Please understand that this website is not affiliated with the Prince Matchabelli Company any way, it is only a reference page for collectors and those who have enjoyed the classic fragrances of days gone by.
The main objective of this website is to chronicle the history of the Prince Matchabelli fragrances and showcase the bottles and advertising used throughout the years.
However, one of the other goals of this website is to show the present owners of the Prince Matchabelli perfume company how much we miss the discontinued classics and hopefully, if they see that there is enough interest and demand, they will bring back these fragrances!
Please leave a comment below (for example: of why you liked the fragrance, describe the scent, time period or age you wore it, who gave it to you or what occasion, any specific memories, what it reminded you of, maybe a relative wore it, or you remembered seeing the bottle on their vanity table), who knows, perhaps someone from the current Prince Matchabelli brand might see it.
Also, this website is a labor of love, it is a work in progress and is always being updated with new information as I can find it, so check back often!
The Origins of Prince Matchabelli: A Journey from Royalty to Perfumery:
The Prince Matchabelli perfume company, established in 1926 at 160 East 56th Street, New York, emerged from the remarkable life and resilience of Prince Georges Vasili Matchabelli, a Georgian nobleman and exile. Born in Tiflis, Georgia, the eldest son of Prince Vasily and Princess Nina, Georges hailed from the esteemed Machabeli family, whose lineage traced back to the 9th century. This aristocratic heritage profoundly influenced his life's path, marked by intellectual pursuits, patriotism, and a love for the arts.
A Noble Beginning in Tiflis
Born in Tiflis, Georgia, the eldest son of Prince Vasily and Princess Nina, Georges grew up in a world of privilege and responsibility. He was educated at the prestigious College of Nobles in Tiflis, a center of Georgian governance, before completing his formal education at the Royal Academy in Berlin, Germany. There, he studied mining engineering and chemistry, fields that would later inform his work as a perfumer.
While in Berlin, Matchabelli became a founding member of the Committee of Independent Georgia in 1914. This organization sought German support for Georgia’s independence from the Russian Empire, showcasing his commitment to his homeland's freedom and sovereignty.
The Impact of Revolution and Exile
The upheaval of the Russian Revolution in 1917 forced Matchabelli to flee his homeland. He was appointed Minister Plenipotentiary from Georgia to Italy. A minister plenipotentiary is a diplomatic rank that refers to an envoy or diplomat who has been granted full authority to act on behalf of their government in a foreign country. The title historically falls below that of an ambassador but still signifies a high-ranking representative with significant powers.
The future of Italy looked more promising to him than that of Georgia, so he bought a few lots of property. That was during the period of 1919-1922. As a Georgian patriot, he became a target of Soviet oppression. His ministership was stripped as was Georgia's independence. In a 1935 interview, he explained, “I am on the black-list of the Soviet. Some years ago, Italy and Russia were negotiating, and there was talk of Italy being allowed oil concessions in South Russia, and of Italian farmers going into the country for colonization. I wrote articles about that. I told the Italians that there wasn’t any oil, and that, if prosperous Italian farmers went into the country, they wouldn’t keep their holdings long. Russia did not like it.”
Matchabelli's exile came with profound personal loss. In a poignant 1935 interview, he reflected on this tragedy, saying, “One was killed. The other, rather than surrender, shot himself.” Two of his brothers died during the Soviet conquest—one killed outright and the other choosing to take his own life rather than surrender. Despite these tragedies, Matchabelli carried an enduring love for Georgia. He expressed the enduring sorrow of exile, wistfully noting, “If I were ever allowed to go back to Georgia, I would sell everything, give up everything, and go. I would like to die there, in that little mountainous country of mine.” His longing for his homeland remained a defining aspect of his identity.
In exile, Prince Matchabelli remained connected to his surviving family members, his brother Ilo Vasilievich Matchabelli, his sister Nina Djingaradze, and his niece Thamar Matchabelli.These familial bonds provided him a sense of continuity amid displacement..
The Russian Revolution of 1917 completely uprooted Matchabelli's life. Forced to flee the Soviet regime, he immigrated to the United States, leaving behind his cherished homeland and enduring the loss of two brothers.
A Romance Forged in Art and Nobility
The story of Prince Georges Matchabelli and Eleanora "Norina" Erna Cecilia Gilli, better known by her stage name Maria Carmi, is one of passion, art, and resilience set against the backdrop of a rapidly changing world. The two first met during a trip to Sweden, introduced by the Crown Princess of Germany. Georges, already an accomplished Georgian diplomat and nobleman, was captivated by Norina's portrayal of the Madonna in the religious play The Miracle.
Their connection was immediate and profound. "In 1915, our great love began," Norina later revealed in 1928, a sentiment that encapsulated their whirlwind romance. They married in 1917 in Florence, Italy, at a time when Europe was grappling with the aftermath of World War I, and political upheavals were reshaping nations.
Life as a Diplomat and Aristocrat
Prince Matchabelli’s early life was one of privilege and duty. Before the Bolshevik Revolution, he served as Georgia's ambassador to Austria and Italy, roles that reflected both his noble lineage and his dedication to his homeland. He and Norina lived in Rome, surrounded by the elegance and culture befitting their status, even as the tides of revolution loomed.
The couple's lives were disrupted in 1921 with the Bolshevik takeover of Georgia. Soviet rule brought significant losses to the Matchabelli family, including the confiscation of over 200,000 acres of estates and valuable mining interests. These events left the prince and princess in financial straits, forcing them to reevaluate their future.
A New Beginning in America
When the cast of The Miracle embarked on a tour of the United States, Norina reprised her celebrated role as the Madonna. Georges accompanied her, choosing to remain by her side rather than return to the uncertainty of Soviet-controlled Georgia. Their arrival in America in 1924 marked a pivotal turning point in their lives.
Initially, the couple settled into an apartment at 471 Park Avenue in New York City. Life in the United States was a stark contrast to the grandeur of their former lives in Europe. However, they quickly adapted, finding themselves at the heart of New York’s vibrant cultural scene during the roaring 1920s. The prince's fame as a perfumer had preceded him, and his reputation only grew as he immersed himself in this new chapter.
As their financial circumstances stabilized, Georges and Norina moved to a more comfortable apartment at 320 East 57th Street in Manhattan. Despite their challenges, they retained their charm and refinement, becoming fixtures in both artistic and social circles.
A Legacy of Love and Creativity
The union of Georges and Norina was not only a testament to their personal devotion but also a fusion of their artistic and aristocratic sensibilities. Their resilience in the face of loss and their ability to reinvent themselves in America set the stage for the creation of the Prince Matchabelli perfume company. This iconic brand would later embody the elegance and innovation of its founders, transforming their story of displacement into one of triumph and enduring legacy.
Their lives reflected the turbulence and opportunities of the early 20th century, where love, art, and ingenuity became the tools for navigating a world in flux.
Le Rouge et le Noir:
In 1924, Prince Georges and Princess Norina Matchabelli launched a unique venture, a small yet exclusive tea room and antique shop at 545 Madison Avenue in New York City. Named "Le Rouge et le Noir" after Stendhal's novel, the shop's name reflected both their heritage and artistic vision. The "red" symbolized Georges's aristocratic lineage, while the "black" evoked the clergy, referencing The Miracle, the religious play that had brought Norina international acclaim.
A Boutique of Elegance and Rarity
The shop, located in a space leased from Douglas L. Elliman & Co., quickly became a haven for connoisseurs of rare and exquisite items. The Matchabellis curated a diverse inventory that included Persian rugs, antique furniture, Italian and Spanish brocade textiles, antique jewelry, and a selection of fine art. These treasures were complemented by luxury items such as decorative cigarette cases and other refined goods.
In addition to its retail offerings, Le Rouge et le Noir was a cultural and social hub. Its tea room provided an intimate setting for patrons to enjoy a sophisticated atmosphere while perusing the carefully selected artifacts. Over time, perfumes were added to the shop's array, hinting at the future direction of the Matchabellis’ legacy.
A Letter of Vision and Ambition
Georges Matchabelli had a clear vision for the shop, which extended beyond simple retail. In a letter to his friend Giorgi Kereselidze in July 1924, he described the venture as a "dukhan" (shop) that would offer an eclectic mix of items for home decor and personal adornment. He expressed his desire to sell everything from pictures, furniture, and carpets to smaller, more personal luxury items such as pendants, cigarette cases, silver and gold ornaments, and later, perfumes.
He wrote:
"I am opening a dukhan (or a shop), where I will have everything for sale (here such type shops are still very common). I will have everything for home (pictures, furniture, carpets), just beautiful different small items (cigarette and other boxes and cases, pendants with stones, different decorative items: -silver, gold, or anything else. Women dressing equipages, perfumes and other. In addition, I will have models from Paris (one of the Paris Houses opened my credit) and linen."
Georges also detailed his plans to expand into the wholesale trade, leveraging contacts with other stores and Paris fashion houses to supply high-demand items. He asked Kereselidze to source fashionable and popular goods from Berlin, emphasizing his desire for originality and craftsmanship. Among his requested items were silk or leather handbags, enameled boxes, decorative tableware, chains with stone pendants, and creative Christmas gifts.
"The following things are required: all kinds of new fashion women portmanteaus (hand-held); leather or silk. Chains for neck pendants from different stones; original. Now very popular here. Different enamel boxes; cigarette-cases, matches, Bonn-Bonnet and more. Different table deco items. Christmas gifts: small, original, fancy articles."
The Vision for a Unique Shop
In September 1924, Prince Georges Matchabelli wrote an enthusiastic and detailed letter to his friend Giorgi Kereselidze, offering a vivid description of his latest venture on Madison Avenue in New York City. The letter provides a unique glimpse into the entrepreneurial spirit of the prince and his determination to create a truly unique establishment, despite the challenges of adapting to a new country and way of life.
Prince Georges described his newly leased shop at 545 Madison Avenue, emphasizing its prime location in the heart of New York’s most exclusive shopping district. He referred to it as a “Dukhan,” a Georgian word for a shop, imbuing the venture with a touch of his cultural heritage. The shop’s name, “Le Rouge et le Noir” (Red and Black), stood out in bold letters, accompanied by a subtitle in smaller print that read: “Antiquities, objects d’art, cigarettes, perfumes.” This tagline highlighted the shop’s eclectic mix of goods, which ranged from rare antiques to artistic creations, luxury cigarettes, and fine perfumes.
Georges elaborated:
“I took a small room in a very good street (Madison Ave, 545) the best ever place, around which there are wonderful shops. I put the name of the shop Rouge et Noir (red and black) in large letters and a small inscription below it: Antiquities, objects d’art, cigarettes, perfumes, therefore old and new items (artistic works), cigarettes and perfumes. The primary focus will be on, of course, the first two objects.”
A Salon-Like Experience
What set Le Rouge et le Noir apart was its innovative and welcoming atmosphere. Rather than a traditional store, Georges envisioned a refined salon where guests could relax amidst elegance. He wrote:
“The whole room will be held as a nice little salon, with elegant tables and ‘comfortable’ chairs and seats, where all the guests will be welcome with a cigarette (free of charge).”
This gesture of offering complimentary cigarettes aimed to create a memorable experience for visitors, allowing them to enjoy their shopping or simply rest in an inviting environment. Georges noted that such a concept did not exist elsewhere in New York at the time, making his shop a unique destination for the city’s elite.
Catering to Affluent Shoppers
Located in a bustling area frequented by wealthy Americans, particularly women, the shop was strategically positioned to attract the attention of high-end clientele. Georges described the area as the ideal location for his business:
“The place I found is in the heart of the shops, where rich Americans, especially women go from one store to another. So if God helps me, the business would go not too badly.”
Understanding the tastes of his target audience, Georges sought distinctive and fashionable goods to stock his shelves. He asked Kereselidze to help source an array of unique items from Berlin, including cigarette cases, decorative boxes for various uses, and tobacco containers. He also requested elegant leather and silk pouches for women, along with other small, fashionable accessories. Georges emphasized originality and quality, recognizing that these qualities were essential to appealing to the discerning tastes of his clientele:
“I need gifts: cigarette-cases, boxes (for cigarette, or any other things, powder, sweets and more). Original tobacco boxes, various entertainment items, as well as small pouches for beautiful women to carry, both of leather and silk. Also leather accessories, but all of these of a new shape and type.”
Life and Enterprise in 1920s New York
Operating Le Rouge et le Noir in 1920s New York meant navigating a bustling metropolis at the height of the Jazz Age—a time of glamour, prosperity, and innovation. The city buzzed with cultural energy and economic optimism, emerging as a global epicenter of culture, fashion, and commerce. The Matchabellis, with their aristocratic charm and refined taste, tapped into this vibrant era by offering goods that resonated with the affluent and cosmopolitan clientele of Madison Avenue.
Le Rouge et le Noir was more than a business; it was a reflection of the Matchabellis’ artistic sensibilities and a bridge between the old world they had left behind and the new opportunities they embraced in America. Having lost their Georgian estates and aristocratic privileges due to the Bolshevik Revolution, the Matchabellis adapted to their new life with resilience and ingenuity. The shop’s intimate salon-like atmosphere and carefully curated selection of goods not only showcased their aristocratic flair but also highlighted their ability to transform challenges into opportunities.
The venture laid the groundwork for their later success in perfumery and solidified their place in New York’s cultural tapestry. Offering a slice of European sophistication, Le Rouge et le Noir aligned perfectly with the era’s enthusiasm for luxury and refinement. By blending art, antiques, and an engaging social atmosphere, Georges Matchabelli carved out a distinctive niche in the competitive world of Madison Avenue retail, leaving a lasting impression of sophistication and creativity that would later define the Prince Matchabelli brand.
Le Rouge et le Noir quickly became more than just a shop; it evolved into a social hub where customers lingered over tea, enjoyed free cigarettes, and mingled in an intimate, salon-like atmosphere. While the ambiance was inviting and the concept unique, the venture was not a financial success. Customers often came to socialize rather than spend money, leaving the prince disheartened by the lack of profits.
Norina, deeply empathetic toward her husband’s feelings, devised a thoughtful plan to lift his spirits. She discreetly encouraged her friends in high society and fellow celebrities to "accidentally" stop by the shop, browse its offerings, and make small purchases. Among the notable figures who responded to her call were actress Greta Garbo, designer and photographer Cecil Beaton, and writer Mercedes de Acosta.
The prince’s magnetic personality and aristocratic charm quickly captivated his visitors. Soon, these famous individuals weren’t just stopping by for a casual purchase but were drawn to the prince’s company. Le Rouge et le Noir became a gathering place where deep and meaningful friendships were formed, with its patrons often more interested in spending time with the prince than in acquiring antiques or art.
During the 1920s, New York’s social scene was brimming with exclusivity and glamour, and Le Rouge et le Noir reflected this ethos. Though financially modest, the shop offered an intangible luxury: a space where the influential and the celebrated could connect, share moments, and enjoy the refined company of a true European aristocrat. This unique blend of sophistication and personal charm cemented the Matchabellis’ reputation in New York society, setting the stage for their future endeavors.
The Perfume Venture:
Prince Georges Matchabelli’s journey to America was marked by resilience, reinvention, and a determination to succeed against daunting odds. Upon arriving in New York, he carried with him only the proceeds from the sale of his villa in Italy—a modest sum that he knew would not last long. Initially, he considered opening a Russian restaurant, believing it to be a practical venture for establishing himself. Yet, as he explained in a 1935 interview, his aspirations soon took an unexpected turn.
“I came to America with some money—I was probably unique in that way,” Matchabelli recounted. “At the time the Soviets took over Georgia, I was head of my country’s legation in Rome. We had a villa there, and from the sale of that I was able to scrape together enough to get to the States and live there. But I did the reverse of what you would expect. I lost all my money in America. I opened an antique shop and that went broke, and so did I. So there I was, and what to do?”
