Capucci de Capucci by Roberto Capucci (1987)

Capucci de Capucci, launched in 1987 by Roberto Capucci in association with Weruska & Joel, is a fragrance conceived as a true couture signature—one that mirrors the designer’s sculptural vision and uncompromising artistry. The name itself, “Capucci de Capucci,” is Italian and French in structure, and in plain terms it means “Capucci by Capucci.” Pronounced "ka-POO-chee de ka-POO-chee", the repetition of the name is intentional and emphatic. It asserts authorship, lineage, and authority, much like a couture label sewn into a one-of-a-kind garment. The phrasing evokes tradition, craftsmanship, and legacy, while also suggesting exclusivity—something created not for mass appeal, but as a personal statement of style.

The name conjures images of dramatic silhouettes, architectural volumes, and luxurious fabrics shaped into bold, almost sculptural forms. Emotionally, Capucci de Capucci suggests confidence, refinement, and quiet power—an elegance that does not need to announce itself loudly. In scent, the name implies structure and depth: a fragrance with form, balance, and weight, rather than fleeting prettiness. It hints at richness and precision, where every element is deliberate, much like Capucci’s famously complex pleats and folds.

The fragrance emerged in 1987, at the height of the late-1980s luxury era—a time marked by bold femininity, strong silhouettes, and a return to opulence. Fashion favored dramatic shoulders, sculpted tailoring, rich textures, and statement dressing. In perfumery, this translated into assertive compositions: aldehydic openings, generous florals, and warm, woody or ambery bases that projected sophistication and presence. Women of this period embraced perfume as an extension of identity and power, often choosing scents that felt substantial and enduring. A name like Capucci de Capucci would have resonated with women who identified with couture values—those who saw fragrance as a finishing touch to an elegant, self-assured persona.

Interpreted olfactorily, Capucci de Capucci unfolds with a fresh aldehydic opening, crisp and luminous, evoking the clean, abstract brightness associated with classic haute parfumerie. This effervescence gives way to a precious floral heart, where richness and refinement meet—florals that feel polished rather than romantic, echoing the controlled drama of Capucci’s designs. Beneath it all lies a warm, woody base, infused with semi-amber nuances that lend depth, sensuality, and lasting presence. The composition feels structured yet enveloping, elegant but powerful—very much in line with late-1980s tastes, yet distinguished by its couture sensibility rather than overt excess.

Within the broader fragrance landscape of the time, Capucci de Capucci aligned with prevailing trends—aldehydes, florals, woods, and amber were all hallmarks of the era—but it stood apart through its emphasis on structure and refinement. Rather than chasing overt boldness or sweetness, it offered a composed, architectural elegance that mirrored its creator’s fashion philosophy.

Roberto Capucci himself was one of Italy’s most revered couturiers, often referred to as “the architect of fashion.” Renowned for his sculptural gowns, dramatic volumes, and innovative pleating techniques, Capucci treated fabric as a medium for art rather than mere clothing. His work is celebrated in museums worldwide, and his designs are regarded as timeless expressions of form and craftsmanship. Capucci de Capucci translates this legacy into scent—an olfactory couture piece that embodies structure, beauty, and enduring sophistication.

Fragrance Composition:

So what does it smell like? Capucci de Capucci is classified as a semi-amber woody floral fragrance for women. It begins with a fresh aldehydic top, followed by a precious floral heart, resting on a war woody base.

• Top notes: aldehydes, lemon, bergamot, orange, neroli, peach, green note, coriander, cassis, and galbanum
• Middle notes: carnation, violet, iris, hyacinth, lily of the valley, ylang ylang, rose, jasmine and tuberose
• Base notes: leather, castoreum, civet, frankincense, olibanum, opoponax, musk, patchouli, oakmoss, vanilla, sandalwood, ambergris, cedar and vetiver

Scent Profile:

Capucci de Capucci opens with a poised, almost architectural brightness, where aldehydes shimmer like cool light on polished silk. These classic aroma molecules—clean, airy, and faintly soapy—lift the composition upward, amplifying the freshness of the citrus notes that follow. Lemon flashes sharp and crystalline, while bergamot, prized from Calabria for its refined balance of bitterness and floral sweetness, adds elegance rather than acidity. Orange rounds the citrus accord with gentle warmth, and neroli, distilled from bitter orange blossoms, brings a refined green-floral nuance—simultaneously fresh, honeyed, and faintly indolic. 

