Graffiti by Roberto Capucci was launched in 1963, during a period when haute couture, art, and perfumery were becoming increasingly intertwined. Capucci, one of Italy’s most visionary fashion designers, had already established a reputation for dramatic, sculptural clothing that treated fabric almost like architecture. Born in Rome in 1930, he quickly rose to prominence in the 1950s and early 1960s for his innovative silhouettes and bold use of color. His designs were admired for their artistry and craftsmanship, eventually earning him recognition within the prestigious world of Parisian haute couture. By the early 1960s, Capucci had become not just a fashion designer but a creative force whose work blurred the line between fashion and fine art. Launching perfumes was a natural extension of this artistic vision.
In 1963, Parfums Capucci announced the American release of two fragrances—Graffiti and Parce Que—developed through a collaboration between Capucci and Paul Blackman, who had previously led the House of Fragrance. The scents were produced with the assistance of the respected perfume house Roure, known for creating sophisticated compositions for couture brands. Both fragrances represented the culmination of years of experimentation and creative planning. Capucci described them as complementary expressions of mood: Graffiti vivid and exhilarating, Parce Que softer and romantic.
The name “Graffiti” is drawn from the Italian word graffito, meaning a scratched or inscribed drawing or writing on a wall. The plural form—graffiti—is pronounced as "gra-FEE-tee". While today the word is often associated with urban street art, historically it referred to ancient markings discovered on Roman ruins and stone walls. In the context of Capucci’s perfume, the name suggests spontaneity, individuality, and artistic expression. It evokes images of creativity etched boldly into the world—an unexpected signature left behind. Emotionally, the word carries a sense of vitality and freedom, as if the fragrance itself were a personal statement written in scent.
image enhanced and colorized by Grace Hummel/Cleopatra's Boudoir.
The early 1960s were an era of cultural transformation often referred to as the modernist or “space age” period in design and fashion. Women’s fashion was shifting toward sleeker silhouettes, lighter fabrics, and experimental aesthetics inspired by art, architecture, and youth culture. Designers were exploring bold shapes and innovative materials, and perfumes increasingly reflected this modern sensibility. Instead of the heavy orientals that dominated earlier decades, many fragrances embraced green, fresh, and airy compositions that felt contemporary and dynamic. Graffiti emerged within this environment, offering a scent that felt both artistic and sophisticated.
For women of the time, a fragrance called Graffiti would have carried intriguing symbolism. It suggested independence and creative spirit rather than traditional romanticism. A woman wearing Graffiti might have been perceived as modern and confident—someone who appreciated elegance but also valued originality. The name hinted at individuality, implying that fragrance could be as personal and expressive as a signature written on a wall.
Olfactorily, Graffiti was classified as a fresh balsamic green chypre, a structure that combines bright green notes with the mossy depth typical of classic chypre perfumes. The fragrance opens with a vivid green freshness reminiscent of wild grasses and leaves after rainfall. This sensation evokes misty meadows and freshly turned earth, creating a feeling of cool outdoor air and natural vitality. As the fragrance develops, the heart reveals delicate florals—rose, jasmine, and tuberose—woven together in an airy bouquet. Rather than dominating the scent, these flowers feel as though they are growing naturally in a meadow, softened by the surrounding greenery.
The base of Graffiti settles into a powdery, mossy warmth built around oakmoss, the defining element of traditional chypre fragrances. Oakmoss gives the perfume its forest-like depth, evoking damp bark, shaded earth, and moss-covered stones. This earthy base contrasts beautifully with the brightness of the floral heart, creating the perfume’s distinctive bitter-sweet character. The result is a fragrance described as both ardent and warm, yet fresh and invigorating—a scent that evolves with the wearer’s body chemistry to create a uniquely personal aura.