Facing financial ruin, Matchabelli turned to his academic background in chemistry, a subject he had studied during his time in Berlin. His early experiments as a student had given him a flair for reproducing perfumes, and he believed he could refine this skill to forge a new path. He enrolled in night courses on perfumery taught by Professor Wimmer at the New York College of Pharmacy at Columbia University. During these lessons, Matchabelli deepened his understanding of fragrance creation, gaining both technical knowledge and inspiration.
Not content with academic study alone, Matchabelli traveled to Paris, the epicenter of the global perfume industry, to gain hands-on experience. Over two years, he trained in the laboratory of a specialized perfumery shop. To his amazement, the lab belonged to none other than François Coty, a towering figure in the world of luxury fragrance. Matchabelli’s confidence in his abilities impressed the chemists at the laboratory, marking a turning point in his career.
The origins of the Matchabelli perfume venture began modestly but were infused with the same creativity and determination that defined the couple’s earlier endeavors. Renting a small room and working with borrowed capital of $4,000, Prince Matchabelli purchased the raw materials needed to experiment with fragrance blending. Using the antique shop’s kitchen as his makeshift laboratory, he created his first American perfume—a floral-oriental blend he named Ave Maria, in honor of his wife Norina. The name paid tribute to her acclaimed portrayal of the Madonna in The Miracle, further weaving their artistic and personal lives into their burgeoning business.
Norina, always elegant and charismatic, wore Ave Maria while greeting customers at Le Rouge et le Noir. Patrons frequently complimented her on the alluring scent, prompting her to share that it was a custom creation by her husband. This revelation piqued their curiosity and desire for bespoke fragrances, planting the seeds of a new business opportunity.
As word spread, the Matchabellis began to recognize the untapped potential in their clientele. A 1938 newspaper article highlighted this pivotal moment, recounting how the prince started compiling a “little red and black book” filled with the names of customers eager for personalized perfumes. According to the article, these women sought a signature scent that would express their individuality, longing for “the spraying of a perfume, leaving their own footprints.” This bespoke approach resonated deeply with their affluent and discerning customer base.
Norina later reflected on this period, explaining how the perfume business naturally grew alongside the antique shop. “Long after the prince’s death, these customers still have their perfumes made from the formulas he left,” she revealed in the 1938 piece, underscoring the lasting impact of her husband’s artistry. The Matchabellis’ early understanding that each antique customer could also be a potential perfume patron laid the groundwork for their enduring legacy in the world of fragrance. This intimate, personal approach to perfume-making distinguished their brand and reflected the couple’s ability to adapt their aristocratic sensibilities to the entrepreneurial spirit of 1920s New York, ultimately transforming their small-scale experiment into a celebrated success.
Recognizing the need to devote more time and focus to his burgeoning perfume business, Matchabelli made the decision to leave the antique trade behind. The transformation of his business space marked a significant milestone. Renowned British photographer and designer Cecil Beaton assisted in renovating the shop, converting it into a more fitting space for the newly established perfumery. The shop was now divided into two main areas: a reception area where clients could consult with Matchabelli for personalized fragrance selections, and a back room dedicated to the storage of raw materials, bottling, and compounding the perfumes. This reorganization allowed the prince to streamline his operations and devote more attention to his craft, ultimately leading to the creation of the now-legendary Prince Matchabelli perfume line.
In 1930, The New Yorker provided a fascinating glimpse into the early history of Prince Matchabelli’s perfume empire, tracing his humble beginnings and rapid ascent in the world of fragrance. According to the article, Prince Matchabelli started his business only four years earlier, in a modest cellar on Madison Avenue. His initial foray into perfumery was not driven by commercial ambition but by a personal passion. While studying chemistry at the University of Berlin, he developed an interest in perfume-making, which he later pursued as a hobby. Matchabelli’s family, of Georgian aristocratic descent, had long used a distinctive scent, one tied to the traditions of their old race. However, when he tried to replicate this family perfume during his studies, he was unsuccessful. Despite this failure, he honed his skills and proved his abilities in other ways.
The turning point in his early career came at a Berlin embassy ball, where a young woman asked him if he could recreate the perfume she had worn that evening, embarrassed, she told him that she had lost the label on the bottle and couldn't remember the name of the scent. Matchabelli took her lace handkerchief, still scented with the perfume, back to his lab and through his expertise, was able to perfectly duplicate the fragrance. The elated woman had pronounced it better in quality than the original. This success marked the beginning of his career as a perfumer. After the turmoil of the war and revolution, Matchabelli found himself in the United States, like many Russian exiles. Unlike many of his compatriots who settled for more conventional livelihoods, he was determined to pursue something more distinctive. Reflecting on his earlier perfume experiments in Berlin, he decided to start his own perfume company, borrowing four thousand dollars from an old friend to fund the venture.
In 1926, with Georges Matchabelli’s growing experience in perfume, he and his wife Norina officially launched Les Parfums du Prince Matchabelli (later known as Prince Matchabelli Perfumery, Inc.) in New York. Georges took on every facet of the business, from manufacturing to bottle design, merchandising, and publicity. He was deeply involved in each step of the process, ensuring that the products met his high standards and vision. Reflecting on his career, Matchabelli remarked in a 1930 article, "I turned my boyhood hobby into account in New York, and from it, it has grown my perfume factory. There is no greater romance than that of a business career in America." This sentiment captured his enthusiasm for the entrepreneurial journey he embarked upon in his new country.
Initially working out of a small cellar on Madison Avenue, Matchabelli and his wife soon moved to a larger space on Lexington Avenue, enlisting the help of a young girl to assist with their growing business. At the heart of their operation was a long table where they filled small bottles with fragrance and carefully tied gold string around the necks of each one. One of Matchabelli’s innovations during this time was the design of a special bottle shaped like the striped, gold-crusted crown of his family crest. This striking packaging garnered attention and became a signature feature of his brand, setting his perfumes apart from others in the market.
Norina shared the couple’s early struggles in a 1932 article, saying, “We rolled up our sleeves and started from the bottom up in what you call shirt-sleeve fashion. At first, we did all the work of bottling our French extracts and blends with our own hands, pasting the labels on the bottles sometimes far into the night.” This hands-on approach reflected their determination and commitment to the business, as they worked tirelessly to establish themselves in the competitive New York perfume market.
In the early days of his perfume business, Prince Georges Matchabelli faced the challenge of making ends meet. To support his fledgling enterprise, he took on a sales position at the prestigious Bergdorf Goodman department store on Fifth Avenue in Manhattan. This position allowed him to not only gain valuable retail experience but also to sell his own perfume, Ave Maria, exclusively in the store. In a 1927 newspaper blurb, it was reported, "George Matchabelli, whose coat of arms shows quartered castles and arrows twanging from bent bows, centered with a knight of the cross on a charger rampant and the whole backed by royal ermine surmounted by a diadem, has accepted a position with a Fifth Avenue store as chief of the perfume counter." The job at Bergdorf Goodman provided Matchabelli with an opportunity to immerse himself in the perfume world, perfecting his craft while also expanding his understanding of the commercial side of the fragrance industry.
In 1927, a pivotal moment in Matchabelli’s career arrived when he met Benjamin Sonnenberg. Sonnenberg, recognizing the immense prestige and cachet that came with the prince’s name, took it upon himself to introduce Matchabelli to the media. Sonnenberg’s strategic use of Matchabelli’s charm and lineage helped secure coverage of the prince in national publications. Many feature articles about him were syndicated across the country, boosting his reputation and drawing attention to his growing brand. This success led Matchabelli to hire Sonnenberg as his press agent, a decision that would prove instrumental in propelling the brand forward.
Bergdorf Goodman played a crucial role as an outlet for Matchabelli’s early fragrances, with Sonnenberg ensuring that the store's name was mentioned in all media releases about the prince. In an effort to further cultivate this relationship, Sonnenberg made sure that any press releases mentioning the prince were forwarded to the head of the department store, Edwin Goodman. According to Always Live Better Than Your Clients, a biography about the Goodman family, Andrew Goodman, Edwin’s son, recalled the story of how his father had taken a significant risk in 1927. He noted, "My father decided to take a gamble on Ben, who wanted desperately to go to Europe and broaden himself. He gave Ben $2,000, a lot of money in those days, and Ben left. He was gone the entire summer. But when he came back, he had two prizes - Prince Matchabelli and Grand Duchess Marie Romanov. He told father he had hired them for us to help us gain some new glamour with the public. They would be sort of in-house celebrities."
Through Sonnenberg's efforts, the partnership between Matchabelli and Bergdorf Goodman flourished, cementing the prince’s reputation in the eyes of New York's elite. The collaboration was not only a professional success for Matchabelli, but also played a significant role in the eventual rise of his perfume brand, establishing it as a symbol of luxury and sophistication.
After a year working as a chief consultant at the perfume counter, Matchabelli took the leap and established his own company, publicly. By this time, his reputation as a skilled perfumer had begun to grow, and he was blending custom perfumes to meet the unique desires of his customers. Word quickly spread about his talents, and an insatiable demand for his bespoke fragrances emerged. Soon, the shop’s stock of perfume bottles far outnumbered the antiques that originally filled the space. The growing popularity of his perfumes meant that they eventually outsold the antiques, and with this shift, Matchabelli’s wealth began to rise.
Reflecting on his unexpected transformation from a diplomat to a perfumer, Matchabelli admitted his surprise at how life had unfolded. “I never imagined that while I was fooling around with scents at the University during my student days, that I would be making them professionally someday.” This blend of formal training, personal ambition, and a touch of serendipity would soon lead Matchabelli to revolutionize the fragrance industry, cementing his legacy as a pioneer in perfumery.
Early Success:
By 1928, the Prince's operation was expanding rapidly. A new laboratory was established on East 60th Street, signaling the growing scale of his perfumery. Soon after, two additional perfume salons were opened, one at 686 Lexington Avenue and another at 56 East 60th Street. These spaces became hubs for his growing business, providing a dedicated space for his fragrances to be created, bottled, and sold. The salons served as the face of the Prince’s burgeoning brand, while his perfumes began to gain recognition for their exceptional quality and unique compositions.
The Prince's fragrances did not go unnoticed. In 1928, they were awarded the prestigious Grand Prix with a gold medal at exhibitions in Paris and Liège, praised for their quality and originality. In a proud declaration, Matchabelli exclaimed, "I turned American businessman...I manufacture perfumes in New York and I captured for America, Parisian prizes for perfumery never before won in this country. But all my life I dabbled in chemistry. I made perfumes for my own amusement and they were much in demand among the ladies in court. So I just started making perfumes for sale." This statement encapsulated the transition from a hobbyist’s passion to a professional venture that would soon become a successful and renowned enterprise. His deep understanding of chemistry, combined with his noble lineage and his long history of crafting perfumes for personal enjoyment, quickly translated into a thriving business.
In addition to his burgeoning business, Matchabelli’s name was also being touted in the press. A 1928 newspaper blurb highlighted the growing influence of his brand, stating, “The terrible fact has just been discovered that it is possible we girls may be using a sort of perfume that just doesn't express us at all! Now along comes Prince George Matchabelli, who guarantees to supply us the exactly right scent. He manufactures perfumes and already has shops in New York, and now he is opening one at 3259 Wilshire Boulevard, and expects to give a tea soon, with well-known picture star as hostess, on which occasion we may sample perfumes and meet Prince Artchil Andronikoff, who is representing the noble manufacturer here." This article captures the allure of Matchabelli’s brand, emphasizing his ability to create the perfect scent for each individual while building a sense of excitement and exclusivity around his products.
Moreover, the Prince's business was not driven purely by financial gain. The same newspaper blurb noted that "Prince Matchabelli doesn't make and sell perfumes entirely for selfish reasons, nor even entirely for esthetic ones. He gives a certain percentage of his income to the Russian refugees." This charitable effort underscored Matchabelli’s deep sense of duty and philanthropy, further elevating his status as not just a businessman, but as a man of principle and generosity. Through his perfumes, Matchabelli was not only enriching the world of fragrance but also making a tangible difference in the lives of those less fortunate.
Nationwide Tour:
In December 1928, Prince Georges Matchabelli, founder of the renowned perfume house bearing his name, embarked on a business tour through Cincinnati, Cleveland, and Buffalo. His visit was strategic, aimed at enhancing the merchandising strategies for Matchabelli perfumes and cosmetics in these key urban centers. During his time in each city, he met with representatives of prominent department stores that carried his products, discussing policies on display techniques and the packaging designs that had become synonymous with the Matchabelli brand’s elegance.
Prince Matchabelli’s visit was more than a business endeavor; it was a cultural event. In each city, he engaged with influential social groups, delivering informal but captivating talks on the artistry and history of perfume. These presentations offered a rare glimpse into the world of luxury and refinement, as he shared insights on the origins of perfumery and its evolution into a modern science.
At a gathering in Buffalo, the Prince delivered an especially memorable lecture titled "Perfume and How It Should Be Used." This talk highlighted not only the functional and aesthetic aspects of fragrance but also its cultural significance. Drawing on his aristocratic heritage and personal experience, Prince Matchabelli shared anecdotes about the scent preferences of European royalty, describing how various fragrances had captured the favor of courts across the continent. His anecdotes added a layer of sophistication and mystique, making the art of perfumery feel both accessible and aspirational.
The late 1920s was an era of glamour and modernity, with advancements in technology and a flourishing interest in luxury goods reshaping consumer habits. The perfume industry was undergoing a transformation, as scientific innovation in scent composition met with an expanding global market. Matchabelli's brand stood out for its ability to blend Old World elegance with New World innovation. His iconic crown-shaped bottles—symbolic of his royal lineage—had become a hallmark of the brand, reflecting the exclusivity and prestige of his fragrances.
The Prince’s trip was not only socially enriching but also commercially successful. He reported positive growth for his business in all three cities, a testament to the effective strategies and partnerships established during his visit. By maintaining a personal connection with his distributors and engaging directly with his audience, Prince Matchabelli reinforced his brand's reputation as a leader in luxury perfumery.
Through this journey, Prince Matchabelli demonstrated not only his business acumen but also his passion for the art of fragrance, leaving a lasting impression on both the commercial and social landscapes of the cities he visited. His efforts contributed to solidifying the Matchabelli name as a symbol of sophistication and excellence in the American perfume industry.
Branching Out:
In 1929, Prince Georges Matchabelli proudly reflected on his growing empire, stating in a newspaper article, “My wife and I will go to France to open a branch of the company, and I shall go as an American businessman, and I shall be highly proud of my claim. There are no more interesting people in the world than the men and women of America.” This sentiment revealed his firm belief in the unique capabilities of the American entrepreneurial spirit and his ambition to bring his fragrance business to the global stage.
Following this declaration, Matchabelli expanded rapidly across Europe, opening branch salons and showrooms in major cities such as Cannes, Nice, Basel, Lucerne, and more. His first French shop, established in 1929, was initially located at the prestigious Hotel George V in Paris, but it wasn’t long before it moved to its own location at 26, rue Cambon. This move placed Matchabelli directly across from the renowned Chanel perfumery, a positioning that many thought would be a significant challenge.
Matchabelli’s Paris salon, though small, was meticulously designed with sparkling mirrors that reflected the elegant gold crown vials displayed throughout the store. Critics questioned the wisdom of competing with Chanel, but the Prince saw this as an opportunity. "People will think that exactly my products are the competitors of this company, and at least out of mere interest people will open the doors of my small, but glittering store,” Matchabelli explained. His strategy was simple but effective: by positioning himself against Chanel, he attracted customers curious about his offerings. Those who couldn’t afford Chanel’s luxurious bottles were drawn to Matchabelli's fragrances, which offered an affordable alternative to the more expensive brand. His psychological approach proved to be successful, allowing him to compete effectively in the competitive Parisian perfume market.
