aldehydes lend an airy, sparkling texture—soapy and clean, yet abstract—while the heart of jasmine and rose roots the fragrance in timeless beauty. What sets Ecco apart, however, is the inclusion of fresh herbs and dewy spring flowers, creating a sunlit impression that feels less powdered and more alive. This was not a perfume that stayed in the parlor—it stepped into the garden. It offered women a fragrant echo of freedom, freshness, and elegance without veering into sharp modernism or overt sensuality.

To women of the early 1960s, Ecco would have felt like a statement of refinement and good taste—perfect for the polished woman who dressed in gloves, pearls, and day dresses, but also for the younger generation on the cusp of shifting styles. The scent conveyed lightness, polish, and a sunny disposition, at a time when femininity was still defined by grace, poise, and a sense of seasonal appropriateness. In a world still ruled by etiquette and appearances, Ecco offered the freshness of spring mornings and blooming gardens, refined by soapy aldehydes and softened with warmth.

In terms of the market, Ecco aligned with other aldehydic florals popular at the time—Chanel No. 5 still reigned supreme, and Arpège by Lanvin remained beloved—but it introduced a slightly more naturalistic and verdant tone. Where other fragrances could be powdery or abstract, Ecco felt airy and grounded, alive with the scent of sun-warmed petals and crushed green leaves. It wasn’t revolutionary, but it was distinctive in its cheerful elegance, and in its ability to evoke nature not as fantasy, but as something present and touchable. In this way, Ecco lived up to its name—Here it is!—a fragrance revealed like the opening of a window onto a Roman garden in full bloom.

In 1960, Playbill introduced Ecco by Princess Marcella Borghese as one of the most distinguished new arrivals on the American perfume scene. The magazine’s phrasing revealed not only admiration but a keen recognition of Ecco’s nuanced artistry. Described as “an opulent mixture, worldly and sophisticated,” the fragrance was positioned as a modern statement—conveying luxury without ostentation, complexity without cacophony. Ecco was crafted to be persuasive, yet quietly so. Its sensuality was implied rather than announced—a fragrance that drew others in not through bold theatrics but through a refined, confident allure. The editorial's language, suggesting a "come-hither" that is "unobtrusive," made it clear: this was a scent for the modern woman who knew her worth and didn’t need to shout it.

By 1967, Harper’s Bazaar painted an even fuller portrait of Ecco, placing it within a broader aesthetic vision of timeless Roman elegance. Inspired by Carrara marble—renowned for its use in classical sculpture and architecture—the packaging itself suggested permanence and purity, a tribute to Italian artistry. The lightly veined marbleized boxes were more than just decorative: they were a symbolic nod to classical ideals of beauty, strength, and restraint. The fragrance inside, Ecco, was described as “for the eternal woman,” underscoring its enduring and ageless appeal. The formula—a blend of herbs softened by the delicacy of jasmine and rose—was seen as both fresh and evocative, channeling a sense of sun-drenched gardens and Mediterranean warmth.

Together, these period descriptions from Playbill and Harper’s Bazaar show how Ecco occupied a unique place in the landscape of 1960s perfumery. It was marketed as sophisticated yet natural, classic yet contemporary, and deeply feminine in a way that defied fleeting trends. Whether purchased as a concentrated perfume oil or as an acqua di profumo, Ecco offered the wearer not just scent, but a cultivated identity—one rooted in both elegance and subtle strength.

 

Fragrance Composition:

So what does it smell like? Ecco by Princess Marcella Borghese is classified as an aldehydic floral fragrance for women. Modern floral blend, classic notes of jasmine and rose with the light, vibrant scent of fresh spring flowers, herbs and soapy aldehydes. It is warm and feminine, lasts well, and is so redolent of sun-soaked summer gardens that you almost expect the bees to follow you.

• Top notes: aldehyde C10, aldehyde C-11, aldehyde C-12 MNA, Bulgarian rose otto, Comoros basil, Spanish rosemary, Hungarian clary sage, Algerian narcissus absolute, Calabrian bergamot oil, Paraguayan petitgrain, Sicilian neroli, lilac accord
• Middle notes: magnolia blossom accord, Grasse jasmine grandiflorum absolute, lily of the valley, hydroxycitronellol, Lilial, Manila ylang ylang extra, Tuscan violet leaf absolute, ionone, Peruvian heliotrope, heliotropin
• Base notes: Abyssinian civet, ambergris, ambreine, Tonkin musk, Mysore sandalwood, Mexican vanilla, vanillin, oakmoss, Siam benzoin, South American tolu balsam, Indonesian patchouli, Sumatran styrax, Maltese labdanum, Haitian vetiver

Scent Profile:

The first impression of Ecco by Princess Marcella Borghese arrives in a sparkling rush—like the sudden inhale of sunlight through lace curtains on a spring morning. A vibrant medley of aldehydes—C10, C11, and C12 MNA—fizzes at the top, effervescent and crisp. Aldehyde C10 (decanal) brings a soft, waxy-orange polish, while C11 (undecanal) adds a brisk, citrus-soapy breath, and C12 MNA contributes a green-floral lift that feels like the distant scent of clean linen carried on warm air. These synthetic molecules do not replace nature—they elevate it, exaggerating the luminous shimmer of the natural top notes like sunbeams caught in a prism.