A soft peach note lends a velvety, almost skin-like fruitiness, made more luminous through synthetic lactonic facets that enhance its creamy juiciness. Beneath this brightness, green notes and galbanum—the latter resin prized from Iran and Turkey for its piercing, bitter-green snap—cut through with a sharp, vegetal intensity, recalling crushed stems and sap. Coriander contributes a dry, lemony spice, while cassis adds a dark, slightly tart green-fruit effect, giving the opening both clarity and intrigue.

As the fragrance settles, the heart unfolds like a richly layered couture fabric. Carnation introduces its unmistakable clove-spiced floral warmth, simultaneously vintage and sensual. Violet follows with a powdery, slightly metallic softness, while iris—evoked through precious orris-like facets—adds a cool, buttery elegance that feels both cosmetic and noble. Hyacinth and lily of the valley bring a dewy, spring-like greenness, lightened and expanded by modern floral molecules that enhance their diffusion and longevity. 

Ylang-ylang, often sourced from the Comoros or Madagascar, contributes creamy, banana-like richness with an exotic warmth, while rose—suggestive of classic European cultivation—adds depth, romance, and structure. Jasmine, luminous and indolic, intertwines with tuberose, whose narcotic, creamy intensity gives the heart its most voluptuous moment. Here, natural floral absolutes are subtly reinforced by synthetics that smooth their rough edges and extend their bloom, allowing the bouquet to feel expansive rather than overwhelming.

The base of Capucci de Capucci is where the fragrance reveals its most dramatic and sensual character. Leather emerges first—dark, supple, and refined—supported by animalic notes of castoreum and civet, used not for raw intensity but for warmth and depth, lending a skin-like sensuality that feels intimate and alive. Frankincense (olibanum), long revered from regions such as Oman and Somalia, rises with a silvery, resinous smoke, while opoponax adds a sweeter, balsamic resin note, thick and velvety. 

Patchouli anchors the composition with earthy darkness, contrasted by the inky bitterness of oakmoss, which gives a classical chypre-like gravitas. Vanilla softens the shadows with gentle sweetness, enhanced by synthetic vanillin that rounds and radiates the note without heaviness. Sandalwood brings creamy, woody warmth, while cedar and vetiver—dry, smoky, and rooty—add structure and verticality. Finally, ambergris and musk linger like a soft glow on skin, their modern molecular interpretations amplifying diffusion and longevity, leaving behind a warm, sensual trail that feels both sculpted and profoundly feminine.

Altogether, Capucci de Capucci wears like a couture creation in scent: luminous at the surface, richly detailed at the core, and deeply resonant at its foundation. Each ingredient is carefully balanced, with synthetic elements enhancing the natural materials—brightening, smoothing, and extending them—so the fragrance feels timeless, structured, and powerfully elegant.

Product Line:

Presented in a bottle designed by Pierre Dinand and made by Pochet du Courval with ‘HP’ trademark on the base.

In 1990/1991, Capucci de Capucci was available in the following formats:

• Parfum: Splash bottle (7.5ml, 30ml); Luxury spray (10ml); Jewel (3ml)
• Related Products: Eau de Toilette splash (50ml, 100ml) EDT Spray (50ml, 100ml)
• Ancillary Products: Perfumed Body Lotion (200ml); Perfumed Bath & Shower Gel (200ml); Perfumed Soap (100g); Deodorant Spray (100ml); Dusting Powder (200ml)

Fate of the Fragrance:

The fragrance was ultimately discontinued, though the exact date of its withdrawal remains unknown. Records confirm that it was still available for sale as late as 1998, at which time it was being distributed by Classic Fragrances, Ltd., indicating that it enjoyed a continued, if limited, presence in the market well beyond its original launch period.

"Top note: aldehyde, bergamot, lemon, peach, green note, coriander. Middle note: rose, jasmine, tuberose, lily of the valley, carnation. Base note: patchouli, cedar. A composition of flowers and precious woods, the first notes are freesia and hyacinth with a subtle expansion of ylang ylang, jasmine, iris, and rose. Following are notes of sandalwood from Mysore, vetiver from Java and patchouli from Seychelles. Ambergris, incense and opoponax blended with musk are the foundation notes."