As his business continued to expand, Matchabelli established a factory in the village of Clamart, near Paris, to meet the growing demand for his products. He appointed Spiridon Kedia, a notable political and public figure and one of the founders of the National Democratic Party, to oversee the factory’s operations. The Prince also made further inroads in Europe by expanding his reach to London, where an agency was opened in 1930, with the London operation managed by Prince Sumbatashvili, a Georgian émigré.
By 1933, Robert Baxter, who had been working as a sales manager for Matchabelli, was promoted to purchasing agent. In his new role, Baxter was responsible for overseeing the distribution of Matchabelli products in Canada, further solidifying the brand’s international presence. By the end of the decade, Matchabelli’s name had become synonymous with elegance and luxury, thanks to his strategic expansions and clever business moves in both Europe and North America.
Specialized Perfumes:
In a 1929 interview with Collier’s magazine, Prince Matchabelli shared his vision for the future of perfumery, offering insights into both the art and science of fragrance creation. “The whole trend in perfumes today is toward the light but lasting fragrance,” he explained, emphasizing the importance of subtlety and complexity. According to Matchabelli, the modern olfactory experience needed to be unforgettable, yet delicate. “It must be subtle, complex, unforgettable,” he asserted. He further noted that because modern senses had become more refined, they grew fatigued more quickly. As a result, the industry had to continuously innovate, finding new ways to keep fragrances fresh and intriguing each season. “Each season we must find something different that works out the same skin still further,” he stated, highlighting the need for ongoing experimentation.
Matchabelli also delved into the technicalities of fragrance formulation, emphasizing that the chemistry of the scents he crafted was closely tied to the physical chemistry of the women who would wear them. “But the problem doesn’t end there, we are not content with general effects today,” he elaborated. “We take into account not only the chemistry we deal with here, but the physical chemistry of the women who are going to use the odors we make.” He illustrated this point with an analogy to cooking: “Jasmine oil is like the butter to the cook, you can cook with it, what do you call it? margarine, But it is not the same." He further explained that while synthetic jasmine could be produced for a relatively low cost—around forty to fifty dollars per pound—it resulted in a fragrance that was “hard” and “metallic.” In contrast, real jasmine, which could cost four to five hundred dollars per pound, delivered a much more graceful and aromatic experience. "What a sweetness, what a gracefulness and aroma!" he exclaimed, underscoring the irreplaceable qualities of natural ingredients.
When it came to crafting his perfumes, Matchabelli spared no expense. He sourced only the finest and most exotic ingredients available, ensuring that each fragrance was as luxurious as it was unique. Among the ingredients he favored were Tibetan musk, Abyssinian ambergris and civet, Grasse jasmine oil, Indonesian patchouli, Tyrolean oakmoss, Calabrian bergamot oil, resins, East Indian vetiver, and dozens of other rare essences. Each of these ingredients played a crucial role in creating the complex, multi-layered scents for which his perfumes became renowned.
Tibetan musk, for example, is known for its deep, sensual, and slightly animalic scent, which lends warmth and depth to a perfume. It was an expensive ingredient, prized for its rarity and complexity. Abyssinian ambergris, another highly coveted material, has a rich, musky, and marine scent, adding sophistication and longevity to the fragrance. Civet, often used sparingly, provides an earthy, animalic note that enhances the richness and depth of a perfume, contributing to its warmth and sensuality.
Grasse jasmine oil, sourced from the renowned perfume-producing region of southern France, is a classic and expensive ingredient in luxury perfumery. Its sweet, floral, and rich fragrance imparts an elegant and timeless quality to a perfume. Indonesian patchouli, with its earthy, woody, and slightly sweet aroma, adds complexity and depth, balancing the sweeter notes in a fragrance and providing a grounding element.
Tyrolean oakmoss, gathered from the forests of the Austrian Alps, is known for its rich, woody, and earthy scent, often used as a base note to enhance the perfume’s longevity. Calabrian bergamot oil, a prized citrus oil from southern Italy, brings a fresh, uplifting, and slightly tangy note, brightening the fragrance with its zesty energy. Resins, including labdanum and myrrh, contribute warm, resinous, and sometimes balsamic notes that add depth and mystery to a scent, while East Indian vetiver brings a smoky, woody, and earthy quality that enhances the overall complexity.
These ingredients were not only expensive but also difficult to obtain, as they often came from distant parts of the world. Their rarity and the labor-intensive process of extracting their essence made them luxury commodities, driving up the cost of the final product. During Matchabelli’s time, the high price of such ingredients underscored the exclusivity and quality of his perfumes, making them highly sought after by those who could afford them. The combination of these exquisite elements, carefully blended and balanced, was what set Matchabelli’s creations apart, ensuring that they became synonymous with refinement and elegance.
Collier’s also reported that at the time, Prince Matchabelli was working on a fragrance designed specifically for furs, where the physical chemistry of the fur's natural skin played a crucial role in the perfume’s formulation. He worked tirelessly on this project, sometimes staying up until “one or two o’clock in the morning, trying the effect of one drop of this and one drop of the other on a perfume, almost perfect, but not quite.” This dedication to perfecting his creations illustrated Matchabelli’s obsession with achieving the ideal balance in every fragrance.
In 1930, Theatre Magazine highlighted Prince Matchabelli’s efforts to create perfumes tailored to individual tastes, noting, “For perfumes specially created for the individual, Elsie Ferguson is one of those lucky souls, Prince Matchabelli is showing his incomparable crown bottles in a variety of glorious colors to blend with the decorative scheme of the boudoir.” The magazine described the renowned “incomparable crown bottles” which were known for their luxurious design, often incorporating gold accents and rich colors to reflect the opulence of the perfumes contained within.
Additionally, the article mentioned that Gunthers, located at 666 Fifth Avenue in New York, had exclusive rights to two of Matchabelli’s special fur perfumes: Hermine Royale and Cibeline Imperiale. These perfumes, crafted specifically for use on furs, were intended to complement the luxurious materials of high-end garments, enhancing their sensory appeal. Given that these fragrances were marketed as exclusive to Gunthers, they became part of a select collection for affluent clientele. These two fur perfumes were likely in direct competition with Weil’s own successful fur-related fragrances, Zibeline and Hermine, which had been introduced in 1927 and had achieved significant popularity. By creating Hermine Royale and Cibeline Imperiale, Matchabelli positioned himself as a serious competitor in this niche segment of the perfume market.
Prince Matchabelli's approach to perfume was rooted in the belief that a fragrance should reflect a woman's mood as much as it complements her attire. Expanding his line beyond traditional scents, he introduced a range of luxury products designed to elevate the everyday experience of personal care. These included bath oils, toilet waters, colognes, lipsticks, and compacts. As he observed, "I have done well with a luxury product in a time of depression. I can't complain." His ability to thrive during the Great Depression was a testament to the enduring appeal of high-quality, indulgent goods. However, he made it clear that he was not interested in producing face creams or beauty treatments, preferring to focus on what he considered the more poetic side of beauty. "They are the prose—I make the poetry," he stated, distinguishing his work in the perfume industry from the more utilitarian realm of skincare.
Matchabelli’s personal image perfectly matched the luxurious aura of his brand. Known for his impeccable manners and refined appearance, he embodied the ideals of sophistication, making him an ideal spokesman for his own line. His aristocratic background and courtly presence were as much a part of the allure of his perfumes as the fragrances themselves, appealing to the women of America who were drawn to his distinctive persona as much as to his products. As Matchabelli’s fortune grew, so did the prosperity of those working for him. His commitment to excellence extended not only to his products but also to the well-being of his employees, making them key contributors to his success.
Into the Thirties:
Known for his impeccable manners and aristocratic air, Matchabelli cultivated a persona that was both charming and somewhat aloof. Upon meeting a woman for the first time, he would often tactfully inform her that her choice of fragrance was unsuitable, and in turn, he would send her one of his own creations. If he encountered her again and she had returned to using her old scent, he would remark with a playful admonishment: "You have not been faithful to me." This personal touch helped solidify his reputation as a perfectionist, someone deeply invested in both the artistry of perfume and the refinement of his clientele’s experience.
By 1930, Prince Matchabelli’s business had expanded significantly, reportedly netting a quarter of a million dollars annually. What began in a cellar had grown into a full-fledged operation, with a laboratory on Fifty-Sixth Street in New York. Here, Matchabelli produced not only perfumes but also sachets, powders, lipsticks, eyeshadows, and soap. True to his personal approach, Matchabelli employed no salesmen. Instead, he traveled the country himself every spring and fall, visiting buyers in person. With his signature gardenia fragrance, elegant demeanor, and embossed visiting card, he made a striking impression on those in the fragrance trade. His personal touch, combined with his aristocratic bearing and genuine commitment to his craft, set him apart as a perfume impresario of unmatched distinction.
Prince Matchabelli's unwavering belief in the appeal of deluxe quality among women was vindicated in February 1935, when sales figures from 1934 revealed an impressive 150% increase for his refined and sophisticated perfumes. A connoisseur of the highest order, Matchabelli maintained rigorous standards to ensure that his products reflected the exclusivity and prestige associated with his brand. Central to this strategy was his decision to limit the availability of his famous Crown bottles to select retail shops that met his exacting criteria. This deliberate restriction not only preserved the brand’s elite image but also safeguarded it from the detrimental effects of price-cutting practices. Matchabelli’s attention to detail extended beyond the creation of fragrances; he was discerning about where his perfumes were sold. He rejected several retailers, insisting that their social tone did not align with the prestige of his brand.
By restricting the number of outlets, Matchabelli upheld a sense of rarity and desirability for his perfumes, fostering an air of luxury that appealed to consumers seeking exclusivity. This approach also ensured that the brand's integrity remained intact, as it avoided being devalued through widespread discounting. For high-end perfumes, exclusivity and consistent pricing are critical to maintaining their perceived value, as they signify quality and prestige. Allowing his products to appear only in carefully curated shops reinforced Matchabelli’s commitment to luxury, creating a sense of trust and loyalty among discerning customers. This careful control over distribution and branding was instrumental in positioning Matchabelli’s perfumes as the epitome of sophistication, driving the remarkable growth in sales and securing the brand’s enduring legacy.
A Friend & Financial Backer
Victor Morawetz, a New York lawyer and financial backer, played a pivotal role in the development and operations of Prince Matchabelli’s perfume business between 1931 and 1934. As both a trusted confidant and a business ally, Morawetz provided guidance and resources that helped the Prince solidify the foundation of his company. His contributions were instrumental not only in the financial realm but also in the creative and logistical aspects of the perfume-making process.
One of Morawetz’s significant suggestions was to establish Charleston, South Carolina, as a domestic source for cultivating the flowers and shrubs used in the company’s fragrances. At a time when importing raw materials from far-off France was both costly and logistically complex, Morawetz recognized the potential of Charleston’s climate and soil to support the growth of these essential plants. This move reflected his keen understanding of the perfume industry’s needs and his commitment to supporting Matchabelli’s vision. By distilling the essential oils locally, the company could maintain high-quality standards while reducing dependency on European suppliers.
Beyond his business acumen, Morawetz was also a connoisseur of perfume, which added a unique dimension to his partnership with Prince Matchabelli. Few were aware that he had a personal passion for fragrance creation and spent time in his New York apartment blending rare and exotic scents. This shared interest deepened his collaboration with Matchabelli, as the two would spend hours experimenting with new combinations of ingredients. Morawetz’s involvement in the creative process underscored his hands-on approach to the business and his genuine enthusiasm for the art of perfumery.
Morawetz’s dual role as both a financial supporter and a creative collaborator made him an invaluable ally to Prince Matchabelli during a crucial period in the company’s growth. His practical advice and personal passion for fragrance not only enhanced the business’s operations but also enriched the artistic side of its perfume development. Through his contributions, Morawetz helped to ensure the continued success and innovation of the Prince Matchabelli brand.
Russian Employees of Nobility and Aristocracy:
Prince Matchabelli's first employees were not only part of his growing perfume business but also shared a unique bond—they were fellow exiled aristocrats. The Russian Revolution had displaced many of the noble families who had once enjoyed a life of privilege, and Matchabelli, himself a member of this displaced class, made it a priority to support and uplift his fellow countrymen. One Georgian writer from the time fondly remembered them as “the most courteous staff in the United States,” a testament to the refined manners and noble sensibilities that these individuals brought with them from their aristocratic backgrounds.
Matchabelli’s decision to hire his fellow exiles was rooted in more than just compassion—it was also a deeply personal matter. Having been displaced from his homeland, Matchabelli understood the hardships faced by other Russian refugees. His gesture of hiring his compatriots was not just an act of charity but an effort to create a community of support and solidarity among those who had been uprooted by the turmoil of the revolution. Furthermore, it was a way for him to retain a connection to his heritage and to preserve the social structure he had once known. He reportedly gave a percentage of his income to the Russian refugees, helping those in need while simultaneously ensuring that his business served as a lifeline for the displaced.
These early employees of Matchabelli's perfume company were tasked with various responsibilities that spanned the full spectrum of production. Some were in charge of the intricate process of decorating, packing, and delivering the delicate bottles of perfume. Others were responsible for overseeing the production of the large bottles of alcohol that underwent a softening phase before being blended with the perfume oils. This process was a key part of ensuring the final fragrance was perfectly balanced and of the highest quality.
The employees’ noble backgrounds, despite the challenging circumstances, brought a sense of dignity and elegance to their work. Many of the names associated with Matchabelli’s company were members of the Russian aristocracy, including Prince Artchil Andronikoff, Nicholas Holmsen, Count Waldemar Armfelt, Prince Nicholas Lapouchin-Demidoff, Cyril Gurge, Prince Alexander Tarsaidze, and others.
Among the most notable were Paul Petrovitch Wrangell (Baron von Ludenhoff), and his cousin Baron Charles Wrangell, both related to Commander Peter Wrangell, a significant figure in the White Army during the Russian Civil War of 1921. There was also Prince Irbian-Khan Kaplanoff, a name associated with old Russian nobility. Prince and Princess Vasili, names well-regarded in their circle, and George Coby (Koby), a distinguished member of the expatriate community, were also part of this noble team. These men and women not only helped create the refined products Matchabelli became known for but also contributed to the aristocratic atmosphere of the brand itself.
These men and women not only helped create the refined products Matchabelli became known for but also contributed to the aristocratic atmosphere of the brand itself. Matchabelli’s desire to help his fellow exiles, many of whom were struggling to adapt to life in a foreign land, reflects a sense of camaraderie and loyalty to his roots. His decision to employ these individuals was more than an economic choice—it was an effort to provide them with purpose and dignity during a time of great upheaval. His compassion and commitment to aiding those from his homeland were central to the creation of the Prince Matchabelli brand, which, in many ways, was a tribute to the people and culture he had been forced to leave behind.
Prince Andronikoff
Archiel Andronikoff, formerly of the royal house of Georgia, a prominent Russian province prior to the revolution. Andronikoff was perhaps as distinguished as any Russian refugee who had taken shelter in America. Andronikoff came from France together with General Savitsky, a former Cossack commander, and joined with other Russians with Col. Joe C. Miller in the 101 Ranch Show. Later with Savitsky he went o Hollywood, where both of them had been in pictures, more or less prominently. In addition to pictures, Andronikoff was prominent in the Russian-America art club in Hollywood, in 1928, was one of the most frequented placed by the elite of Hollywood filmdom.
Andronikoff was a solider throughout the first World War, and was wounded six times. When the revolution in Russia began, it just happened that General Savitsky and Andronikoff were in Southern Russia on duty with their Cossack troops and crossed over into Turkey, this saving the enture command from the revolution firing squad. In Paris, prior to coming to America, both were active in the interests of the return of te Romanovs to the Russian throne.
