Queen of Georgia by Prince Matchabelli c1928

Queen of Georgia by Prince Matchabelli, launched in 1928, was a fragrance steeped in history and personal significance. Prince Matchabelli, a Georgian nobleman himself, chose the name Queen of Georgia as a tribute to his homeland and its most revered monarch, Queen Tamara, who ruled Georgia in the twelfth century. Queen Tamara's reign is often described as the golden age of Georgia, a time of cultural flourishing and national pride. Her beauty, intelligence, and leadership are said to have sparked the beginning of the Georgian Renaissance, making her an emblem of strength and grace.

The title Queen of Georgia evokes images of regal elegance, ancient grandeur, and a deep connection to heritage. It conjures the vision of a queen who was not only a sovereign but also a cultural icon, representing both the wisdom of a ruler and the allure of a woman whose influence transcended her time. In the context of a perfume, Queen of Georgia would symbolize a fragrance that is powerful yet refined, sophisticated yet deeply rooted in tradition. The name would suggest a scent that is as enduring and captivating as the legacy of Queen Tamara herself.

c1929 ad

For women in the late 1920s, a perfume named Queen of Georgia would likely have resonated with a sense of romanticism and exoticism. The period was one of fascination with the East and a revival of interest in historical and cultural figures from distant lands. The name would have appealed to women who sought to embody the elegance and mystery associated with a royal figure from a far-off kingdom. Wearing Queen of Georgia would be seen as an expression of sophistication and a desire to connect with something timeless and universally admired.

Vintage 1930s Prince Matchabelli Tester Rack

Vintage 1930's Prince Matchabelli six bottle store perfume tester rack with the following bottles:

• Duchess of York (1934)
• Empress of India (1930)
• Queen of the Nile (1928)
• Ave Maria (1928)
• Jungle Flower (1928)

Photos from a 2011 ebay auction

Princess of Wales by Prince Matchabelli c1939

In 1939, Prince Matchabelli launched a fragrance named Princess of Wales, a title that was not chosen lightly. The name itself carries significant historical and emotional weight, evoking images of British royalty and elegance. The title "Princess of Wales" traditionally refers to the wife of the heir apparent to the British throne, a position of high prestige and public admiration. By naming the fragrance Princess of Wales, Prince Matchabelli sought to associate the perfume with the grace, beauty, and regal aura that the title embodies.

Princess of Wales was dedicated to Queen Alexandra, the beautiful and beloved wife of King Edward VII, who held the title Princess of Wales from 1863 until her husband’s accession to the throne in 1901. Queen Alexandra was renowned for her beauty, fashion sense, and charitable work, becoming a cultural icon of her time. Her popularity and influence extended beyond the United Kingdom, making her an ideal muse for a fragrance intended to capture the elegance and sophistication of a bygone era.

Alexandra was celebrated for her delicate, refined style, often setting trends that were emulated by women across Europe. Her ability to balance royal duties with a sense of personal grace made her an enduring figure in British history. By dedicating Princess of Wales to Queen Alexandra, Prince Matchabelli tapped into a rich vein of historical significance, linking the perfume to an era of opulence and elegance that many women of the 1930s would have admired.

Abano by Prince Matchabelli c1931

Abano by Prince Matchabelli, launched in 1931, initially debuted as a luxurious bath oil before expanding into a complete line of products, including a perfume by 1938. The choice of the name "Abano" is deeply evocative and likely intentional, drawing inspiration from both the thermal springs and ancient Roman baths located in Abano, Italy. This name not only connects the fragrance to a place steeped in history and tradition but also imbues it with a sense of relaxation, indulgence, and classical elegance. The term "Abano" is also said to mean "bath" in Southern Russian dialects, further reinforcing the association with cleansing, renewal, and sensory pleasure.