Filly by Capucci (1983)

Filly by Capucci, launched in 1983, takes its name from a word that is instantly evocative and emotionally charged. “Filly” is an English term referring to a young female horse—lively, graceful, and not yet fully grown. Pronounced simply “FILL-ee,” the word carries connotations of youth, freedom, freshness, and natural elegance. For Roberto Capucci, a couturier celebrated for sculptural forms and fluid movement in fashion, the name was a poetic metaphor: femininity in motion, light on its feet, spirited yet refined. The imagery suggested by Filly—open fields, sunlight, flowing hair, and effortless energy—translates seamlessly into the idea of a fragrance designed to feel youthful, buoyant, and alive.

The early 1980s were a moment of transition in perfumery and fashion. The bold, animalic chypres and power fragrances of the 1970s were giving way to brighter, more approachable compositions that still retained sophistication. Fashion embraced fluidity and optimism alongside structure—soft silhouettes, feminine dresses, pastel tones, and a renewed emphasis on youth and everyday elegance. In fragrance, this translated into florals that felt cleaner, fresher, and more luminous, often lifted with aldehydes and subtle fruitiness. Filly fits squarely into this moment: a floral chypre that nods to classic structure while softening it with sweetness, light, and charm. Women in this era—particularly younger women or those seeking an easy, graceful daytime scent—would have related to Filly as an expression of freshness and femininity without the weight or drama of heavier perfumes.

In scent, the name Filly is interpreted through a composition that feels both fresh and gently intoxicating. The opening is bright and aldehydic, sparkling with a clean, airy lift that suggests crisp linen and morning light. This freshness is touched with a faint fruity sweetness, giving the impression of youthful exuberance rather than overt gourmand richness. As the fragrance unfolds, a tender floral heart emerges: jasmine brings a soft, luminous sensuality; neroli adds a fresh, slightly bitter orange-blossom clarity; tea rose contributes a delicate, sheer floral tone; and hyacinth introduces a green, dewy facet that enhances the impression of springtime bloom. These florals are blended to feel light and harmonious rather than dramatic, creating a bouquet that is airy, feminine, and approachable.

The base settles into a gentle, powdery finish that reinforces the fragrance’s elegance and wearability. True to its chypre classification, the structure provides subtle depth without heaviness, allowing the florals to linger softly on the skin. The result is a scent that feels youthful but not naïve, delicate yet confidently composed. In the context of the early 1980s fragrance landscape, Filly was not radically avant-garde, but it was perfectly attuned to the prevailing trends: lighter florals, softened classics, and fragrances designed for everyday pleasure rather than formal statement. Its slogan, “Habillez-vous de Filly!”—“Dress yourself in Filly!”, captures this perfectly, presenting the perfume as an extension of personal style—effortless, uplifting, and quietly elegant.

Fragrance Composition:

So what does it smell like? Filly is classified as a floral chypre fragrance for women. It begins with a fresh aldehydic top, followed by a floral heart, layered over a powdery base. It is both fresh and heady with a very sweet start, slightly fruity, then a very flowery background.

• Top notes: aldehydes, tangerine, neroli, lemon, bergamot, peach, green leaves
• Middle notes: lily of the valley, hyacinth, jasmine, carnation, orchid, tea rose, orris, ylang-ylang
• Base notes: ambergris, civet, oakmoss, musk, sandalwood, vetiver

Filly is a delicate and youthful fragrance, characterized by its floral and lightly fruity notes. The composition features a harmonious bouquet of jasmine, neroli, tea rose, and hyacinth, creating a soft, fresh, and subtly sweet aroma. Designed for a young and vibrant wearer, Filly leaves an exquisite trail that can be enjoyed at any time of day. Its charm lies in its simplicity and elegance, making it a perfect everyday fragrance. The slogan “Habillez-vous de Filly!”—“Dress yourself in Filly!”—captures its playful and uplifting spirit.