In 1928, Matchabelli expanded his business to the West Coast, opening a new shop at 3259 Wilshire Boulevard in Los Angeles. The grand opening was a notable event, with Prince Artchil Andronikoff, a well-known picture star and Georgian noble, representing the company. However, tragedy struck that same year when Prince Andronikoff, who had been working in Hollywood and lending his expertise on Russian military customs and horsemanship to films, succumbed to the flu on November 27, 1928. His wife, the Princess Andronikoff, was reported to be in Italy at the time of his death. The passing of the 40-year-old prince was a significant loss, not only to the world of cinema but also to the aristocratic émigré community in America.
Prince Demidoff
Prince Nicholas Alexandrovich Lapouchin Demidoff, born in 1904 at the Koroun Castle in Kiev, Ukraine, came from a prestigious lineage. His father, Prince Alexander Nicholas Lapouchin-Demidoff (Alexander Nikolaevich, 2nd Prince Lopukhin-Demidov), was a noble figure who, with his wife and five sons, fled Russia amidst the revolution. The family escaped on a special train, seeking refuge in Finland, where they lived for many years after the upheaval. Among the five sons, Nicholas was the heir to the title, but unlike many of his peers, he began working from a young age. At just 16 years old, he was already earning his own living, first as a customs officer.
As the political situation in Russia grew increasingly dire, Nicholas moved first to France to stay with relatives, and later to the United States. In 1926, he arrived in America, one of the early Russian émigrés who found a new life in the West. It was during this period that he became involved with the fledgling perfume company of Prince Matchabelli. When Nicholas joined Matchabelli, the company was small, occupying just a single room in New York. The staff consisted only of Matchabelli himself, a secretary, and a stenographer. Nicholas, like many of the early employees, was part of the close-knit team that helped build the foundation of the Prince Matchabelli brand.
Following Prince Matchabelli's death, Nicholas played a pivotal role in the company’s operations. He became the chief composer of the perfume blends, taking on the responsibility of continuing the legacy of the brand's exquisite fragrances. His involvement in the company lasted nearly five decades, during which he also became deeply involved in sales. His role in both the creative and commercial aspects of the business helped shape the trajectory of the brand.
Throughout his life, Nicholas was married twice. His first marriage was to the beautiful Paola Borschevskaya, and his second marriage was to Lorna Taylor, née Barnes. Despite his noble lineage, Nicholas' personal life was marked by his work in America, contributing to the perfume industry and continuing his family's legacy in a new land. He passed away on September 28, 1995, in the United States. Sadly, he left no children from either marriage, and his passing marked the end of a significant chapter in both his family’s history and the story of Prince Matchabelli’s perfume legacy.
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Waldemar Armfelt
Waldemar Armfelt was a Finnish nobleman, born as the son of Count Alexander Vladimirovich Armfelt, a prominent figure in Finland's aristocracy. Armfelt was initially educated in the service of the Russian Imperial Court, where he became a member of the prestigious Corps des Pages, a group of young men who were trained to serve the Russian Tsar. As the Russian Revolution unfolded, Armfelt fled his homeland to escape the tumultuous political changes. In 1920, he found refuge in the United States, where he initially became involved in the formation of the Sikorsky Company, which produced airplane bombers. This early association with the defense industry demonstrated his adaptability in the face of changing circumstances, but Armfelt’s talents eventually led him into the financial sector. He worked for Chase National Bank in their foreign credits department, navigating international banking and foreign relations.
By 1934, Armfelt had further solidified his position in the business world, joining Prince Matchabelli’s growing perfumery company. He served as the Western representative for the brand and was instrumental in organizing and leading promotional tours across the United States. His work with Matchabelli helped expand the company’s presence, particularly in the Western states. When Prince Matchabelli passed away, Armfelt’s career continued to flourish, and in 1936, he was appointed to an executive position at Imperial Salons, Ltd., a prestigious cosmetics company based in New York. Imperial Salons produced high-end cosmetics that were purportedly based on the original prescriptions of the late Czarina of Russia’s court dermatologist.
Armfelt’s professional journey then took him to the world of high fashion and perfume, as in 1937, he was appointed by renowned designer Elsa Schiaparelli to represent her perfume line in the United States. He was named the director of Schiaparelli's interests in both the United States and Canada, with his headquarters located in Los Angeles. His knowledge of European aristocratic customs and his high-society connections proved invaluable in establishing Schiaparelli’s brand in the North American market. The following year, Armfelt’s influence in the industry grew further as he was appointed vice-president of Parfums Schiaparelli, solidifying his place as a key figure in the luxury fragrance industry.
Nicky Holmsen
Nicholas "Nicky" Holmsen was a pivotal figure in the early success of Prince Matchabelli's perfume company, bringing with him a distinguished lineage and a wealth of diplomatic and business experience that proved invaluable to the brand. Born in Athens, Greece, Holmsen's background was one of nobility and high society. His father, General Ivan Holmsen, served in the Russian Imperial Guard, while his mother, Mrs. Bobrikoff Holmsen, was a lady-in-waiting to Tsarina Alexandra of Russia and the daughter of the Governor General of Finland. This aristocratic heritage made Holmsen well-versed in the customs and expectations of European nobility, qualities that Prince Matchabelli, who marketed his fragrances to the upper echelons of society, found highly beneficial.
In 1919, amidst the political upheaval following the Russian Revolution, Holmsen and his family fled Russia and settled in Paris, where they remained for the next decade. Holmsen’s early life was marked by his association with the Russian aristocracy and his service as a military attache in Athens and Constantinople, roles that underscored his diplomatic acumen and connections across Europe. By 1929, Holmsen had relocated to the United States, where his association with the émigré community and aristocratic connections helped him forge a path in the world of luxury goods.
Holmsen was introduced to Prince Matchabelli’s business around the early 1930s, and his expertise in both diplomacy and high-society customs made him an ideal candidate to assist in the expansion of the Prince's perfumery brand. As a sales executive, Holmsen helped build relationships with high-end clients and promoted Matchabelli's products to a discerning clientele. His presence in the company was important not only because of his aristocratic ties but also because of his vast network of connections within the European and American elite. In 1931, he was living with Prince Vasili Romanoff at his apartment, further cementing his position in the circles of Russian émigré aristocracy.
In addition to his work with Prince Matchabelli, Holmsen was briefly associated with Igor Sikorsky, the famed airplane designer, indicating his broad business interests. However, by the time he joined the perfumery company, Holmsen had moved away from aviation and focused on the luxury market. His sales expertise was key to the growth of the company during the 1930s, as he helped promote Matchabelli's perfumes and establish the brand's presence in both American and European markets.
Holmsen’s personal life was marked by two marriages, both of which were affected by his demanding career. He married Mildred Ellen Tilton in Paris in 1927, and the couple had three children, one of whom died in infancy. The marriage ended in divorce in 1934 under claims of extreme cruelty and incompatibility, a testament to the strain that Holmsen’s frequent travel and work commitments placed on his personal life. His second marriage was to Barbara Baker Loew Post, a member of the socially prominent Post family. The couple's relationship, however, was also affected by his constant work-related travel, leading to another divorce. Despite these personal struggles, Holmsen remained a key figure in the world of luxury business, contributing significantly to the growth of Matchabelli's perfume empire.
During World War II, Holmsen served as an assistant field director for the American Red Cross at the Port of New York, reflecting his continued sense of duty and service. He passed away in 1962 at the age of 60, leaving behind a legacy not only in the perfume industry but also in the broader context of American-European aristocratic connections. Holmsen's contributions to Prince Matchabelli’s success, especially in the early years, were integral to establishing the brand’s prestige and its ability to reach the high society of both Europe and America.
Prince Cyril Gurge
Prince Cyril Gurgenidze, also known as Cyril Gurge or Cyril Gurji, was an essential figure in the early history and continued success of the Prince Matchabelli perfume company. Born into Georgian nobility, Gurge had a long-standing friendship with Prince Matchabelli that not only shaped his professional career but also provided invaluable support to the company following the Prince's death. Gurge’s deep expertise in the art of perfumery, combined with his loyal dedication to the company, made him a natural successor as the chief perfume chemist. He assumed this role after Matchabelli's passing and played a crucial part in maintaining the high standards of fragrance creation that were the hallmark of the brand.
In 1931, Gurge was living at 319 East 14th Street in New York City, reflecting his integration into the growing perfumery scene in the United States. By 1945, he was still actively working as a perfumer for the Prince Matchabelli company, which illustrates the longevity of his involvement and influence. Gurge’s approach to perfumery was deeply personal and grounded in patience, which he believed was an essential quality for any successful perfumer. In a memorable quote, Gurge explained, “Mixing and sniffing, mixing and sniffing, and mixing again” were the repetitive steps required to perfect a fragrance. This careful, almost meditative process of creation revealed his commitment to the craft and the meticulous attention to detail that was central to the company’s legacy.
His thoughts on American women’s perfume preferences further illustrated his keen understanding of both human nature and the evolving market. Gurge commented that in Russia, women typically wore one perfume that matched their personality, but in America, women had a more complex relationship with fragrance. He humorously noted that American women often shifted their scents throughout the day, moving from one “cloud” to another depending on the occasion. He explained that, “There’s a bit of tigress in every American woman, and a bit of kitten,” thus, one perfume could not suffice to capture the full range of moods and personas that a woman might embody in a single day. This observation demonstrated Gurge’s insightful perspective on the perfume industry and the personalities of his clientele.
Gurge’s deep connection to his craft also manifested in his unique approach to smelling and working as a perfumer. He explained that after a couple of hours of blending fragrances, his nose would become fatigued, and he would need to take a break from the intense sensory experience. To rejuvenate his senses, he would take walks through various neighborhoods, stepping into cafes and cigar shops to “bring a man back down to earth” and reset his nose. His dedication to preserving his olfactory abilities was such that he avoided smoking and drinking anything stronger than tea, believing that anything harsher could dull his senses and make a casualty of his nose. In his rare moments of relaxation, Gurge could be found wandering into bakeries, savoring the scents of fresh bread and cookies in the oven, appreciating the simpler, yet equally profound, aromas of life.
Gurge’s distinctive approach to the world of perfumery, his sharp intuition about human behavior, and his steadfast commitment to his craft helped solidify the Prince Matchabelli company’s place in the perfume industry. His contributions, particularly in the development of fragrances, ensured that the brand continued to thrive even after Matchabelli’s death, and his insights into the nuances of scent created a lasting legacy in the world of fine perfumes.
David Roy
David Roy, a former general in the Czar’s army, played an unexpected but significant role in the operations of the Prince Matchabelli company. Despite his distinguished background as a high-ranking officer in the Russian Imperial forces, Roy took on the humble yet essential task of driving the company's delivery truck. This role underscored the dedication and adaptability of those who had experienced displacement following the Russian Revolution, as many former aristocrats found themselves in drastically different circumstances in exile.
Although his duties may have been modest, Roy's presence was a testament to the connections and values that underpinned the Matchabelli brand. His aristocratic bearing and refusal to wear a chauffeur’s uniform reflected a quiet pride and dignity that aligned with the brand’s ethos of refinement and exclusivity. His role, while practical, carried symbolic weight; it highlighted the loyalty and camaraderie among Prince Matchabelli's inner circle, many of whom shared the same displaced nobility and a deep commitment to rebuilding their lives through meaningful work.
Roy’s involvement also added a touch of authenticity and gravitas to the company. Customers, aware of his background, may have seen the brand as not just a producer of luxury fragrances but as a haven for individuals of remarkable history and character. This unique narrative contributed to the mystique and allure of Prince Matchabelli, a company that blended aristocratic heritage with innovation in perfumery. Roy’s role, though unconventional for someone of his stature, embodied the resilience and spirit of the people who built the company and helped sustain its success.
Baron Paul Wrangell
Paul Petrovitch Wrangell, Baron von Ludenhoff (1905–1977), was a key figure in the Prince Matchabelli company during its formative years. Serving as the personal representative of Prince Matchabelli, Wrangell brought not only a deep understanding of cosmetics but also a level of sophistication and prestige that perfectly aligned with the brand's luxurious image. His expertise extended beyond perfumes and toilet waters to include a comprehensive range of Matchabelli specialties, such as soaps, Abano bath oils, lipsticks, eyeshadows, mascaras, face powders, rouges, and scented sachets. This holistic knowledge of beauty and fragrance made him an invaluable advisor to the brand's clientele.
Wrangell’s background further enriched his contributions to the company. As the nephew of General Wrangell, a distinguished leader of the Russian White Guards, he carried an aristocratic heritage that resonated with the brand’s origins and ethos. His prior connection with the Russian embassy in Rome added an international dimension to his persona, enhancing his ability to connect with a sophisticated, cosmopolitan audience.
In 1934, Wrangell's role involved directly advising women on the company’s extensive product line. His presence underscored the brand's commitment to personal service and luxury, reinforcing the exclusivity that Prince Matchabelli cultivated. Wrangell’s personal interaction with customers not only elevated their experience but also served to position the brand as one of refinement and elegance, appealing to women who sought high-quality, curated beauty products.
Through his aristocratic lineage, diplomatic experience, and expertise in cosmetics, Paul Wrangell played a crucial role in shaping the public perception of Prince Matchabelli as a brand that seamlessly blended heritage with innovation. His contributions helped establish the company’s reputation as a purveyor of not only fine fragrances but also a comprehensive suite of luxury beauty products, making him an essential part of its legacy.
Princess Tamara
Princess Tamara Anatolivna Kropotkin brought a unique blend of aristocratic heritage and personal dedication to her role at the Prince Matchabelli company. Employed by the company in 1938, she hand-sewed sachets, a task that may seem modest but reflected the brand’s commitment to craftsmanship and exclusivity. Her meticulous work underscored the brand's ethos of quality and attention to detail, essential traits that upheld its reputation as a purveyor of luxury fragrances and accessories.
Tamara's life story added an aura of nobility and resilience to the Matchabelli brand. As the widow of Prince Nicolia Kropotkin, who was tragically killed during the Russian Revolution in 1918, she embodied the enduring spirit of Russian aristocracy. Her connection to Harbin, a city in China known as the "Oriental Moscow," highlighted her global experiences and the historical intersections of Russian émigré culture. This background resonated with the Matchabelli company’s origins, rooted in the lives of Russian émigrés who brought their refined sensibilities and artistic vision to the United States.
After arriving in America in 1927 with her eight-year-old son, Prince Igor, Tamara remarried Colonel Nicola Rybakoff, a fellow Russian émigré and former officer in Prince Kropotkin's Pereiaslavsky regiment. Their reunion, delayed by years of immigration challenges, exemplified perseverance and a commitment to family, values that may have influenced her approach to her meticulous work at Matchabelli. Her personal history of endurance and adaptability mirrored the brand’s own journey of establishing itself in a new cultural landscape while maintaining its ties to Old World elegance.
Princess Tamara’s contributions to the Prince Matchabelli company were a testament to the importance of the personal touch in luxury branding. Her role, while seemingly humble, reflected the brand's dedication to creating products imbued with artistry and care. Moreover, her aristocratic lineage and remarkable life story enriched the narrative of the Matchabelli company, aligning perfectly with its image of sophistication, resilience, and timeless quality.
The story of Princess Tamara Anatolivna Kropotkin and Nicola Rybakoff is one of resilience and enduring love amidst the turmoil of war and revolution. Their journey spans continents, tragedies, and triumphs, encapsulating the upheavals faced by Russian émigrés in the aftermath of the Bolshevik Revolution.
Nicola Rybakoff, a former colonel in the Russian army's Pereiaslavsky regiment, first met Princess Tamara during the Great War. She was serving as a nurse in a Galatian hospital, exemplifying the selfless dedication shown by many women of the nobility during that era. Their bond grew through shared experiences of hardship—Rybakoff was wounded four times in battle, and the princess, widowed after her first husband, Prince Nicolia Kropotkin, was killed by the Bolsheviks, faced relentless danger and displacement.