The word "Abano" evokes images of serene, steaming baths surrounded by classical architecture, perhaps even conjuring the luxurious rituals of the Roman elite. For women of the early 20th century, a fragrance named "Abano" would likely have suggested a sense of escapism, offering them a momentary journey to an exotic, far-off place where they could immerse themselves in opulence and tranquility. The name carries connotations of warmth, relaxation, and timeless beauty, which would have been highly appealing during a period marked by both the aftermath of the Great Depression and the approach of World War II.

The 1930s was an era of transition in the world of perfumery. Many fragrances of the time were influenced by the cultural fascination with the Orient, a trend that had gained popularity in the 1920s with iconic perfumes like Guerlain's Shalimar. Abano, classified as an oriental fragrance with a sandalwood-rich chypre base, was in line with this trend. However, its unique concept, rooted in the idea of bathing rituals and thermal springs, set it apart from other oriental fragrances. It offered a distinct blend of exoticism and relaxation, appealing to women who desired a fragrance that was both alluring and comforting.

In the context of the time period, Abano’s introduction as a bath oil before becoming a perfume was also somewhat unique. This evolution from a practical product to a luxurious fragrance underscores the brand's ability to adapt and expand, offering women not just a scent, but an entire sensory experience. The richness of the chypre base, combined with the warmth of sandalwood, made Abano both a sophisticated and enduring choice, aligning with the era’s trends while also offering something distinctly its own.

Queen of Babylon by Prince Matchabelli c1928

Launched in 1928, Prince Matchabelli’s “Queen of Babylon” evokes a powerful sense of historical grandeur and allure. The name itself, “Queen of Babylon,” conjures images of ancient opulence and mystique. This title pays homage to the legendary rulers of Babylon, an ancient Mesopotamian empire renowned for its cultural and architectural achievements, including the Hanging Gardens, one of the Seven Wonders of the Ancient World.

The most famous Queen of Babylon in history is Semiramis, a semi-legendary figure whose reign was marked by impressive feats and an aura of intrigue. Her name alone evokes visions of luxury and regal splendor, painting a picture of a powerful woman whose presence commanded both respect and fascination. The perfume’s name thus suggests a fragrance imbued with the same qualities—opulence, strength, and a touch of the exotic.

In the context of the 1920s, a decade known for its fascination with both historical and exotic themes, “Queen of Babylon” resonated strongly with contemporary audiences. The period was marked by a burgeoning interest in archaeology and ancient civilizations, fueled by significant discoveries in the Middle East and a growing public interest in the rich history of the ancient world. Films, news articles, and books of the era often romanticized these ancient cultures, aligning with the broader trend of exoticism and escapism prevalent in the arts and fashion of the time.

Queen of the Nile by Prince Matchabelli c1928

Launched in 1928, "Queen of the Nile" by Prince Matchabelli is a name that conjures visions of ancient Egypt, the majestic Nile River, and the iconic queens who ruled over this mysterious land, such as Cleopatra. The choice of the name "Queen of the Nile" was likely influenced by the fascination with Egyptology that swept through the Western world in the early 20th century, spurred by the discovery of King Tutankhamun's tomb in 1922. This event reignited a global obsession with all things Egyptian, influencing art, fashion, and literature. The name "Queen of the Nile" evokes a sense of timeless elegance, power, and seduction, qualities that would have been appealing to the modern woman of the 1920s who sought to embody a sense of exotic allure.

The name also speaks to the romanticism and mystique associated with ancient Egyptian culture. "Queen of the Nile" brings to mind images of regal queens adorned in gold and jewels, ruling over a civilization rich in culture and history. The Nile River itself, often referred to as the lifeblood of Egypt, symbolizes fertility, renewal, and the enduring flow of life. The name would have resonated with women of the time as it suggested an aura of strength, sophistication, and an exotic allure that was both timeless and unattainable.

During the 1920s, the allure of ancient Egypt was further popularized by the media. Films such as "The Ten Commandments" (1923) and the rise of the Art Deco movement, which often incorporated Egyptian motifs, contributed to the cultural zeitgeist. Books and plays that romanticized the lives of ancient Egyptian figures also captivated the public's imagination. Against this backdrop, "Queen of the Nile" would have been interpreted as a fragrance embodying the mystery, sensuality, and exoticism of ancient Egypt, offering a sensory escape to a world of ancient splendor.