In the context of the perfumes available in the early 1960s, Graffiti was both aligned with contemporary trends and quietly distinctive. Green chypres were becoming increasingly popular, reflecting a broader fascination with freshness and natural elegance. However, Capucci’s interpretation introduced an unusual balance of crisp green notes, airy florals, and earthy warmth that gave the fragrance its own personality. It was sophisticated yet spirited, refined yet expressive—much like the couture creations of Roberto Capucci himself.
Fragrance Composition:
So what does it smell like? Graffiti is classified as a fresh-balsamic-animalic green chypre fragrance for women. It begins with a fresh green top, followed by a fresh floral heart, resting on a mossy powdery base. Described as "airy, green and fresh." A provocative scent combining the essence of oakmoss, jasmine, tuberose, rose, hyacinth, ylang ylang, thyme against warm woods and ambergris.
- Top notes: aldehydes, Calabrian bergamot, Amalfi lemon, Sicilian orange blossom, Tuscan violet, gardenia, green note complex, Persian galbanum, Mediterranean thyme
- Middle notes: Florentine orris, linden, Jamaican nutmeg, Grasse rose, Italian jasmine, Riviera tuberose, Manila ylang ylang, hyacinth
- Base notes: Venezuelan tonka bean, Maltese labdanum, Sumatran styrax, Tonkin musk, Abyssinian civet, Atlas cedar, Javan vetiver, Penang patchouli, Yugoslavian oakmoss, Mysore sandalwood, ambergris
Scent Profile:
Graffiti opens with a luminous rush of aldehydes, those shimmering aroma molecules that give classic perfumes their airy brilliance. Aldehydes are created synthetically in perfumery laboratories because their sparkling, almost effervescent scent cannot be extracted directly from nature. They smell clean and radiant—like the fizz of champagne bubbles or cool morning air over polished glass. In this fragrance they act like sunlight striking a meadow after rain, lifting every natural ingredient that follows. Beneath their sparkle unfolds the citrus freshness of Calabrian bergamot, cultivated along the coast of southern Italy where the Mediterranean climate produces oil of exceptional clarity and refinement. Bergamot from this region is prized for its vibrant yet elegant aroma—green, slightly bitter, and gently sweet. It blends seamlessly with the bright zest of Amalfi lemon, whose essential oil carries the vivid scent of freshly grated peel, and the honeyed floral brightness of Sicilian orange blossom, distilled from blossoms of bitter orange trees that thrive in Sicily’s sun-warmed orchards.
The opening also introduces an array of delicate floral and green elements that evoke the sensation of wild plants stirred by cool air. Tuscan violet, whose true scent cannot be extracted from the delicate flowers, is recreated through aroma molecules that capture its powdery, slightly woody sweetness. These violet accords lend a soft cosmetic elegance that smooths the sharper citrus notes. Gardenia—another flower that resists natural distillation—appears here through a carefully crafted accord built from creamy, lactonic molecules that replicate its lush, velvety scent. The composition deepens with a green note complex, a blend of aromatic chemicals designed to evoke crushed leaves, fresh stems, and dew-covered foliage. These molecules provide the crisp smell of greenery that perfumers cannot bottle directly from nature. Intensifying this vivid freshness is Persian galbanum, a resin tapped from plants growing in the mountainous regions of Iran. Galbanum has one of the most powerful green scents in perfumery—sharp, almost bitter, smelling like snapped stems and damp forest sap. The herbal breath of Mediterranean thyme adds another layer, its aromatic oil releasing a pungent, slightly peppery warmth reminiscent of sunlit hillsides where wild herbs grow among stones.
As the fragrance unfolds, it reveals a sophisticated floral heart that feels airy yet richly textured. Florentine orris, derived from the aged roots of iris plants cultivated in Tuscany, brings a powdery elegance that is both cool and velvety. The rhizomes must be dried for several years before they produce their aromatic compounds, making orris one of perfumery’s most precious materials. Alongside it drifts the delicate sweetness of linden blossom, whose scent resembles warm honey and soft pollen carried on a gentle breeze. A subtle touch of Jamaican nutmeg introduces spice—warm, slightly woody, and faintly sweet—adding depth without overwhelming the flowers.