Forced into exile, the two reunited in Harbin, China, often called the "Oriental Moscow," which served as a haven for Russian émigrés. It was there that they became engaged, forging plans to rebuild their lives together in America. Rybakoff emigrated first, securing work as an auto mechanic at the Highland Park Ford plant in Detroit. His plan was to establish himself and then bring the princess and her young son, Prince Igor, to join him. However, the couple was separated for three and a half years, as immigration laws and quota restrictions delayed their reunion.
Rybakoff's account of their trials reflects the strength and determination that sustained them. Despite his injuries and her ordeals of being "hunted and harassed and exiled," they remained steadfast in their commitment to one another. Their resilience culminated in 1932, when Princess Tamara took her oath of allegiance to the United States, officially beginning her new life in the country she had long dreamed of joining.
This narrative highlights not only the personal sacrifices made by Russian émigrés but also the indomitable spirit of individuals who overcame extraordinary adversity to build new lives in the face of loss and displacement.
Prince Vasili
Prince Vasili Alexandrovitch Romanov, a nephew of the ill-fated Czar Nicholas II and the youngest son of Grand Duke Alexander Michailovich and Grand Duchess Xenia, played a significant role in both the personal and professional world of Prince Matchabelli. Born into the grandeur of St. Petersburg's imperial aristocracy, Vasili’s family faced the upheaval of the Russian Revolution, which thrust him into exile along with many other members of the Romanov lineage. His connection to the royal family, as the son of the Czar's sister and the monarch's cousin, brought with it the weight of history, tragedy, and survival.
Prince Matchabelli, himself an exiled Georgian noble and chemist, recognized in Vasili a kindred spirit when they met in 1930 during a business trip in New York. Both shared not only a noble lineage but also a shared understanding of the need to adapt to a new world far removed from the courts of their youth. Matchabelli, by then a successful perfumer, brought Vasili into his company, appreciating his aristocratic charm and work ethic. Vasili's presence within the Prince Matchabelli firm enhanced its prestige, as his royal connections and charisma resonated with customers drawn to the glamour and exclusivity of the brand.
On a personal level, Prince Matchabelli inadvertently became a matchmaker for Vasili and his future wife, Natalia Galitzine (Golitsyn). During a gathering at Matchabelli’s penthouse, Vasili was reintroduced to Natalia, a woman he had met in Russia 14 years prior as a child. Natalia, a member of a distinguished Russian noble family, had become a refugee in America along with her parents and was living in California. The meeting rekindled an old flame, leading to their marriage in 1931—a union that symbolized hope and renewal amidst the dislocation of exile. Their story also added a romantic narrative to the Matchabelli brand, intertwining the lives of exiled aristocrats with the luxury and allure of fine perfume.
By 1932, Prince and Princess Vasili were working at the Matchabelli counter in the prestigious Bergdorf Goodman department store in New York. Their presence there not only elevated the brand's image but also provided a direct connection between the world of high society and the company's products. The Romanovs’ involvement underscored Matchabelli’s commitment to offering customers an experience steeped in sophistication and history, as well as quality. Vasili’s dual role as a representative of Russian aristocracy and as a part of Matchabelli’s operations made him a vital bridge between the brand’s identity and its clientele, ensuring its continued success and allure.
Prince Irbian-Khan
Prince Irbian-Khan Kaplanoff, a nobleman whose lineage traces back to 734 AD, exemplifies the dramatic shifts experienced by many members of the Russian aristocracy during the 20th century. Born in Russia in 1887, Kaplanoff’s life was marked by distinguished military service and profound personal resilience. A graduate of the Nicholasvskoye Cavalry School in St. Petersburg in 1910, he entered the Nijegorodsky Dragoons, a prestigious cavalry regiment with Emperor Nicholas II as its honorary colonel. Kaplanoff’s valor during the First World War was reflected in his service across multiple fronts—German, Austrian, and Turkish—where he earned multiple decorations for bravery and sustained injuries twice. His leadership extended into the Russian Civil War, where he commanded a cavalry regiment against the Communist forces.
After the collapse of the Russian Empire, Kaplanoff faced the hardships of exile, arriving in America in 1923 with little to his name. In stark contrast to his noble past, he worked as a commissionnaire (doorman) at a department store, dressed in a striking uniform that was perhaps a nod to his illustrious heritage. This role, however modest, ultimately changed the course of his life. It was through this position that Kaplanoff met Mrs. Vernon Magoffin Siems, a wealthy American woman who would become his wife in 1933. Their small, private wedding included Prince Matchabelli as a guest, signifying a bond between the two exiled aristocrats.
Kaplanoff’s association with the Prince Matchabelli company began in 1933, marking his transition from a life of military distinction to one connected with luxury and commerce. His presence within the company carried a unique significance. First, as a Russian nobleman and war hero, Kaplanoff’s personal story aligned seamlessly with the aristocratic allure central to Matchabelli’s brand identity. His historical connections and noble demeanor added to the prestige of the company, reinforcing its image as a purveyor of sophisticated and exclusive fragrances.
Additionally, Kaplanoff’s marriage to Mrs. Siems likely brought financial and social stability that benefited both himself and the company. As a member of the Matchabelli team, Kaplanoff contributed not just his aristocratic heritage but also a narrative of resilience and adaptation that resonated with the brand’s customers. His involvement highlighted the romanticism and authenticity that Prince Matchabelli sought to infuse into his perfumes, creating a compelling connection between the products and the aristocratic heritage they represented.
Prince "Sasha" Tarsaidze
Prince Alexander (Alexandre) "Sasha" Georgievich Tarsaidze, played a critical role in the Prince Matchabelli company during a pivotal period of its history. After arriving in America shortly following the Russian Revolution, Tarsaidze, a former officer in the Czar’s Imperial Navy, used his considerable expertise in Russian history to navigate the tumultuous world of exile. He became an influential figure within the Prince Matchabelli company, particularly when he took on the role of acting head and treasurer in 1935. His knowledge of Russian history and his connection to the Russian aristocracy added a certain gravitas to the company’s image, further strengthening its ties to the high society and imperial past that Prince Matchabelli sought to emphasize in his brand.
In 1934, Tarsaidze had already joined the company as a sales promotion and advertising manager, showcasing his skill in business operations, particularly in the fields of marketing and brand image. His involvement in advertising helped elevate the Matchabelli name by aligning it with the sophistication and elegance of Russian nobility, an image that resonated with both American and European audiences. However, Tarsaidze’s influence within the company became even more pronounced when he took over the role of treasurer, as well as director of sales, advertising, promotion, and publicity. These positions allowed him to shape the company’s strategy in a broader sense, ensuring that Matchabelli's perfumes were marketed in a way that emphasized exclusivity, luxury, and the refined taste of the Russian nobility.
Following the death of Prince Matchabelli in 1935, Tarsaidze remained a key figure in the company, organizing a London office for Serge Obolensky, another prominent Russian émigré. However, by 1937, Tarsaidze severed his connections with Prince Matchabelli Products Corporation, leaving behind his roles as treasurer and director of various company operations. His departure from Matchabelli marked a transition into a new chapter of his career, as he, alongside Prince Serge Obolensky, founded Parfums Chevalier Garde. This new venture allowed Tarsaidze to continue in the fragrance industry, further cementing his expertise and influence in luxury perfumery.
Later in his career, Tarsaidze expanded his scope beyond the perfume industry. He became a public relations director at the prestigious Ambassador Hotel, showcasing his adaptability and knack for maintaining high-profile roles in industries tied to luxury and refinement. Tarsaidze’s impact on the Prince Matchabelli company was significant—his background, aristocratic connections, and skills in promotion and marketing were instrumental in shaping the company's image and success during its formative years.
George Coby, born Grigol Kobakhidze, was a crucial figure in the development and early success of the Prince Matchabelli perfume company, primarily due to his expertise in glass production and his role in designing the iconic Crown Flacon bottles, a defining feature of the brand. A Georgian-American businessman, inventor, and chemist, Coby is often regarded as the first Georgian millionaire. His notable inventions, including waterproof concrete and glass bricks, showcased his ingenuity and entrepreneurial spirit. He was also linked to the invention of the first electrical Christmas tree lights, further solidifying his reputation as a trailblazer in various industries.
Grigol Kobakhidze, born in 1883 in the small Georgian village of Tkhmori, exhibited a remarkable aptitude for glassmaking from an early age. He began working at the Borjomi glass factory at just 10 years old, where his ingenuity quickly became apparent. Kobakhidze developed innovative methods to significantly increase production, impressing Schumann, the German owner of the factory. His talents led to an introduction to Mikheil Mukhran-Batoni, the owner of Borjomi, who soon arranged for him to work at the prestigious Konstantinovka glass factory in Krasnodar, Russia.
As the years progressed, Kobakhidze's career took him to various glass factories across Europe, including Munich and London. His expertise in glassmaking continued to grow, and by 1909, he had moved to America, where he would spend the next phase of his life. Kobakhidze worked for General Electric for nine years, during which he also accumulated several patents for automatic pens and stationery items. His entrepreneurial spirit and technical innovations helped him accumulate significant wealth, and by the early 1920s, he had become the first Georgian millionaire in the United States.
In 1922, Kobakhidze founded Coby Glass Products Company in Attleboro, Massachusetts. Under his leadership, the company produced not only glass but also a wide range of materials, including chemicals, medical products, and construction goods. Despite the company’s initial success, the onset of the Great Depression in the 1930s led to financial difficulties, ultimately causing the business to go bankrupt. Though his business fortunes were devastated, Kobakhidze's contributions to the glass industry, especially his expertise and innovations, left a lasting impact.
By the time he became involved with Prince Matchabelli, Coby’s company, Coby Glass Products, was already a key player in the industrial landscape of Eastern United States, particularly in the glass industry. His expertise in glassmaking made him an invaluable asset to Prince Matchabelli, who sought to establish a brand that would not only embody luxury but also leave a lasting visual impression. Coby’s most important contribution to the Matchabelli company was his design of the legendary Crown Flacon, also known as the coronette, which became the iconic trademark bottle for Matchabelli perfumes. Inspired by the letterhead on Prince Matchabelli's stationary, which featured a crown, the design drew upon the Prince's family coat-of-arms, making it not just a functional piece, but a symbol of aristocracy and exclusivity.
The Crown Flacon was launched alongside the creation of the Prince Matchabelli perfume company in 1926 and became a hallmark of the brand, helping to establish its image of elegance and nobility. Coby's design for the bottle was groundbreaking, and in 1927, it was patented, officially securing the bottle’s unique and exclusive design for the Matchabelli brand. Initially, the bottles were handmade, and every detail, including the gilded accents, was meticulously painted by hand, underscoring the craftsmanship involved in creating these luxury items. Coby’s role as the supplier of these early glass bottles helped set Prince Matchabelli apart in the competitive perfume market.
However, the onset of the Great Depression had a profound impact on Coby Glass Products. The company faced significant financial challenges, ultimately leading to the loss of millions and the suicide of Coby’s business partner, Ignatiev. Unable to recover from the economic crisis, Coby filed for bankruptcy in 1931 and had to close his business. This financial downfall forced the Prince Matchabelli company to turn to French suppliers for their glass bottles, marking the end of Coby’s direct involvement with the company. Despite this, Coby’s contribution to the Prince Matchabelli brand remains integral to its early identity. His Crown Flacons not only helped solidify the visual identity of the brand but also embodied the sophistication and high-class image that Prince Matchabelli strived to project.
After World War II, Kobakhidze sought financial assistance from the U.S. government to help rebuild his business. However, by that point, the glass manufacturing landscape had changed, and Kobakhidze's role in the industry had already significantly influenced the development of American glass products. His early success and inventiveness in the field of glassmaking were pivotal in establishing him as one of the most important Georgian figures in the U.S. industrial landscape during the early 20th century.
Notable Patrons & Inspirations:
Prince Georges Matchabelli, an amateur chemist with a passion for blending fragrances, became a notable figure in European high society by the turn of the 20th century. What started as a hobby—creating personal perfumes for family and friends—soon blossomed into a successful venture that would cement his legacy in the perfume industry. The prince’s keen sense of smell and his ability to craft bespoke perfumes tailored to individual personalities earned him a devoted following among Europe's aristocracy. By around 1905, he had perfected his craft and introduced a perfume that quickly gained popularity within the Russian aristocracy. This marked the beginning of what would become known as "The Royal Family of Fragrances," a collection of exclusive scents tailored for the elite.
As Matchabelli’s reputation grew, so did his clientele. By the 1920s and 1930s, his bespoke fragrances were highly sought after, and the Prince expanded his business to cater to the growing demand for personalized perfumes. He blended unique scents for an array of prominent figures in society, including opera singer Lucrezia Bori, actress Angelica Archipenko, and famous stage personalities like Elsie Ferguson and Alfred Lunt. He also crafted special perfumes for interior decorator Lady Mendl, socialite Marie Doro, and wealthy patroness Mrs. S. Stanwood Menken. These bespoke perfumes were not only an expression of luxury but a symbol of exclusivity and refined taste.
Matchabelli’s influence in the perfume world continued to extend to some of Hollywood’s most famous actresses, with sophisticated stars like Gloria Swanson, Grace Moore, Katharine Hepburn, and Dolores Costello all becoming recipients of his custom fragrances. High-society women such as Mrs. W.R. Hearst, the wife of media mogul William Randolph Hearst, Mrs. R.T. Wilson, and Mrs. Gene Tunney were also among his clientele. Additionally, the prince introduced a unique perfume named "Hermine," specifically designed for the luxury market to complement furs. This bespoke scent became synonymous with opulence and the high-end fashion world, further solidifying Matchabelli’s reputation as a master of personalized fragrance blending. Through his creations, Matchabelli was able to fuse his love of chemistry and art with the desires of the world's most influential figures, leaving a lasting imprint on both the perfume industry and society at large.
The Perfumes of Royalty
Prince Georges Matchabelli's expertise in creating bespoke perfumes extended beyond Hollywood stars and socialites—his fragrances were also created for, and inspired by, European royalty. The prince’s personal connection with nobility and his deep understanding of their desires allowed him to craft fragrances that captured the essence of their individual personalities. Several perfumes were created for or in honor of royals, such as Princess Norina (named after his wife), Princess Marie, and Princess Nina, the latter named in tribute to Matchabelli’s mother. These perfumes symbolized the Prince’s deep appreciation for his lineage and his royal patrons, reinforcing his status as a perfumer of distinction.
In addition to creating bespoke fragrances for Russian and European royalty, Matchabelli also crafted perfumes to honor specific royal figures. One of the most notable examples is Queen of Georgia, which was inspired by the Georgian royal heritage and connected to the prince’s own background. Prince Georges (named after himself) was another fragrance designed for nobility, encapsulating the regal nature of its namesake. The Princess of Wales perfume further solidified the Prince’s position within royal circles, as it was crafted in honor of this well-known figure. His connection to royalty also included designing exclusive perfumes for some of the most influential women in European courts.
In addition to these high-profile creations, Matchabelli’s perfumes found their way into the personal collections of several important European figures. The Duchess of York, later known as the Queen Mother, was honored with a special perfume that symbolized her elegance. Queen Marie of Romania and Grand Duchess Marie of Russia were also among the royals who enjoyed bespoke scents by Matchabelli. His reputation for creating luxurious, personalized perfumes for royalty continued to grow throughout the early 20th century.
Even the First Lady of the United States, Mrs. Franklin D. Roosevelt, received a custom fragrance from Prince Matchabelli. The perfume, aptly named Inauguration, was a reflection of her role and influence in the American political sphere. Matchabelli’s royal clientele wasn’t limited to women—King Edward VIII of England was also an avid user of his men’s fragrances, reinforcing the international appeal of Matchabelli’s creations. This connection to high-profile figures, both in Europe and America, established Prince Matchabelli as one of the most exclusive perfumers of his time, with fragrances that transcended cultural and political boundaries, linking the world of royalty and elite society to the world of fine fragrance.