The perfume itself, classified as a spicy oriental fragrance, would have been seen as a fitting tribute to its evocative name. Oriental fragrances were characterized by their warm, rich, and complex compositions, often incorporating exotic spices, resins, and florals. These perfumes were designed to be bold, luxurious, and opulent, qualities that aligned perfectly with the imagery of an Egyptian queen. "Queen of the Nile" would have stood out as a fragrance that captured the imagination, offering women a way to channel their inner Cleopatra—an embodiment of strength, beauty, and seduction.

Katherine the Great by Prince Matchabelli c1935

In 1934, Prince Matchabelli crafted a perfume in honor of the renowned stage star Grace Moore, a woman celebrated not only for her exceptional talent but also for her fiery, tempestuous personality. Described as "feminine with a touch of a vixen" in a newspaper article, the fragrance captured Moore's magnetic presence and vivacity. The Prince, known for creating perfumes exclusively for royalty, found inspiration in Moore's dynamic character, leading to a scent that was as vivid and spirited as the star herself.

"My newest perfume was created for Grace Moore, always before I created perfumes only for those of royal birth. But Miss Moore - ah- she is the queen of the stage, so I make a perfume to suit her, a perfume, gay, vivid, like she is. Then one day I am driving in the motor of the greatest star of all. She asked me if, I myself had created Miss Moore's perfume. I had to admit I did it. Suddenly she stopped the car. "Get out!" she ordered me. Jealous you see?" 

This gesture of admiration, however, did not go unnoticed by the Prince's rumored lover, Katharine Hepburn. According to an article from the same year, the Prince recounted a dramatic incident revealing Hepburn's jealousy. While driving in her car, Hepburn inquired if the Prince had indeed crafted the perfume for Moore. Upon confirmation, she abruptly ordered him out of the vehicle, her jealousy evident in her reaction. The Prince, though reluctant to comply, made a promise to create a fragrance for Hepburn, vowing to capture her unique essence—a task he acknowledged would be "difficult, very difficult."

Princess Marie by Prince Matchabelli c1933

Princess Marie by Prince Matchabelli, launched in 1933, carries with it a name steeped in historical resonance and royal elegance. The fragrance is dedicated to Empress Marie of Russia, a figure whose life and legacy were intertwined with the grandeur and tragedy of the Russian imperial court. Prince Matchabelli, a Russian nobleman himself, would have found in Empress Marie a figure of both personal and cultural significance, making her an ideal muse for a perfume that aimed to capture an aura of aristocratic refinement and grace. Empress Marie, the mother of the last Tsar of Russia, Nicholas II, is famous for her enduring strength, poise, and deep sense of duty during tumultuous times. These qualities, coupled with the opulence of the Russian court, provide a rich tapestry of inspiration for a fragrance that seeks to embody regal sophistication.

The name "Princess Marie" evokes images of a woman who is both commanding and graceful, someone who embodies both the softness of femininity and the strength of nobility. It suggests a perfume that is elegant yet approachable, with a depth and complexity that reflects the storied life of its namesake. In the world of fragrance, "Princess Marie" would likely be interpreted as a scent that is delicate yet enduring, sweet with an undercurrent of something more profound—perhaps a touch of spice or a hint of something slightly aloof, echoing the duality of a princess who is both of the people and apart from them.

Women of the time period would have related to a perfume called "Princess Marie" as an embodiment of their own aspirations and ideals. In the 1930s, a time of economic recovery and social change following the Great Depression, many women were drawn to symbols of stability, tradition, and refined elegance. A perfume named "Princess Marie" would have offered them a connection to a world of royal fantasy, a touch of luxury and sophistication that could elevate their everyday lives. It would have been a way to express their own femininity and grace, aligning themselves with the timeless qualities that Empress Marie represented.