The floral bouquet itself is both lush and radiant. Grasse rose, grown in the historic perfume fields of southern France, contributes a velvety, honeyed sweetness renowned for its balance and elegance. It is paired with Italian jasmine, harvested from flowers that release their richest aroma at night; its scent is creamy, slightly indolic, and intoxicatingly floral. Riviera tuberose introduces a voluptuous white-flower character—rich, buttery, and slightly narcotic, like warm petals under moonlight. Complementing this lushness is Manila ylang-ylang, distilled from tropical blossoms in the Philippines, whose scent suggests banana cream, exotic flowers, and sun-warmed petals. Finally, hyacinth adds a cool green floral note reminiscent of spring gardens after rain. Because hyacinth yields little extractable oil, its scent is often recreated through synthetic accords that capture its watery, leafy freshness.
The base of Graffiti settles into a deep and complex chypre foundation rich with resins, woods, and animalic warmth. Venezuelan tonka bean contributes a comforting sweetness through the molecule coumarin, which smells like vanilla, almond, and freshly cut hay. Maltese labdanum, a resin gathered from Mediterranean rockrose shrubs, brings a dark amber warmth with hints of leather and honey. Sumatran styrax, another balsamic resin, adds a smoky sweetness reminiscent of warm vanilla and incense. The composition then grows more sensual with Tonkin musk and Abyssinian civet—historically animal-derived materials whose modern counterparts are now recreated synthetically. Musk provides a soft, skin-like warmth that diffuses the entire fragrance, while civet introduces a subtle animalic richness that enhances the florals, making them feel more alive and intimate.
The woody elements anchor the scent with earthy sophistication. Atlas cedar from the mountains of Morocco contributes a dry, aromatic woodiness that smells clean and slightly smoky. Javan vetiver, distilled from grass roots grown in Indonesia’s volcanic soil, adds a cool, earthy depth reminiscent of damp roots and forest soil. Penang patchouli, cultivated in Malaysia, provides a dark, chocolate-like earthiness with a hint of sweet spice. Yugoslavian oakmoss, once harvested from Balkan forests, forms the backbone of the chypre structure, offering a mossy, slightly leathery aroma that evokes shaded woodland floors. This mossy richness blends beautifully with the creamy warmth of Mysore sandalwood from India, whose smooth, milky wood scent has long been considered the most luxurious sandalwood in perfumery.
Finally, the fragrance is illuminated by the subtle glow of ambergris, historically found floating in the ocean and prized for its ability to enhance other aromas. Modern perfumery often recreates its scent using sophisticated molecules that mimic its mineral warmth and slightly salty sweetness. Ambergris adds a radiant, skin-like luminosity to the base, allowing the mosses, woods, and florals to linger in a soft, enduring aura.
Together these ingredients create a perfume that truly feels airy, green, and evocative—like walking through a misty meadow where wildflowers bloom among herbs and moss-covered earth. Bright citrus and green stems give way to elegant blossoms, while deep woods, resins, and animalic warmth settle gently on the skin. The result is a chypre fragrance of striking contrast—fresh yet sensual, vibrant yet refined—capturing both the spontaneity suggested by its name and the sophisticated artistry of classic perfumery.
Vogue, 1969:
"Sophisticated, GRAFFITI endures, constantly evoking "the way it was" ... or the way you want it to be. GRAFFITI by Roberto Capucci . Only at the finest perfume counters. Perfume $ 30 to $ 5. Made, bottled, packaged and sealed in France. PARFUMS CAPUCCI PARIS. Available only at select stores "
Bottles:
The bottles for Graffiti by Roberto Capucci were conceived as small sculptural objects, reflecting the artistic spirit of both the fragrance and the designer behind it. Created in 1963 by the celebrated French bottle sculptor Serge Mansau, the flacons departed from the conventional cylindrical or rectangular shapes common in perfumery at the time. Instead, Mansau designed them in a striking tricorne form, a triangular silhouette that gives the bottle a sense of movement and architectural balance. The unusual geometry immediately draws the eye, making the flacon feel less like a simple container and more like a piece of modern decorative art—an approach perfectly suited to Capucci’s own reputation for sculptural couture.