Scent Profile:

Filly opens with a bright, effervescent shimmer that immediately feels alive and youthful, as though the air itself has been freshly washed by sunlight. The aldehydes sparkle first—clean, airy, and slightly soapy, like crisp white linen snapping in a spring breeze. These classic perfumery molecules don’t smell “natural” in the botanical sense, yet they amplify everything around them, lifting the citrus and floral notes and giving the fragrance its buoyant, polished glow. 

Into this radiance pours a cascade of citrus: tangerine brings a juicy, playful sweetness with a soft, almost candied peel nuance; lemon is sharper and brighter, adding a flash of acidity; and bergamot, traditionally sourced from Calabria in southern Italy, contributes a refined bitterness with aromatic depth that distinguishes it from simpler citrus oils. Neroli, distilled from the blossoms of the bitter orange tree, adds a luminous white-floral freshness—green, slightly honeyed, and elegant—bridging citrus and floral seamlessly. A velvety touch of peach rounds the opening with a soft, fuzzy fruitiness, while green leaves introduce a dewy, chlorophyll-like freshness that suggests crushed stems and young shoots, keeping the sweetness light and natural.

As Filly moves into its heart, the fragrance blooms into a tender yet expressive floral bouquet that feels both classic and gently romantic. Lily of the valley, often recreated through aroma chemicals such as hydroxycitronellal, smells fresh, watery, and delicately sweet, evoking tiny white bells dusted with morning dew. Hyacinth adds a greener, slightly earthy floral tone—cool, crisp, and spring-like—giving the heart a natural, garden-fresh character. Jasmine brings softness and sensuality, its creamy, subtly indolic warmth suggesting sun-warmed petals; here, its richness is carefully balanced so it enhances rather than overwhelms. 

Carnation introduces a gentle spiciness, clove-like and rosy, lending texture and sophistication. Orchid contributes an abstract, silky floral impression rather than a literal scent, while tea rose offers a sheer, airy rose note—fresh and lightly sweet, never heavy. Orris, derived from the aged rhizomes of Italian iris and prized for its rarity and cost, imparts a refined powdery elegance, reminiscent of violet-tinted suede. Ylang-ylang, traditionally sourced from tropical regions such as the Comoros or the Philippines, adds a creamy, slightly banana-like floral richness, rounding out the heart with warmth and femininity.

The base of Filly settles into a soft, intimate chypre foundation that feels smooth and enveloping rather than dark or dramatic. Oakmoss, historically harvested in European forests, provides an earthy, slightly bitter-green depth that anchors the fragrance and gives it its classical chypre structure. Vetiver, with its dry, rooty, and faintly smoky character—especially elegant when sourced from regions like Haiti—adds subtle woody freshness and structure. Sandalwood contributes a creamy, milky woodiness, smoothing the transition from florals to base and lending a comforting warmth. 

Musk, likely synthetic in this era, adds a clean, skin-like softness that enhances longevity and creates a gentle aura rather than overt animalism. Traces of ambergris and civet, used with restraint, provide a warm, slightly salty and animalic undertone—more suggestive than overt—adding depth and sensuality without heaviness. Together, these elements create a powdery, lingering finish that feels elegant and wearable, allowing Filly to trail softly behind the wearer like a whisper of florals and clean skin, fresh yet undeniably feminine.

Product Line:

In 1984/1985, Filly was available in the following:

• Presentation: Eau de Parfum (20ml)
• Related Products: Eau de Toilette (60ml, 120ml, 240ml); Atomizer (60ml, 100ml)

Fate of the Fragrance:

Discontinued, date unknown. It was still sold in 1995.

Parce Que by Roberto Capucci (1963)

Parce Que! by Roberto Capucci, launched in 1963, is a fragrance born from the intersection of couture artistry and mid-century perfumery innovation. Capucci, an Italian fashion designer often described as a sculptor of fabric, was celebrated for his architectural, avant-garde gowns, which pushed the boundaries of form, color, and structure. Unlike many of his contemporaries, Capucci approached fashion as art—his creations were bold, dimensional, and often exhibited in museums. Extending his vision into fragrance was a natural progression, and through his collaboration with Paul Blackman and the esteemed perfume house Roure, Parce Que! emerged as a softer, more romantic counterpoint to its sibling scent, Graffiti. Where Graffiti was vivid and energetic, Parce Que! was conceived as something more intimate—an expression of mood, nuance, and quiet allure.