Golden Autumn by Prince Matchabelli c1948

Launched in 1948, Prince Matchabelli's Golden Autumn embodies the essence of its evocative name with a fragrance that captures the crisp, vibrant spirit of the season. The choice of the name "Golden Autumn" is both poetic and descriptive, aiming to evoke the rich, warm hues and the serene beauty of autumn. The term "Golden Autumn" suggests a period of transition where the landscape is bathed in a golden glow, with leaves turning vibrant shades of amber and gold. This imagery aligns perfectly with the fragrance's profile, which combines the freshness of autumn with the depth and richness of an Indian Summer.

The name "Golden Autumn" conjures images of a landscape transformed by the fall season, where leaves create a carpet of gold and the air is filled with a crisp, invigorating chill. It evokes feelings of nostalgia and warmth, suggesting a time of reflection and appreciation for the natural beauty of the changing seasons. In the context of perfume, "Golden Autumn" would be interpreted as a fragrance that embodies the essence of this picturesque and transformative period, capturing the invigorating freshness of autumn and the comforting warmth of summer’s lingering touch.

Women of the 1940s would likely have found Golden Autumn appealing for its sophisticated and vibrant character. During this era, the fragrance market was evolving, with many perfumes reflecting either the opulence of the pre-war years or the emerging modern sensibilities of the post-war period. Golden Autumn's vibrant woody mossy chypre composition stood out for its crisp and refreshing qualities, which contrasted with the more opulent, heavy fragrances that had dominated the previous decade. Its blend of floral notes with woody and mossy elements created a unique and uplifting scent that resonated with the seasonal theme of renewal and change.

In the broader context of 1940s fragrances, Golden Autumn was both a product of its time and a departure from conventional trends. While the chypre fragrance family was gaining prominence, with its characteristic blend of citrus top notes, mossy and woody bases, and complex floral heart, Golden Autumn's interpretation of this style was distinctive. Its focus on the fresh, invigorating aspects of autumn, combined with the warmth of an Indian Summer, made it a notable and refreshing addition to the perfume market. The fragrance’s ability to capture the essence of the season while providing a sense of comfort and warmth made it particularly appealing to women seeking a fragrance that reflected both the beauty of the changing seasons and the elegance of post-war modernity.

Gypsy Patteran by Prince Matchabelli c1942

Launched in 1942, Gypsy Patteran by Prince Matchabelli carries a name rich with evocative imagery and historical significance. The term "Gypsy Patteran" draws from the Romani word "patteran," which refers to the practice of leaving small markers or trails made of grass, flowers and branches. These markers, known as "gypsy trails," were used by Romani travelers to signal their route and provide guidance to fellow wanderers. This concept of leaving a trail of clues resonates deeply with the idea of exploration and mystery, evoking images of a nomadic lifestyle filled with adventure and intrigue.

The name "Gypsy Patteran" conjures a sense of wanderlust and the untamed spirit of the Romani people, suggesting a fragrance that is both exotic and alluring. The term evokes emotions of curiosity and wanderlust, painting a picture of a journey through unknown and enchanting landscapes. As a perfume, "Gypsy Patteran" might be interpreted as an invitation to embrace a sense of adventure and sophistication, blending the mysterious allure of the gypsy lifestyle with a refined and elegant fragrance.

In the early 1940s, a period marked by both global upheaval and a yearning for escapism, a perfume like Gypsy Patteran would have offered a unique olfactory escape. The 1940s fragrance market saw a range of scents, from the soft florals of the pre-war years to the more intense and exotic compositions that emerged during the war years. Gypsy Patteran’s designation as a spicy cologne for women aligns with a broader trend of fragrances featuring bold and distinctive spice notes, which provided a contrast to the more traditional floral offerings. However, its specific theme and name set it apart from its contemporaries, offering a more adventurous and mysterious alternative.

During this era, the fascination with Romani culture and themes of travel and adventure were also reflected in popular media. Films and literature often romanticized the idea of the gypsy lifestyle, emphasizing themes of freedom and mystique. Gypsy Patteran’s name and fragrance would have resonated with these cultural trends, appealing to women who sought a scent that embodied both the exotic and the refined, mirroring the allure and complexity of the times.