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Queen of GeorgiaThe Queen of Georgia perfume was inspired by one of the most iconic figures in Georgian history—Queen Tamara, who ruled from 1184 to 1213. Queen Tamara is revered for her beauty, wisdom, and formidable leadership, which earned her a legendary status not only in Georgian history but also in Russian folklore. Her reign is remembered as a golden era for Georgia, marked by cultural flourishing, military victories, and a reputation for fairness and strength. Queen Tamara’s legacy as a wise and powerful ruler made her a fitting muse for a perfume that would embody those same qualities: regal, timeless, and sophisticated.
Prince Matchabelli, known for his affinity for creating perfumes that reflected the personalities and stories of his aristocratic patrons, was inspired by Queen Tamara's legendary status and beauty. He created a chypre fragrance in her honor, which would carry the essence of her strength and grace. The perfume was first introduced in America in 1928, but for reasons unknown, it remained relatively obscure for several years.
However, in the 1930s, as Parisian women clamored for the distinctive fragrance, its popularity surged in Europe. This success on the continent prompted Matchabelli to reintroduce Queen of Georgia to the American market in 1936. By this time, the perfume had become synonymous with the elegance and allure of Parisian high society, and the re-release helped the scent gain widespread recognition in the United States. The fragrance, with its chypre composition, captivated women who admired the rich and mysterious notes, which symbolized both strength and elegance—qualities that were celebrated in Queen Tamara herself. Thus, the perfume became not just a tribute to a queen, but also a powerful representation of the enduring legacy of royal beauty and wisdom, echoing through the centuries.
Ave Maria
Georges Matchabelli’s first perfume, Ave Maria, was created as a heartfelt tribute to his wife, Princess Norina, whose remarkable portrayal of the Madonna in Max Reinhardt’s production of The Miracle had left an indelible impression on him. Norina, an accomplished opera singer, was celebrated for her beauty, grace, and powerful stage presence. Her performance in the role of the Madonna in this groundbreaking play inspired Georges to create a fragrance that would encapsulate the purity, reverence, and divine qualities of the role she embodied.
The Miracle, a play written by Karl Vollmoeller and directed by the legendary Max Reinhardt, first premiered in 1911 in Berlin and was later staged in Vienna and other European cities. The play is a dramatic exploration of faith, miracles, and the divine intervention in human lives. Set in a small medieval village, it tells the story of a young woman who, after being miraculously healed by the Virgin Mary, becomes the focal point of a religious pilgrimage. The play features themes of religious devotion and the mystical, with elements of spectacle and awe-inspiring stage effects that Reinhardt was known for. The Madonna's role symbolizes divine grace and purity, representing both the earthly and the celestial.
Norina’s performance as the Madonna was described as both ethereal and captivating, which aligned perfectly with the themes of reverence and spirituality in the play. The fragrance, Ave Maria, was Georges Matchabelli’s attempt to capture this essence of divinity and beauty through scent, drawing inspiration from his wife’s powerful portrayal of the Virgin Mary. The perfume's delicate and pure composition reflected the grace and sanctity of Norina’s role, making it a deeply personal and sentimental gesture from Georges to his wife. This gesture not only marked the beginning of his perfume career but also solidified his reputation as a perfumer who could evoke powerful emotions and memories through his fragrances.
Grace Moore
In 1934, Georges Matchabelli created a fragrance in honor of the renowned stage star Grace Moore, whose powerful voice and equally fierce personality made her one of the most celebrated opera singers and actresses of her time. Moore was best known for her roles in both opera and musical theater, gaining immense popularity for her soprano voice, which resonated with audiences worldwide. While she was admired for her vocal talent, Grace Moore was also infamous for her fiery temperament, which earned her the reputation of having a “wildcat temper.” She was a woman who exuded both grace and intensity, and it was these contrasting qualities that inspired Prince Matchabelli when crafting a fragrance for her.
The perfume, described as “feminine with a touch of a vixen” in a newspaper article, was intended to capture the dual nature of Moore’s public persona. On one hand, she possessed an undeniable elegance and charm that made her an icon of glamour, while on the other, her feisty and unapologetic nature added an unpredictable, almost dangerous allure. This duality was reflected in the fragrance, which combined traditional feminine notes with more bold and sensual elements. The scent was designed to evoke both sophistication and a hint of wildness, much like Grace Moore herself.
In addition to her vocal career, Moore was also an important figure in the early 20th century theater world, known for her roles in Broadway productions and films. She appeared in a number of Hollywood films, earning acclaim for her beauty and performance as much as her singing talent. Despite her tempestuous reputation off-stage, she became one of the most beloved figures in American opera and theater, making her an ideal muse for Matchabelli’s bespoke perfume. The fragrance he created for her not only celebrated her musical achievements but also immortalized her captivating and complex personality in the form of scent. The perfume itself would have been a reflection of both her public persona and the deeper, multifaceted woman behind the stage lights.
Katherine the Great
In 1934, Georges Matchabelli found himself in the midst of an intriguing and somewhat complicated situation when he created a perfume for the famous stage star Grace Moore. The Prince, known for his bespoke fragrances for royal figures and high society, had typically reserved his creations for those of noble birth. However, he broke with tradition when he decided to create a perfume for Moore, whose talent and persona captivated the public. Matchabelli described the perfume as "gay, vivid, like she is," capturing Moore's lively and spirited nature. But little did he know, this decision would lead to an unexpected, dramatic moment.
The story unfolds when Matchabelli, in a rare moment of vulnerability, confesses that he had indeed created the perfume for Moore. This revelation occurred while he was riding in the motor of another major star, Katharine Hepburn, who was said to have been Matchabelli's rumored lover at the time. When Hepburn learned that the Prince had designed a fragrance for Grace Moore, her reaction was swift and intense. According to Matchabelli, Hepburn, known for her sharp wit and independent nature, suddenly stopped the car and ordered him to "Get out!" He humorously attributed her response to jealousy, hinting at the tension between the two women in his life.
Despite the emotional confrontation, Matchabelli did not obey her command, but instead made a promise to Hepburn: he would create a perfume for her, one that would reflect her own distinctive personality. However, Matchabelli knew that designing a fragrance for Hepburn would be a challenge. Hepburn's complex character and no-nonsense attitude would require a scent that was both strong and sophisticated. From this promise, the 1935 perfume "Katherine the Great" was born, named not only in homage to Hepburn but also inspired by the historical figure of Catherine the Great, the formidable Russian empress known for her power and influence.
"Katherine the Great" also went by another name, "Princesse du Nord," further emphasizing Hepburn’s regal persona. The fragrance was designed to embody Hepburn's unique character—uncompromising, bold, and fiercely independent. The creation of this perfume marked a turning point for Matchabelli, as it was his attempt to blend his craft with the intense and often difficult personalities that surrounded him. It also cemented Hepburn's role as a muse in Matchabelli’s life, though the complexities of their relationship only added to the intrigue surrounding the perfume’s creation.
Princess Norina Matchabelli, Georges Matchabelli’s wife, was not only the muse for his perfumes but also a successful and talented dramatic actress. Known for her roles in both European and American theater, she made a name for herself in the arts, impressing audiences with her beauty and talent. While her husband's perfumes were beloved by high society, Princess Norina played a significant role in promoting them further within the theater world, introducing Matchabelli's fragrances to other actresses, further solidifying his brand's connection to the glamorous world of theater and film.
One of the most notable interactions between Princess Norina and the legendary actress Helen Hayes took place in 1935, following Hayes' performance in Victoria Regina, a play in which she portrayed the iconic Queen Victoria of England. The Princess, known for her grace and charm, attended the performance with her husband, and it was during this occasion that she presented Hayes with a bottle of one of Matchabelli's exclusive fragrances. According to the story, Norina assumed the role of a courtier, much like a royal figure herself, and presented Hayes with a bottle of "Empress of India," a perfume designed to evoke the grandeur and regality of Queen Victoria, who was also the Empress of India during her reign. This gesture, as regal as it was thoughtful, captured the connection between royalty, theater, and the Matchabelli brand.
In another account of the same event, it’s said that Princess Norina made a grander gesture, presenting Helen Hayes with a bottle of "Katherine the Great," another perfume from Matchabelli’s collection, which had been created for Katharine Hepburn. However, it seems that Hayes, like many others, preferred a different scent. She gravitated toward a fragrance called "Duchess of York," a perfume that was as elegant and poised as the title it represented. This anecdote not only highlights the Princess’s role in promoting Matchabelli's fragrances but also reflects the interplay between personality, performance, and scent—showing how each perfume could embody the essence of its wearer.
Helen Hayes, known as the "First Lady of the American Theater," had her own remarkable qualities that made her portrayal of Queen Victoria particularly special. Her performance was beloved for its youthful and vibrant portrayal of the older queen, emphasizing the early years of Victoria’s reign with a touch of innocence and energy that contrasted with the typical historical representation of the monarch. This connection between the perfumes Princess Norina introduced and the actresses like Helen Hayes demonstrates the close relationship between theater, performance, and the world of luxury perfumes during the early 20th century.
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c1935 ad
In 1935, Prince Matchabelli continued to uphold his reputation for crafting bespoke fragrances tailored to the unique tastes of notable individuals. Among his distinguished clientele was Lawrence Tibbett, a celebrated American opera singer and film actor. Known for his commanding presence and rich baritone voice, Tibbett was a prominent figure in the cultural landscape of the 1930s, performing on the grand stages of the Metropolitan Opera and starring in Hollywood films. His artistry and charisma made him an ideal muse for Matchabelli’s personalized approach to perfumery.
For Tibbett, Matchabelli created a special handkerchief scent designed to capture an essence that resonated with the singer’s persona and preferences. The fragrance was described as evoking the freshness of newly mown hay, a scent symbolic of nature’s simplicity and vitality. This choice reflected a sophisticated yet grounded quality, aligning with Tibbett’s image as both a refined artist and a man with deep ties to the American heartland. The green, earthy aroma of new mown hay carries a timeless appeal, conjuring memories of open fields and pastoral serenity—qualities that may have appealed to Tibbett’s sensibilities.
The creation of this bespoke fragrance highlights Matchabelli’s commitment to individuality and artistry in his craft. By tailoring scents to reflect the personalities of his clients, Matchabelli demonstrated an exceptional ability to blend olfactory creativity with personal connection. This collaboration between the Prince and Tibbett exemplifies how perfumery can transcend mere aesthetics to become a deeply personal and expressive art form.
Other Perfumes:
Many of the perfumes created by Georges Matchabelli were designed to evoke the essence of nature's most delicate and beloved flowers. These single-flower perfumes captured the pure and unembellished beauty of individual blooms, each scent carefully crafted to embody the unique characteristics of the flowers it was named after.
Gardenia was likely a rich, creamy fragrance with a smooth, sweet, and slightly citrusy undertone, capturing the lush, tropical elegance of the gardenia flower. The scent would have been velvety and slightly indolic, evoking the heady, white blooms that are both delicate and powerful in their fragrance. Gardenia perfumes often have a creamy floral quality, with notes of jasmine, tuberose, and a subtle green undertone, evoking the luxurious and almost opulent character of the flower.
Honeysuckle would have been sweet, fresh, and uplifting, reminiscent of a warm summer day. The fragrance would have been light and airy, with a touch of honeyed sweetness that came from the nectar-rich blossoms. Honeysuckle perfumes are often characterized by their fresh, slightly green, and floral notes, with hints of citrus or fruitiness, capturing the essence of the flower’s soft, sweet fragrance that fills the air on a warm evening.
Lilac evokes the soft, springtime beauty of the lilac flower, often described as light, sweet, and powdery with an airy, delicate quality. A lilac perfume would have been reminiscent of a soft breeze carrying the subtle floral notes of this purple flower, with undertones of fresh, green leaves and a slightly powdery finish. Its scent is typically light and springlike, with hints of sweet floral and creamy undertones, embodying the refreshing and youthful spirit of the flower.
May Flower, likely referring to the hawthorn blossom or another delicate flower of the early spring, would have a sweet, fresh, and green aroma, with a slight touch of apple-like crispness. The perfume would evoke the subtle, airy quality of flowers blooming in the spring, offering a sense of renewal and freshness. The May Flower scent would likely have been soft and delicate, with hints of soft greenery and a gentle floral heart that radiates freshness and vitality.
Muguet, better known as Lily of the Valley, is a classic floral scent that is fresh, green, and sweet, with a delicate and slightly powdery finish. The perfume would have been light, fresh, and almost effervescent, capturing the scent of tiny, bell-shaped flowers that are known for their sweet, crisp fragrance. Muguet perfumes are often described as clean, with notes of dewy grass, sweet florals, and a subtle, crisp edge that evokes the feeling of a spring morning. It’s a fragrance that embodies purity, grace, and a soft, almost innocent charm.
Georgian Carnation would likely have been a floral fragrance that captured the essence of the carnation flower, a popular and historically significant bloom. The carnation, known for its spicy, clove-like scent, would have been the dominant note in this perfume, offering a rich, warm, and slightly peppery aroma. This floral fragrance would have been sophisticated and elegant, with layers of complexity. Its classic, spicy-sweet aroma would have made it a fragrance that could be worn on a variety of occasions, from elegant gatherings to more casual, everyday wear.
Each of these perfumes, inspired by nature's flowers, would have captured the delicate beauty and unique fragrance of their namesakes, bringing the fresh, sweet, and pure essence of each bloom into the world of fragrance.
Scents for the Holidays
Russian Easter Lily would have offered a fresh, crisp, and invigorating scent, with a unique balance of cool floral notes. Unlike the sweeter Bermuda lily, this perfume would have been more piquant, evoking the slightly spicy and peppery nuances of the Russian Easter Lily. The fragrance would have been lighter, with delicate floral tones that are not overwhelming or heady. The coolness of the lily would have been complemented by subtle green, grassy undertones, making it feel refreshing and airy, akin to the first blooms of spring. It would have evoked a sense of purity and calm, offering a gentle, soothing fragrance reminiscent of a cool morning breeze.
Christmas Rose would have combined the warm, comforting essence of a classic rose with the soft sweetness of jasmine, creating a fragrance that is both floral and slightly exotic. The rose would likely have been rich, velvety, and full-bodied, but the addition of jasmine would lend a sensual, slightly spicy edge. This perfume would evoke a cozy, festive atmosphere, capturing the essence of a holiday season surrounded by beautiful blooms. The fragrance would be floral but not overwhelmingly sweet, offering a balanced and elegant scent that could easily carry the spirit of Christmas without being too heavy, and with a touch of warmth and freshness that would make it suitable for both daytime and evening wear.
Holly Berry would have been an aromatic and festive fragrance, evoking the essence of the holiday season with a combination of tart, fruity notes and warm, spicy undertones. The fragrance would likely begin with a burst of zesty, berry-like freshness, reminiscent of holly berries or other winter fruits, offering a bright and tangy opening. As the scent developed, it would have deepened into warm spices, such as cinnamon, cloves, and a hint of nutmeg, evoking the festive aromas of holiday baking. The base notes of green, fern-like woodiness would add depth and a grounding, earthy quality to the scent, reminiscent of winter forests. Overall, Holly Berry would have been a lively and spirited fragrance, embodying the warmth, joy, and coziness of the holidays, while maintaining a balance between sweet fruitiness and spicy warmth.
Each of these holiday-inspired perfumes would have encapsulated the unique mood of the season they represent. Whether offering the refreshing coolness of Russian Easter Lily, the warm floral charm of Christmas Rose, or the festive, spicy sweetness of Holly Berry, these perfumes would have been a wonderful way to celebrate the spirit of each special occasion.