The name “Parce Que!” is French, meaning “Because!”, and is pronounced "parss kuh" (with a soft, almost trailing “uh” sound). It is a name that feels both spontaneous and poetic—an answer without a question, a gesture of emotion rather than logic. In choosing this title, Capucci tapped into a sense of effortless femininity and mystery. “Because”—why does she wear this fragrance? Because she feels like it. Because it suits her mood. Because it expresses something unspoken. The exclamation adds a note of confidence, even playfulness, suggesting a woman who does not need to justify her choices. The imagery it evokes is light yet evocative: a breeze through silk, a fleeting smile, a moment of quiet self-assurance. Emotionally, it suggests tenderness, spontaneity, and a kind of understated romance.

Launched in the early 1960s, Parce Que! belongs to a period of transition often referred to as the postwar modern era, when fashion and culture were shifting toward youthfulness, elegance, and new forms of expression. The early ’60s saw the rise of clean silhouettes, refined tailoring, and a softer, more natural femininity, just before the bold, graphic revolution of the later decade. In perfumery, this translated into fragrances that balanced classic structures—particularly aldehydic florals—with a lighter, more wearable touch. Chanel No. 5 still cast a long shadow, and many perfumes of the time echoed its interplay of aldehydes, florals, and soft woods, yet sought to reinterpret it with a more contemporary softness. Parce Que! fits beautifully within this landscape: it draws on the familiar language of aldehydic florals while introducing a gentler, more fluid character.

For women of the time, Parce Que! would have felt both familiar and quietly modern. It carried the elegance and polish expected of a fine French-inspired perfume, yet its name and character suggested something less formal, more personal. This was a moment when women were beginning to embrace greater independence and individuality, and a fragrance called “Because!” aligned perfectly with that shift—it implied choice, emotion, and self-expression rather than obligation or convention. It could be worn by “all women, at every age,” as the press materials suggested, moving effortlessly from day to evening, adapting to mood rather than dictating it.

Olfactorily, the name Parce Que! translates into a scent that feels softly luminous and quietly persuasive. Classified as a floral woody aldehyde, it opens with a delicate aldehydic brightness—less sparkling than some of its contemporaries, more like a gentle glow—before unfolding into a heart of iris, tuberose, cassis, and orange flower, where powdery elegance meets creamy floral richness and a hint of green-fruity intrigue. The base, anchored by woods and Tonkin musk, settles into a warm, skin-like softness that lingers rather than announces itself. It is a fragrance that does not demand attention, but invites it—subtle, insidious, and deeply personal.

In the context of its time, Parce Que! was not radically avant-garde, but it was refined and thoughtfully positioned within prevailing trends. It embraced the aldehydic floral tradition while softening its edges, offering a more intimate and versatile interpretation. Its quiet distinction lies in its balance: neither overly bold nor overly delicate, but poised somewhere in between—much like the meaning of its name, existing not as a statement to be explained, but as a feeling to be experienced.

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Fragrance Composition:

So what does it smell like? Parce Que is classified as a soft floral woody aldehyde fragrance for women. "A subtle blend of iris, tuberose, cassis, orange flower and Tonkin musk." The fragrance has drawn comparisons to the infamous Chanel No. 5.

• Top notes: aldehydes, bergamot, neroli, lemon, sweet orange, ylang ylang
• Middle notes: cassis, rose, orange blossom, tuberose, jasmine absolute, iris, lily of the valley
• Base notes: Mysore sandalwood, vetiver, vanilla, patchouli, ambergris, Tonkin musk

Scent Profile:

Parce Que! opens like a soft glow rather than a sparkle—an aldehydic haze that feels airy, slightly waxen, and luminous, as if light were diffused through fine powder. These aldehydes, entirely synthetic, do not smell of anything literal; instead, they elevate and soften the composition, giving it that classic, almost velvety radiance associated with great mid-century perfumes. Beneath this veil, a refined citrus accord unfolds. Bergamot from Calabria offers a gently bitter, floral-tinged brightness—far more nuanced than sharper citrus oils—while lemon adds a crisp, clean edge that flashes briefly before softening. Sweet orange rounds the citrus with a mellow, sunlit sweetness, and neroli, distilled from orange blossoms—often from Tunisia or Morocco—brings a green, honeyed floral facet that feels both fresh and softly sensual. A touch of ylang-ylang, likely from the Comoros, drifts into the top as well, creamy and slightly exotic, hinting at the richer floral heart to come.