Beloved by Prince Matchabelli c1950

Beloved by Prince Matchabelli, launched in 1950, is a fragrance whose name evokes deep emotional resonance. The term "Beloved" signifies a profound and cherished affection, a person or thing held dear with great tenderness and admiration. In the context of a perfume, the word "Beloved" suggests a scent that is intended to become a treasured part of a woman's personal repertoire, evoking feelings of intimacy, warmth, and enduring appeal.

The name "Beloved" conjures images of romance and nostalgia, resonating with themes of devotion and personal connection. It evokes a sense of longing and emotional depth, suggesting that the wearer of this fragrance is cherished and adored. The name implies that the scent itself is not merely a fragrance, but an integral part of the wearer’s identity and allure.

For women in the 1950s, a perfume named "Beloved" would likely have been seen as a symbol of sophistication and emotional richness. The post-war era was a time when personal expression and romantic ideals were particularly valued. The concept of being "beloved" aligns with the era's focus on elegance, femininity, and the celebration of personal charm. A fragrance with such a name would have appealed to women seeking a scent that not only complemented their style but also resonated with their emotional sensibilities.

Launched during the mid-20th century, Beloved fits within a broader context of fragrances characterized by their luxurious and complex compositions. The 1950s perfume market was dominated by floral bouquets and rich Oriental bases, often featuring heady, warm, and sweet notes that aimed to create an opulent sensory experience. While "Beloved" followed the trend of blending soft, sweet florals with exotic bases—reflecting popular trends of the time—it also distinguished itself with its emotional resonance and emphasis on intimate allure.

In terms of uniqueness, Beloved’s combination of Mediterranean blossoms and exotic Oriental elements was consistent with the era’s preference for complex, multi-layered fragrances. The use of such notes was not uncommon, but the name "Beloved" added an additional layer of personal significance and emotional depth, setting it apart from other offerings of the period. This blend of familiar trends with a distinctive emotional appeal allowed Beloved to resonate deeply with its audience, making it a memorable and cherished scent in the landscape of 1950s perfumes.

The newspaper advertisements for Beloved by Prince Matchabelli, launched in 1950, proudly proclaimed that the perfume was "imported from France," a claim designed to evoke an image of European sophistication and exclusivity. This assertion suggested that the fragrance itself was brought directly from France, enhancing its allure with a touch of continental prestige. However, this description was somewhat misleading, as it implied a more direct connection to French perfumery than was actually the case.

In reality, while the perfume formula for Beloved was indeed compounded in France, the process did not end there. After the formulation was completed, the scent was transported to the United States, where it was mixed with domestic alcohol, bottled, packaged, and distributed by the Prince Matchabelli factory. This arrangement allowed the company to capitalize on the prestige associated with French perfume-making while managing production and distribution domestically.

The use of "imported from France" in advertising played a strategic role in positioning Beloved as a luxury product, leveraging the reputation of French perfumery to enhance its appeal. This marketing tactic was common during the period, as it linked the perfume to the romantic and refined image of French craftsmanship, even though the actual bottling and final touches were executed on American soil.

Fragrance Composition:

So what does it smell like? It is classified as a soft, sweet and warm oriental floral fragrance for women.  Very heady with Mediterranean blossoms layered over an exotic Oriental base .

• Top notes: orange, Calabrian bergamot, neroli, lemon
• Middle notes: gardenia, ylang ylang, jasmine, orange blossom, rose, honeysuckle
• Base notes: chamomile, patchouli, Mysore sandalwood, Tibetan musk, vanilla, Abyssinian ambergris, tobacco, Abyssinian civet

It was described as "the most captivating perfume to ever come out of France. Rich and warm and becoming to the mature woman. An utterly different and incredibly long lasting new perfume. A warm poignant fragrance that seems to whisper of youth "

Scent Profile:

As you experience Beloved by Prince Matchabelli, the fragrance unfolds in a journey of captivating and layered notes. The top notes greet you with a burst of radiant citrus and floral brilliance. The orange note offers a vibrant and tangy sweetness, reminiscent of sunlit groves. This is complemented by the fresh and invigorating essence of Calabrian bergamot, which adds a touch of zesty brightness. Neroli introduces a delicate, honeyed floral aroma, exuding an air of refined elegance. A hint of lemon adds a crisp, tangy edge, enhancing the fragrance's lively and sparkling quality.