Scents for the Seasons
Other perfumes evoke times of the year. Summer Shower would have been a refreshing and invigorating fragrance, evoking the feeling of a cool, bright shower on a hot summer day. The scent would have been light and airy, with a blend of citrusy and fruity notes that spark freshness. The floral bouquet would have been delicate and clean, perhaps with hints of jasmine or lily of the valley, adding a soft, feminine touch. The fragrance would likely have been balanced with a subtle aquatic undertone, reminiscent of cool blue water or the freshness of a summer breeze. The overall effect would be one of revitalization, a bright, uplifting scent perfect for warm, sunny days.
Summer Frost would have conveyed a feeling of coolness, like the refreshing air on a summer evening, just after a brief afternoon storm. While the scent would have been cool and crisp, it would have still retained some warmth, likely through the presence of soft, floral notes such as freesia or peony. The fragrance would have been a bit more translucent, capturing the essence of fresh air and light floral notes, while also invoking a sense of coolness through subtle green or watery elements. There may also have been an ever-so-slight hint of iced fruit or mint, adding to the refreshing nature of the fragrance. This perfume would have been perfect for transitioning from the heat of the day into the cooler, calming evening.
Spring Fancy would have been an invigorating, light-hearted fragrance that captures the essence of a carefree spring day. With its fresh floral composition, it would have evoked the scent of early-blooming flowers—perhaps daffodils, tulips, or hyacinths—gently wafting in the spring breeze. The fragrance would have been playful and youthful, with a clean, airy quality that conjures images of new growth and budding flowers. The addition of "exhilarating fresh woody notes" would give the perfume a touch of earthiness, perhaps with hints of green, moss, or fresh-cut grass, grounding the light floral notes and creating a balanced, uplifting scent. Overall, Spring Fancy would have felt like a breath of fresh air, ideal for those breezy spring days.
Golden Autumn would have been a warm, vibrant fragrance that evokes the crispness and richness of autumn. The scent would have been complex, with a lively mix of woody, mossy, and leafy notes that conjure the feeling of a walk through a forest during fall, when the leaves turn to shades of amber, gold, and red. The fragrance would likely have opened with a brisk, refreshing snap of cold air, followed by the earthy, grounding tones of oakmoss and patchouli, enhancing the autumnal atmosphere. As the scent deepened, it would have become richer, with the addition of warm, floral notes such as chrysanthemum or rose, bringing a soft sweetness to balance the more woody elements. The overall effect would have been both energizing and comforting, reminiscent of the changing seasons, and perfect for lifting the spirits during the transition to cooler weather. The richness of Golden Autumn would have embodied the golden hues of Indian summer, with its combination of crispness, earthiness, and the lingering warmth of fall.
Romantic Themes
Gypsy Patteran, or "Gypsy Trail," is a perfume inspired by the romantic and mysterious imagery of the gypsy lifestyle. The scent evokes a sense of freedom and adventure, drawing from the traditions of gypsies who traveled across the countryside, leaving behind coded symbols made from branches and leaves. These marks, placed in specific patterns, served as a way to communicate with fellow travelers, indicating routes, directions, or intentions. The fragrance could have reflected this sense of movement and communication with a blend of earthy, wild, and untamed notes. It might have included scents reminiscent of fresh grass, wildflowers, and a hint of the outdoors, invoking the image of a carefree journey. The perfume would likely carry a sense of mystery, adventure, and an element of the unknown, drawing the wearer into the romanticized world of the traveling gypsies.
As noted in the 1960 publication Marketing in Latin America, the Prince Matchabelli brand's appeal extended to the Latin American market, particularly among upper-income individuals. The scent line created by the brand emphasized a "Continental air," offering an aura of sophistication and exclusivity that was particularly attractive to affluent Latin American customers. This desire for luxury was reinforced by the association with European refinement, symbolized by the Matchabelli coat of arms, which carried a crown motif. The perfumes, with their elegant packaging and high-end marketing, tapped into the aspirational desires of Latin American consumers who sought European elegance.
One such scent, Simonetta Incanto, was created for Prince Matchabelli by Simonetta of Rome, an Italian duchess and well-known couturière. Simonetta had a reputation for fashion and design, and her perfume would have conveyed the same sense of style and sophistication she embodied in her fashion work. The perfume, along with the aristocratic branding of Prince Matchabelli, aimed to appeal to those who desired a taste of high society, offering them a connection to European nobility and glamour. The perfume's creation by a renowned duchess gave it a sense of prestige and "snob appeal," a term used to describe its exclusivity and allure to the upper classes.
In this context, perfumes like Simonetta Incanto and Gypsy Patteran were more than just scents—they were part of a larger cultural and social narrative, shaping the way consumers viewed luxury, status, and European refinement. These fragrances served as a means of personal expression, allowing individuals to signal their own identity, desires, and place within society.
The Fate of the Perfume Company:
In 1931, Princess Norina Matchabelli, formerly known as an acclaimed actress, became a devoted follower of Meher Baba, an Indian spiritual teacher who gained followers around the world. Meher Baba, known for his teachings on self-realization, love, and compassion, had a significant following in the West during the early 20th century. Princess Norina's commitment to Meher Baba's spiritual beliefs, however, caused a rift in her marriage to Prince Georges Matchabelli, the famous perfume magnate. Their differing beliefs and priorities led to significant tension in their relationship, and the couple ultimately divorced in 1933. This was a turning point for the Matchabellis, as their personal and professional lives diverged.
Following the divorce, Prince Georges Matchabelli found himself navigating his identity and citizenship. Despite his personal separation from the aristocracy, he still wished to retain the allure and status of his noble title. His desire to retain this glamour led him to petition for American citizenship, but he also sought to keep his title. From 1934 onward, he became known as "Mr. Prince Matchabelli", incorporating his noble title as his first name while embracing his new life in America. This act was symbolic of his attempt to balance his past noble heritage with his new life in the United States.
In addition to his business endeavors, which continued to flourish, Prince Matchabelli also took on a public role as the President of the Georgian Association in the United States from 1932 until his death. The association, which brought together Georgians who had emigrated from the region of Georgia in Russia, was an important part of his life, as it kept him connected to his heritage and served as a social and cultural bridge for the Georgian diaspora.
Tragically, Prince Georges Matchabelli passed away on March 31, 1935, at his home in New York, following a week-long battle with pneumonia after a trip to Shanghai to open an office for his business. He was 58 years old. At the time of his death, his ex-wife, Princess Norina, rushed from California to be by his side. She was joined by Grand Duchess Marie, a member of the Russian royal family and first cousin to the last Tsar of Russia, Tsar Nicholas II. Grand Duchess Marie was an old friend of Prince Matchabelli and had been a frequent presence in his life. The intimate circle at his bedside, including these significant figures from his past, underlined the complexity of his life—woven with relationships both personal and royal. After his death, Prince Matchabelli was buried at Mt. Olivet Cemetery in Queens, New York, marking the end of an era for both his family and his perfume empire.
It has been widely speculated that Prince Georges Matchabelli was engaged to the dark-haired, exotic Princess Ketevan "Ketto" Mikeladze at the time of his death. Born in Tbilisi, Georgia, Ketto hailed from the Mikeladze family, a noble Georgian lineage with roots dating back to at least the 14th century. At the time of her birth, her family was part of the aristocracy in the Russian Empire, which had control over Georgia. The Mikeladze family, known for its connections to the Russian elite, experienced the turbulence of the Russian Revolution of 1917, which significantly altered the social and political structure of the empire.
Ketto's life took several turns during these turbulent times. She married Captain Lassen, a Russian officer of Danish descent, who was stationed in Iran during the war. He survived a violent massacre in Rezaieh, a lucky escape given the horrific fate that befell many of his comrades. After her husband's death in 1930, Ketto made her way to New York, with a stop in Paris. She was accompanied by her daughter, Sigrid Lassen, and soon became part of the vibrant and sophisticated social circles in the city, establishing herself as a prominent figure in New York society.
By 1931, Ketto had embarked on a career as a model at Bergdorf Goodman, one of New York's premier department stores known for its high fashion. Her striking beauty and exotic heritage made her a sensation in the fashion world, and she was soon dazzling audiences as a Ziegfeld Girl, a title given to the chorus girls in Florenz Ziegfeld's Broadway revues, known for their glamorous presence. However, Ketto's talents were not limited to modeling. By 1936, she had started her own design business, opening a fashion salon called Ketto, located at 121 East 57th Street, in the heart of New York’s fashionable district.
Her association with high society deepened further when she joined Elizabeth Arden's team in 1937 as a negligee buyer. Her natural flair for design and fashion was quickly recognized, and she transitioned to becoming the special designer for Arden's lingerie department. Elizabeth Arden, who had a great admiration for White Russian noble families, found Ketto particularly enchanting. Ketto's designs, which included luxurious and exclusive lingerie pieces, sold at premium prices, further cementing her place in New York's elite circles.
Ketto also became close friends with the legendary cosmetics mogul Helena Rubinstein, who, in recognition of their friendship, left her a $1,200 inheritance in her will. As she became more established in the world of fashion and design, Ketto opened her own business, Ketto Inc., a boutique specializing in gowns and lingerie.
Despite the rumors that linked her romantically to Prince Matchabelli, Princess Norina Matchabelli, Georges's ex-wife, strongly refuted these claims. She clarified, stating, "We were never separated. We were great friends. I was divorced from him, if you must use the modern, technical nomenclature. But where there has been no real separation, there was no need of a reconciliation." This statement highlights the complex and enduring relationship between the Matchabellis, even after their divorce. While Ketto had clearly played an important role in Georges's life, Princess Norina’s words suggest that the bonds between them were never fully severed.
After Prince Georges Matchabelli's death in 1935, his legacy and the leadership of the Prince Matchabelli Perfumery was left in the hands of his family and business associates. Princess Margarita Matchabelli, his sister-in-law, took over as head of the Paris branch of the company, continuing the work he had started in the fragrance industry. Meanwhile, Princess Norina Matchabelli, his ex-wife, was elected president of Prince Matchabelli Perfumery, Inc. in New York. She assumed leadership of the company for a short period, overseeing operations for only a year before it was sold. During this time, Norina was supported by two key figures: Prince Demidoff and Prince Alexander "Sacha" Tarsaidze, who became the acting head and treasurer of the company. The business was navigating through a difficult period following the prince's sudden passing, and these figures played an essential role in managing the company's affairs during the transition.
In the wake of the prince's death, a ceremonial blessing was held at the Matchabelli salon on Fifth Avenue in Manhattan, as reported by the Daily News in 1935. The blessing was a symbolic gesture that adhered to a tradition in old Russia, where a priest would bless the walls of a new business or home before it was occupied. Father Vasily Kurdumoff, the pastor of the Russian Cathedral, performed the blessing. The event was attended by Norina, along with several close friends of the late prince, including Prince Serge Obolensky, Count Vladimir Adlerberg, and Prince Iralki Orbeliani. This ceremony was arranged by the prince before his death, underscoring his devout faith and connection to the Russian Church, which he had supported financially. It was a somber yet significant occasion that tied the family’s business legacy to both tradition and spirituality, reflecting the prince's deep personal ties to his heritage.
Amidst the transition, rumors began to swirl about the fate of the prince’s fortune, particularly concerning the 51% of the perfume firm that was owned by Prince Matchabelli at the time of his death. A report in the Wilkes-Barre Times speculated that unless legal complications were resolved, the share of the company would be transferred to the Soviet Union through confiscation. The notion that the Soviets might claim ownership of the prince’s assets was rooted in the political upheavals of the time. Prince Matchabelli, being born into the aristocracy of Georgia, had connections to the Russian nobility, and the Soviet government might have seen an opportunity to seize the wealth and property of émigrés or those associated with the former ruling class. This idea was fueled by the larger geopolitical context following the Russian Revolution of 1917, which led to the Bolshevik regime’s efforts to confiscate the estates and fortunes of the aristocracy. However, the legal and political situation surrounding the prince's estate was complex, and it was unclear why or how the Soviet Union might have been entitled to claim a stake in the company. Despite the rumors, the company was eventually sold, and the Prince Matchabelli Perfumery entered a new phase under different ownership.
New Owners
In 1936, the Prince Matchabelli perfume business was sold to Saul Ganz of Parfums Weil, Inc. for $250,000. The sale marked a pivotal change in the company’s ownership and direction. At the time, Saul H. Ganz had recently organized the Parfums Weil Paris, Inc., a new perfume firm that operated under his leadership as both president and treasurer. Ganz was also involved in the fashion jewelry industry as president of D. Lisner & Co., a prominent importer and manufacturer based on Fifth Avenue. Following the formation of Parfums Weil, he appointed his sons, Paul H. Ganz and Victor W. Ganz, to key roles within the company, with Paul serving as president and Victor taking on the roles of vice president, secretary, and treasurer. The Ganz family was keen on expanding the company's presence in the fragrance market, and the acquisition of Prince Matchabelli was a strategic move to grow their portfolio.
In 1937, as part of efforts to boost the profile of the Prince Matchabelli fragrances, Helen Golby was hired as the director of publicity for the company. Golby, who had previously worked for Harriet Hubbard Ayer, played a vital role in promoting the brand across the United States. Her efforts helped to solidify the Matchabelli perfumes’ place in the competitive American market during the late 1930s, ensuring that the fragrances maintained their appeal even as ownership and management shifted.
In 1941, the ownership of Prince Matchabelli changed hands again when it was sold to Vicks Chemical Company, further altering the brand's trajectory. During this period, Paul H. Ganz, who had been instrumental in the management of Parfums Weil, became a prominent figure in the fragrance world. One of his notable contributions was the design of the crown-shaped bottle for the Simonetta Incanto perfume, which was launched by Prince Matchabelli. This era also saw Paul Ganz serving as the director of the Golden Arrow Toiletries and Cosmetics department of John-Frederics in New York. Despite owning the Prince Matchabelli brand for only five years, Paul Ganz left a lasting imprint on the company. Tragically, in 1986, Paul Ganz died at the age of 76 from an intentional overdose of medication, a result of a failed suicide pact with his wife, Eula.
During World War II, the production and importation of perfumes, including those from Prince Matchabelli, were severely disrupted. The war caused significant strain on international trade, as resources were diverted to support wartime efforts. For Princess Norina Matchabelli and her associates, this period marked a halt in the flow of new fragrances into the market. The usual channels of communication and distribution between the United States and France, where many perfumes were created and produced, were effectively severed. As a result, the Prince Matchabelli brand, like many others, faced challenges in continuing its operations during these tumultuous years.
However, as the war came to an end, the fragrance industry began to recover, and new creations started to emerge. One such fragrance was Stradivari, which was launched in 1946. It marked a return to the perfume market for Parfums Weil (the company that had acquired Prince Matchabelli), and its release came during a time when communication between the United States and France remained limited. Due to these communication challenges, Princess Norina Matchabelli was unaware of the Stradivari perfume until after its introduction.
The launch of Stradivari took place under peculiar circumstances. As it was being marketed in Paris, soldiers who had returned from the frontlines of World War II, often referred to as GI’s (Government Issue soldiers), began to frequent the Parisian perfume stores, specifically the one located on the rue Cambon. This was a famous address associated with some of the most prestigious fashion houses, including Chanel. These soldiers were searching for a special fragrance: Stradivari, which had somehow gained popularity among them despite its somewhat unexpected origins.
The news about the perfume spread quickly, and these GI's would crowd into the store, eager to purchase bottles of Stradivari. Their demand for this particular scent was so significant that it eventually caught the attention of Princess Norina Matchabelli, who was initially unaware of the existence of the perfume. The phenomenon of American soldiers flocking to Parisian stores for a fragrance that she had no prior knowledge of underscores the fascinating intersection of post-war culture and the perfume industry. The surge in popularity of Stradivari among returning soldiers helped to make the fragrance a notable success during the immediate post-war years, as it became a symbol of luxury and new beginnings in a time of recovery.