As the fragrance settles, the heart blooms with a quiet, intimate complexity—floral, powdery, and faintly fruity. Cassis (blackcurrant) introduces a green-fruity brightness—tart, slightly wine-like, with a leafy sharpness that is often recreated through specialized aroma-chemicals to capture both fruit and foliage. This note adds a subtle modernity, a flicker of freshness within the otherwise classic structure. Rose, likely inspired by Bulgarian or Turkish damask varieties, brings a soft, honeyed depth—velvety and gently spiced—while orange blossom continues its luminous thread, creamy and radiant. 

Tuberose adds a rich, buttery white floral intensity—dense and narcotic, yet here softened and refined through careful blending and supporting molecules that smooth its naturally heady character. At the center, jasmine absolute unfolds with a warm, slightly indolic sweetness—often enhanced with molecules like hedione to give it a more diffusive, airy glow. Iris (orris root) lends a cool, powdery elegance—derived from aged rhizomes, often from Tuscany, its scent is buttery and violet-like, extended with ionones that enhance its soft, cosmetic texture. Finally, lily of the valley, a flower that cannot be distilled, is recreated synthetically through molecules such as hydroxycitronellal, contributing a fresh, dewy clarity—like petals touched with morning light.

The base settles into a warm, enveloping softness that feels both comforting and refined. Mysore sandalwood, once prized for its creamy, milky richness and subtle sweetness, forms the heart of the woody base—today often supported by synthetic sandalwood molecules that recreate its smooth, velvety texture while ensuring sustainability and longevity. Vetiver, often sourced from Haiti, introduces a dry, rooty elegance—earthy, slightly smoky, and clean—while patchouli from Indonesia adds a darker, more humid depth, with hints of cocoa and damp soil. 

Vanilla brings a soft, rounded sweetness—creamy and gently comforting—often enhanced with vanillin to extend its warmth. Ambergris, now expressed through molecules like ambroxan, provides a radiant, mineral warmth that seems to glow from the skin, diffusing the entire composition. Finally, Tonkin musk, historically animal-derived but now recreated through synthetic musks, envelops everything in a soft, skin-like aura—powdery, slightly sweet, and deeply persistent, binding the fragrance into a seamless whole.

Throughout Parce Que!, the interplay between natural materials and synthetics is what gives the fragrance its signature elegance. The synthetics do not replace the naturals—they refine, extend, and illuminate them, ensuring that each note flows effortlessly into the next. The result is a scent that feels both classic and intimate: powdery yet fresh, floral yet restrained, with a softness that lingers like a quiet thought. It is this balance—this gentle harmony of light and warmth—that has drawn comparisons to the great aldehydic florals of its time, while still retaining a personality that is entirely its own.

Combat, 1963:

"Two perfumes at once. In addition to its collection, Capucci has just presented two new-born perfumes: Graffiti and Parce Que. The first evokes all the warm ardor of Italy. The second is as green as a fresh grove; it is exhilarating like the penetrating smell of wet earth after a storm."

Bottles:

The bottles for Parce Que 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 pale brown 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 Parce Que into more than just a fragrance—it became a collectible object, embodying the creativity and refinement of early 1960s haute couture perfumery.

Product Line:

In 1969–1970, Parce Que 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, Parce Que 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, Parce Que 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, Parce Que 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 eb 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:

Parce Que! was eventually discontinued, though the exact date of its withdrawal remains unclear. Evidence indicates that the fragrance was still available on the market as late as 1985, suggesting a sustained presence for over two decades after its 1963 debut. However, certain formats began to disappear earlier; notably, the 2 oz Eau de Parfum had already been discontinued by 1981, signaling a gradual phasing out of the line rather than an abrupt end. This staggered discontinuation reflects shifting market trends and evolving consumer preferences, as lighter, more contemporary fragrance styles began to replace the softly structured aldehydic florals of the previous generation.

Graffiti by Roberto Capucci (1963)

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.