The parfum versions were topped with elegant triangular crystal stoppers that echo the angular lines of the bottle itself. These crystal caps catch and refract light, creating subtle flashes that enhance the visual drama of the design while reinforcing the fragrance’s sense of sophistication. The eau de toilette bottles, by contrast, were finished with simple black round screw tops, offering a slightly more practical interpretation while maintaining the overall elegance of the flacon’s sculptural shape.
Production of the bottles was entrusted to the renowned French glass manufacturer Pochet et du Courval, a company long associated with some of the most prestigious perfume houses in Europe. Their craftsmanship ensured that the glass was beautifully finished and balanced, allowing the clean lines of Mansau’s design to appear both refined and durable.
The presentation was completed with luxurious gold silk faille boxes, whose textured fabric-like pattern added richness and depth to the packaging. The shimmering gold tone conveyed opulence while complementing the artistic nature of the bottle within. Together, the sculptural flacon and elegant packaging transformed Graffiti into more than just a fragrance—it became a collectible object, embodying the creativity and refinement of early 1960s haute couture perfumery.
In 1969–1970, Graffiti was available in the following:
- Parfum Presentation: bottles (0.25 oz, 0.5 oz, 1 oz, 2 oz); refillable Purse spray (0.25 oz)
- Related Products: Eau de Toilette splash (2 oz, 4 oz, 8 oz and 16 oz); Eau de Toilette Atomizer (3.5 oz); Refillable diffuser (3.5 oz)
- Ancillary Products (Bath & Body): Soap (boxed set of three bars)
In 1972/1973, Graffiti was available in the following:
- Parfum Presentation: bottles (0.25 oz, 0.5 oz, 1 oz, 2 oz); refillable Purse spray (0.25 oz)
- Related Products: Eau de Toilette splash (2 oz, 4 oz, 8 oz and 16 oz); Eau de Toilette Atomizer (3.5 oz); Refillable diffuser (3.5 oz)
- Ancillary Products (Bath & Body): Soap (boxed set of three bars); Travel case (1 bar); Fragranced bath oil (0.5 oz, 1 oz); Talc (8 oz); Deodorant spray (3.5 oz).
In 1977/1978, Graffiti was available in the following:
- Parfum Presentation: bottles (0.25 oz, 0.5 oz, 1 oz, 2 oz); refillable Purse spray (0.25 oz)
- Related Products: Eau de Toilette splash (2 oz, 4 oz, 8 oz and 16 oz); Eau de Toilette Atomizer (3.5 oz); Refillable diffuser (3.5 oz)
- Ancillary Products (Bath & Body): Soap (boxed set of three bars); Travel case (1 bar); Fragranced bath oil (0.5 oz, 1 oz); Talc (8 oz); Deodorant spray (3.5 oz).
In 1984/1985, Graffiti was available in the following:
- Parfum Presentation: bottles (0.25 oz, 0.5 oz, 1 oz, 2 oz); refillable Purse spray (0.25 oz)
- Related Products: Eau de Parfum in luxury atomizer (2.5 oz); Splash Eau de Toilette (2 oz, 4 oz, 8 oz and 16 oz); Atomizer Eau de Toilette (3.5 oz)
- Ancillary Products (Bath & Body): Soap (boxed set of three bars); Travel case (1 bar); Fragranced bath oil (0.5 oz, 1 oz); Talc (8 oz); Deodorant spray (3.5 oz).
Fate of the Fragrance:
Discontinued, date unknown. Still sold in 1985.