In 1946, if you stood at the northwest corner of 5th Avenue and 55th Street in New York, you would have been treated to a striking sight across the street: the second-floor windows of a grand building adorned with large, story-high leaded windows. These windows were not just ordinary architectural features but were emblazoned with the royal crown emblem of Prince Matchabelli in stained glass. The windows, part of the $100,000 Crown Room—a lavish showroom and headquarters for the Prince Matchabelli perfumes—offered a glimpse into one of the most opulent spaces in New York City. This space was located at 711 5th Avenue, a prestigious address, and had been established as the Crown Room in 1935 on the 11th floor. The room was not merely a sales office; it was a spectacular exhibition space for the brand's perfumes, a true showroom that reflected the grandeur of the brand itself.
The Crown Room, designed by the renowned William Pahlmann, was a 22-foot high space measuring 30 by 60 feet. Its striking features included three balconies that displayed the Matchabelli perfumes in grand style. The room had once served as the main banking room for the Manufacturer's Trust, but under Prince Matchabelli's vision, it was transformed into a sophisticated space for his business. The luxurious room’s décor included intricate grisaille murals—monochromatic artworks with a focus on gray tones—that added to the room's refined atmosphere. Crown motifs were incorporated into the chandeliers, creating an elegant nod to the royal imagery associated with the brand. The room's balconies, which presented the perfume displays, were inspired by the Paris Opera boxes, giving it an air of both European sophistication and royal splendor.
In the fall of 1946, the Prince Matchabelli company introduced both the Crown Room and a new perfume, Crown Jewel, at a grand event—a champagne supper that marked the occasion. Over 300 guests attended the formal reception, where they were treated to an evening of glamour and luxury. The reception hall resembled a Versailles garden, with topiary murals and an exquisite marble-like desk that added to the opulent ambiance. There were banquettes and a Victorian conversation seat upholstered in sea-blue satin, contributing to the room’s aristocratic and romantic atmosphere.
The Crown Room's décor was further accentuated by the presence of two large cabinets filled with rare and antique perfume bottles and flasks, which were lent by the Newark Museum. However, the pièce de résistance of the evening was the diamond-studded Russian nuptial crown on loan from the prestigious Cartier. This crown, worn by three czarinas on their wedding days, was the crowning jewel of the evening's exhibit. The entire collection of precious treasures, including the crown, was guarded by a member of the Holmes Patrol, who humorously remarked that he would remain on duty until Cartier came to reclaim the crown the following morning.
This spectacular introduction of the Crown Room and Crown Jewel perfume reinforced the Prince Matchabelli brand’s association with luxury, royalty, and refinement, creating an unforgettable impression on those who experienced it.
In the mid-1940s, as the Prince Matchabelli brand continued to expand, all manufacturing and research for its products, including Matchabelli and Seaforth fragrances, was relocated to a larger, more efficient facility in Bloomfield, New Jersey. This move consolidated production and allowed for more streamlined operations. In 1946, another significant development took place when the Sofskin Company’s products were added to the portfolio of brands owned by Vicks, marking a broader diversification of their product line. This integration reflected the changing landscape of the fragrance and cosmetics industry during this time, as larger companies like Vicks sought to consolidate smaller brands under their umbrella to create stronger, more competitive market presences.
It is believed that Cyril Gurge who had served as the chief perfumer for Prince Matchabelli, either retired or passed away around this time. Gurge had been a prominent figure in the perfume industry, and in 1934, he had operated his own perfumery business, Cyril Gurge Laboratories, located at 319 E. 14th Street in New York. His departure from Prince Matchabelli marked the end of an era for the company, which had long benefited from his expertise and vision in creating some of their most iconic fragrances.
In 1950, Stephen G. Capkovitz was appointed the new chief chemist and chief perfumer for Prince Matchabelli, stepping into the role previously held by Gurge. Capkovitz, born on February 12, 1917, had a distinguished career in the fragrance industry. Before joining Prince Matchabelli, he had worked for Seaforth Inc., which was also owned by Vicks, as well as for the Sofskin Company. His expertise extended beyond perfumery, having previously served as the chief chemist for Yardley, a well-established name in the cosmetics and fragrance industry. He also held prominent positions with Albert Verley & Co., as head of their perfumery division at Colgate-Palmolive-Peet, where he was involved with their Jeurelle-Seventeen subdivision. Additionally, he had served as assistant perfumer for Norda Essential Oil & Chemical Co., further solidifying his credentials in the field.
In 1957, Capkovitz transitioned to a new role as the manager of the perfume, flavor, and aromatic chemicals division at S. B. Penick & Co., marking yet another chapter in his prolific career in the fragrance industry. His leadership at Prince Matchabelli, particularly in the 1950s, helped maintain the company's presence in a competitive market, following a period of change and consolidation within the broader industry.
Meanwhile, Norina Matchabelli, the widow of Prince Georges Matchabelli, spent her final years away from the perfume business. After leaving New York, she made her home in Myrtle Beach, South Carolina, in 1949. Sadly, Norina passed away in 1957 at the age of 77, following a prolonged illness. Despite her separation from the company and her personal life evolving in a different direction, she had been an integral part of the Prince Matchabelli brand, leading the company through a turbulent period following her ex-husband’s death.
In 1958, the ownership of Prince Matchabelli changed hands when Vicks sold the company to Cheesebrough-Ponds, a significant move in the corporate landscape of the fragrance industry. It is likely that Stephen G. Capkovitz, who had been the chief chemist and chief perfumer for Prince Matchabelli, either resigned or lost his position prior to the sale, which coincided with his transition to S. B. Penick & Co. Given the timing of the sale, it seems that Capkovitz’s role at Prince Matchabelli ended shortly before the acquisition, and he moved on to his new position with Penick. In 1987, Cheesebrough-Ponds was itself acquired by Unilever, continuing the cycle of corporate acquisitions that had reshaped the ownership of Prince Matchabelli over the decades.
A fascinating development in the history of perfumery emerged when the Capkovitz estate came into my hands. Among the items acquired were perfume bottles, perfume oils, essences, and aromachemicals that Capkovitz had personally used, most of which were from NORDA and Chuit Naef, dating back to the 1930s-1950s. These items were likely used by Capkovitz while working as a perfumer for Yardley, Colgate, and Prince Matchabelli. This collection represented a rare and invaluable glimpse into the tools and ingredients used by one of the most prominent figures in mid-20th-century American perfumery.
During the 1950s-1970s, another notable figure in the history of Prince Matchabelli was Leon Hardy, a perfumer from Firmenich Incorporated. Hardy, born in Grasse, France in 1905 to Leopold and Marie Hardy, relocated to the United States shortly after World War II. He joined Firmenich, where he worked as a perfumer for many years, gaining recognition for his creative contributions to the fragrance industry. Hardy’s career spanned almost five decades, and he played a significant role in the development of perfumes for various major brands.
Hardy’s work for Prince Matchabelli in particular is noteworthy. He collaborated with Ernest Shiftan in 1952 to create the renowned fragrance Wind Song, which became one of the brand’s best-loved scents. Hardy also had a long-standing partnership with other prominent brands, including Révillon and Perfumer’s Workshop. Notably, he worked with Annie Buzantyan to create Perfumer’s Workshop’s iconic Tea Rose in 1973, a fragrance that remains a staple in the rose-scented category. For Révillon, Hardy created the masterful Detchema in 1953, another highly regarded scent in his portfolio. In 1972, after decades of contributions to the fragrance world, Hardy announced his retirement from his position as chief perfumer at Firmenich, Inc. in New York. He passed away in 1975 at the age of 70, leaving behind a legacy of timeless fragrances that continue to influence the perfume industry.
In 1993, the Prince Matchabelli brand underwent another significant transition when Chesebrough-Ponds, a division of Unilever, sold the brand to an American cosmetics group called Parfums de Coeur, Ltd. This acquisition included the Prince Matchabelli trade name and the rights to five of its most popular women’s perfume brands: Wind Song, Cachet, Aviance Night Musk, Verve, and Babe. The terms of the sale were not publicly disclosed, but the agreement was focused solely on the U.S. rights to these brand names, marking a major shift in the ownership of these fragrances.
The acquisition by Parfums de Coeur effectively transferred control of these iconic scents to the company, which would continue to manage and distribute them in the U.S. market. Over time, Parfums de Coeur evolved and came to be associated with Parfums International, expanding its influence in the fragrance industry. In 2012, Parfums de Coeur was acquired by Yellow Wood Partners, a private equity firm, which led to the rebranding of the company. In 2015, the company officially changed its name to PDC Brands, a move that reflected its broader portfolio and repositioning within the fragrance and cosmetics sectors. Through these transitions, the legacy of the Prince Matchabelli perfumes continued under new ownership, adapting to the changing demands of the fragrance market while still retaining a connection to its historic roots.
I just wanted to thank you for your research. Thank you for all your time you put into this. Matchabelli's life story touches me because I grew up in Georgia during Soviet times. Since Matchabelli was emigre his name was never mentioned anywhere. We did not know what happened to the Georgian people who never returned to Georgia because they opposed Soviet regime in Georgia and would have been killed for surely if they returned.
ReplyDeleteSomehow in 80's we heard that their is a perfume called Prince Matchabelli. We had no idea of origins. Since Matchabelli was a very recognizable Georgian noble last name some people thought it may be somehow connected to our country, but we did not know how... so most people assumed it was some Italian company since some Georgian last name endings sound sort of like Italian. I think Prince Matchabelli deserves to be know in his homeland. Luckily now we can access this information online.
I read somewhere that the reason he wanted to make money by opening up the antique shop and later selling perfume was that he wanted to fund Georgian Independence movement. It would be so interesting to know for sure. I know that a lot of info about emigre is classified. I hope we find out for sure someday.
Thank you for sharing your story with us Maya,
DeleteYes, Matchabelli does sound like it would be Italian. But in fact I believe it is a bastardization of the name Machiavelli. The prince may have thought it may have been easier for Americans to pronounce.
No ma'am. I can assure you 100% that Matchabelli is indeed a noble Georgia last name. They owned lands in the region of Samatchablo ("of Matchabelli").
DeleteLots of last names in Georgia end on "elli" or "iani" which sound like Italian... to outsiders. Eventhough Matchabelli is very recognizable last name is Georgia the reason I did not immediately make the connection in 1980's is the fact that there are several ways you could write this name in English because English doesn't have all the sounds that Georgian alphabet does.
DeleteI am also an avid collector of the Prince Matchabelli perfume bottles. My Great- Grandmother unknowingly started me on my collection back in 1976 when she gave me my very first crown-shaped bottle. I carried that thing everywhere I went and I still have it today. I would like to know where I could find out more information on the color-coding that was used and the different types of glass. Many, many years ago, I contacted the company to see about getting information and the lady I spoke to didn't have a clue as to what I was talking about. Having read your story makes these bottles that much more special, to me at least. I will continue my search for more of these gems.
ReplyDeleteAccording to family portrait Georgia, it was "Machabeli" originally.
ReplyDelete1926 at 160 East 56th Street New York.
ReplyDeleteThis building wasnt built until 1927 according to internet rentals.
Trying to find my favorite that had ginger and pine. Any ideas?
ReplyDeleteanybody knows who is the owner of this brand now and is it still in production? cannot trace any new perfume of Matchabelli. Thank you
ReplyDeleteI would truly love for the fragrance, "Wind Song", to be produced in the crown pour bottles, that were made in 1976! It was the beautiful fragrance of "Wind Song", in a lovely crown shaped, pour bottle, with a golden label and cap. It was my very first cherished fragrance in a beautiful bottle. And, the application of the fragrance was more controlled with the pour design.
ReplyDeleteI am sure that there are others, who would love this, as well!
When I was teaching English in the Republic of Georgia for the Soros Foundation, I was asked to hold a week long English training for Georgians who were going to the US on a program. The participants were somewhat important people - one went on to be the mayor of Tbilisi (what was back then called Tifllis), and another was actually from the Machabelli family - he was actually a Prince of the Machabelli family, the same family, he told me, as the perfume. Other Georgians in the program told me this was true, and they treated him with a lot of respect and deference. He was a very gentle, cultured and good person, very polite with extremely good manners. I told my friends how one of my student was a real prince!
ReplyDeleteMy uncle, Norman F. Dahl, was president of the Prince Matchabelli company for a time, I believe during the years it was owned by Vicks.
ReplyDeleteTook three days to finish article in facination thru and thru....thanks very meaningful research in regards to my search obtain frangrences from growing up via verve especially....since article read verve wasnt spoke about till end article Still hope was a special fragrance from him as well as the popular crown
ReplyDeleteThank you for your article. I loved hope especially the .5 oz body oil as the scent stayed on a long time. One of my friends thought the scent was so uniquely mine that he chased down a woman thinking she was me only to discover a stranger. I wish they would bring it back as it is the only fragrance I have ever liked on me.
ReplyDeleteI have been looking for a fragrance named ‘Royal Purple’ by Prince Matchabelli. My father liked that fragrance and bought it for me to wear when I was a little girl. I haven’t found any still around and have not been able to find any information on that particular scent. Anybody have any info?
ReplyDeleteHi, you might be having trouble finding this because Matchabelli did not produce that fragrance. The Herb Farm Shop started making Royal Purple Royal around 1945, it was a tangy, woody, oriental blend that was unique and sophisticated with notes of Mysore sandalwood, spices and citrus. You should still be able to locate some old bottles being sold online.
DeleteI really miss Cachet. My favorite fragrance since the 70's. Wish I could still get it.
ReplyDeleteBecause I have not been able to purchase Aviance night musk for quite some time, I can only believe that you no longer produce Aviance Night Musk. When I wore Aviance night musk, that was ONLY fragrance I got compliments on. BYW....My other fragrances included Estee Lauder fragrances. I am so upset that I can no longer purchase Aviance night musk when I go to the store. I am desperate. Tell me where I can buy Aviance night Musk or if I can purchase the "recipe", or whatever you call it, for Aviance night Musk. I am not talking about the small little, rectangle type bottles that have plastic caps on them. I am talking about the bottle that is shaped like a "teardrop" with a cap on it. I really hope you know what I'm talking about. I only have one bottle left. And I put a touch of it on when my grandkids come to visit. I want them to associate the beautiful fragrance of Aviance night musk worh their grandma. Would you please text me at 469-888-9160? I would really really really appreciate that.
ReplyDeleteHello! Hoping you can set my memory straight and maybe even help me understand if ANY chance to properly identify the beautiful scent I remember . I used to wear PM “white musk” - perhaps before 2000. I loved it. Then, at some point thereafter, it was gone from shelves “fresh white musk” emerged. Unfortunately it was not the same scent, in far less appealing to me. Is my memory correct, or was there only ever fresh white musk..? I have always hoped to cone across the original again, but alas have not. Any information appreciated - thank you!!
ReplyDeleteHave you changed the formula for Wind Song? I have bought 2 bottles of it recently and the first one smelled weird. I returned it and bought another and it was the same. The fragrance is totally different and I will not buy anymore. If you changed the formula, it was a big mistake.
ReplyDeleteReally miss the wonderful perfumes Stradivari and Aviance. Please bring them back!
ReplyDeleteMy mom, who was born in Russia (1916-2010), worked selling the perfumes after 1933 in Manhattan. Growing up we had those little crown bottles of perfume at home. I remember “Windsong” which was wasted on our dog, after swimming in a creek, in an effort to quell the stench in our family car, after coming home from vacation. A few of us are children of friends made while working there. We keep in touch. We also had Stradivari (?), Where would they have been be working 1933 ? Bergdorf?
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