We are instantly swept into a garden awakening: the Bulgarian rose otto emerges with velvety petals drenched in morning dew. Unlike Turkish or Moroccan roses, Bulgarian rose from the famed Valley of Roses holds a greenness—peppery, herbaceous, and fresh—tempered by the crisp, spicy camphor of Comoros basil. From Spain, rosemary lends its silvery, piney snap, cleansing and invigorating, while Hungarian clary sage hums beneath with a musky, amber-tinged herbaceousness, grounding the upper notes with a whisper of hay.

The heady sweetness of Algerian narcissus absolute rises—rich, earthy, and green, with a subtle undercurrent of leather and hay. It pulls you deeper into the flowerbed, as though the stems and soil are as fragrant as the blooms. Bright Calabrian bergamot oil—gleaming with citrus zest and floral nuance—melds beautifully with the slightly bitter green woodiness of Paraguayan petitgrain, extracted from the leaves and twigs of the bitter orange tree. This is softened further by Sicilian neroli, floral, waxy, and slightly honeyed, a soothing counterpoint to the aldehydic spark above. A delicate lilac accord—impressionistic, synthetic by necessity—is built from heliotropin and anisic aldehydes to recreate the soft mauve puff of lilacs after rain, wistful and powdery.

As the top begins to settle, the heart unfurls in full bloom. A creamy magnolia blossom accord appears first—constructed from materials mimicking the lemony, petal-thick scent of magnolia, its velvet-white elegance unmistakable. Then, the regal presence of Grasse jasmine grandiflorum absolute—from the flower fields of southern France—glows warm and narcotic, slightly indolic but never overwhelming. Beside it, lily of the valley shimmers like white bells of light. This scent is not naturally extractable, so it's recreated using hydroxycitronellal, which provides a tender green floral transparency, and Lilial (pre-restriction), which adds dewy, crystalline sweetness. These synthetics conjure a near-photorealistic portrait of the delicate flower.

Manila ylang ylang extra sways in, heady and narcotic, its tropical creaminess folded into the floral bouquet like sun-warmed skin. The scent of Tuscan violet leaf absolute glistens along the edges, cool and green like the shadows beneath violets in the underbrush, enhanced by ionones—violet-smelling aroma chemicals that give powdery softness and fruit-tinged airiness. In the background, Peruvian heliotrope offers a soft cloud of almond-vanilla aroma, sweet and dreamy, carried aloft by heliotropin, its synthetic twin that extends and stabilizes the powdery floral halo.

As the scent settles into its final act, the base of Ecco is rich, sensual, and slightly feral beneath its elegant structure. Abyssinian civet imparts its unmistakable warmth—musky, animalic, and intimate, a purring depth that seems to breathe through the fragrance. Real ambergris, if ever used, would bring a salty, ocean-worn, soft radiance—here approximated with ambreine, a fixative that supports the amber-musky facets and smooths the transition into the heart. Tonkin musk, warm and profoundly animalic, brings flesh and heat, now largely replaced or balanced with more ethical synthetics.

The woods deepen: Mysore sandalwood from India, now rare and prized, is creamy, sacred, and rich—its milky-woody smoothness incomparable to modern substitutes. It mingles with Mexican vanilla—dark, smoky, and resinous—and vanillin, its synthetic counterpart that boosts the sweetness and extends the warmth without overpowering. Oakmoss, damp and forested, gives structure and classicism, contrasting the airy aldehydes with shadowed earth.

A symphony of resins rounds out the drydown: Siam benzoin, warm and softly balsamic; South American tolu balsam, sweet and spicy; Sumatran styrax, with its smoky-leathery bite; and Maltese labdanum, rich, ambery, and slightly herbal. These resins anchor the composition with golden depth. Finally, Indonesian patchouli weaves through—damp, woody, a little inky—while Haitian vetiver lifts the entire base with its dry, green smoke, a grassy whisper of roots and earth under the summer garden.

Ecco wears like sunlight dancing on skin—an aldehydic shimmer at the top, cascading into blossoms lush and radiant, and finally settling into the deep hum of resin, musk, and warmth. It is a perfume of time and place: mid-century glamour, Mediterranean gardens, and the breathless sweetness of a summer afternoon.

Product Line:

The Ecco fragrance line by Princess Marcella Borghese was thoughtfully composed across a range of luxurious products, each offering a slightly different olfactory experience depending on concentration, formulation, and intended use. These variations not only affected the strength and longevity of the scent but also subtly shifted its balance, allowing the wearer to explore different facets of Ecco’s composition—sometimes soft and sheer, sometimes rich and enveloping.

Parfum (Profumo) was the most concentrated form of Ecco, containing the highest percentage of aromatic compounds. In this format, the full complexity of the fragrance unfolded slowly and luxuriously on the skin. The aldehydes would burst forth first with a sparkling crispness, quickly giving way to the lush floral heart where Bulgarian rose, Grasse jasmine, narcissus, and ylang ylang radiated with depth and elegance. The civet, ambergris, Mysore sandalwood, and balsams in the base would be especially pronounced in this form, lending a warm, musky sensuality that lingered long into the evening. Profumo was ideal for formal occasions or intimate wear when one desired a lasting, luxurious impression.

Perfume Oil offered a quieter but no less evocative interpretation. Without the rapid evaporation of alcohol, the scent developed more slowly and remained close to the skin. This intimate format emphasized the creamy floral and resinous aspects of Ecco, softening the aldehydes and allowing the rose, heliotrope, and sandalwood to glow warmly. It felt nourishing and elegant, perfect for daily use or layering under other products.

Eau de Parfum Spray (Acqua di Profumo) delivered a slightly lighter experience than the parfum, but still retained much of the fragrance’s character and longevity. The aldehydes felt more effervescent, the florals a touch brighter, and the base somewhat airier. This concentration was suited for everyday wear, offering a beautifully balanced version of Ecco that maintained presence without overwhelming.

Natural Spray Cologne and Cologne Splash were both significantly lighter, containing a lower concentration of aromatic compounds. The Natural Spray Cologne provided an easy-to-apply, refreshing mist, emphasizing Ecco’s citrus-herbal top notes—like Calabrian bergamot, neroli, and rosemary—along with the lilac accord and spring-like green nuances. It gave an invigorating feel, perfect for warm weather or as a daytime fragrance. The Cologne Splash was more traditional, requiring a dab or splash, and likely wore closer to the skin. Both versions would have had less lasting power, but offered a charming way to enjoy Ecco in a casual or seasonal context.

Solid Perfume Compact presented the scent in wax or cream form, ideal for touch-ups and travel. The aldehydes were more muted in this base, while the rich florals and balsamic woods were softened and gently released with the warmth of the skin. The compact made the fragrance feel more personal and tactile—something to be applied with care, like a small luxury ritual.

Dusting Powder transformed Ecco into a velvety, body-enhancing form. Finely milled and often infused with a subtle shimmer or silkiness, the powder would have lightly perfumed the skin and left a soft trail. Here, aldehydes and florals took center stage, with the dry down revealing the powdery, musky warmth of sandalwood, oakmoss, and heliotropin. This format was especially suited to layering, prolonging the wear of the perfume when applied before or after other forms.

Milk Bath was the most indulgent of the ancillary products—a moisturizing and perfumed bath treatment that turned water into a creamy emulsion. As it dispersed in warm water, the fragrance released gently, surrounding the bather in a cloud of herbal, floral, and musky notes. The experience would have highlighted Ecco’s soothing, skin-softening qualities, with less emphasis on aldehydes and more focus on the velvety heart of jasmine, magnolia, and ylang ylang, with just enough sandalwood and vanilla to leave a lingering trace.

Together, the Ecco product line formed a cohesive and luxurious fragrance wardrobe—each format allowing a different mood or facet of the scent to shine. Whether one desired drama, softness, freshness, or ritual, Ecco offered a version suited to every part of the day and every expression of femininity.

Fate of the Fragrance:

Launched in 1960, Ecco by Princess Marcella Borghese entered the perfume world at the dawn of a new decade—one that straddled the refined elegance of the 1950s and the growing modernism of the 1960s. Positioned as an opulent yet subtly seductive fragrance, Ecco reflected the sophistication of its era: worldly, feminine, and deeply layered. Its composition blended aldehydic brightness with classical florals, earthy herbs, and rich animalic and resinous bases, evoking the glamour of a sun-drenched Roman garden and the allure of a confident, self-possessed woman.

Though the exact date of its discontinuation remains unknown, Ecco was still actively being sold in department stores as late as 1987—nearly three decades after its debut. This enduring presence suggests that it maintained a loyal following well into the 1980s, a period when many classic florals were being eclipsed by the rising popularity of bold orientals and fresh, aquatic scents. Its continued availability indicates that Ecco resonated with women who preferred a timeless, softly romantic fragrance with a distinctly European air.

Over time, the line slowly disappeared from store shelves without public announcement—a quiet discontinuation, as was often the case with niche or heritage fragrances. Today, Ecco exists as a memory preserved in vintage bottles and advertisements, occasionally surfacing on the secondary market. For those who wore it in its heyday, or who encounter it now, Ecco offers a glimpse into a more romantic, cultivated period in perfumery, where even subtlety had its own compelling form of seduction.