As the initial notes gently fade, the heart of the perfume reveals a lush and intoxicating floral bouquet. Gardenia, with its creamy, velvety petals, brings a rich, almost buttery sweetness that is both luxurious and comforting. Ylang ylang follows, offering an exotic, floral richness with a hint of fruitiness that adds depth and complexity. Jasmine unfolds next, its heady, opulent scent enveloping you in a warm, intoxicating embrace. Orange blossom adds a touch of ethereal sweetness, blending seamlessly with the rose’s classic, romantic fragrance. Honeysuckle finishes the heart notes with its sweet, warm, and inviting aroma, creating a harmonious and deeply feminine floral composition.

The base notes provide a warm and exotic foundation that lingers long after the initial burst of freshness has passed. Chamomile introduces a subtle, soothing herbal quality, softening the edges with its calming presence. Patchouli adds an earthy, woody depth, balancing the sweeter elements with its rich, aromatic intensity. Mysore sandalwood contributes a creamy, warm woodiness, adding a sense of sophistication and enduring allure. Tibetan musk imparts a soft, sensual warmth, while vanilla introduces a comforting, sweet creaminess that wraps the fragrance in a luxurious embrace. Abyssinian ambergris adds a hint of exotic, resinous depth, and tobacco lends a subtle, smoky richness. Finally, Abyssinian civet provides a warm, musky undertone that enhances the fragrance's overall complexity.

Beloved’s intricate blend creates a warm, poignant scent profile that is both rich and captivating, designed to leave a lasting impression. It is a fragrance that whispers of timeless elegance and subtle sophistication, tailored for the mature woman who appreciates a scent that is both unique and enduring.

Bottles:

Beloved by Prince Matchabelli was elegantly housed in exquisite azure blue crown flacons, an embodiment of opulent design and refined taste. The bottles, with their striking blue hue, captured the essence of luxury and sophistication, instantly drawing attention with their regal appearance. The azure color evoked a sense of serenity and depth, akin to the tranquil expanse of a clear summer sky or the shimmering surface of a pristine sea. The crown-shaped design of the flacon added a touch of grandeur and nobility, making each bottle not only a vessel for fragrance but also a statement piece in its own right.

The identifying package symbol, a charming cherub, further enhanced the perfume’s allure. This delicate emblem, often associated with love and affection, subtly underscored the fragrance's romantic and sentimental qualities. The cherub, with its graceful form and gentle demeanor, perfectly complemented the perfume's theme of warmth and intimacy. This intricate detail on the packaging not only added an element of visual interest but also conveyed the elegance and thoughtful craftsmanship behind Beloved, making it a cherished addition to any perfume collection.

Robin's Egg Blue Prince Matchabelli perfume bottle originally held their "Beloved" perfume. Retains its original gilt glass cross stopper and its original gold foil label on base. Photo from worthopedia.

1/4 oz size. Photo from worthopedia

Fate of the Fragrance:

Beloved by Prince Matchabelli, a fragrance once celebrated for its captivating blend of floral and Oriental notes, was discontinued at an uncertain date. Despite its eventual withdrawal from the market, the perfume retained its allure for a considerable period. By 1974, Beloved was still available for purchase, a testament to its enduring popularity and the lasting impression it left on its wearers. The continued presence of Beloved on store shelves years after its initial launch highlights the fragrance's lasting appeal and the affection it garnered from those who cherished its warm, sophisticated scent.

The perfume's longevity in the market reflects its success and the strong connection it established with its audience. Although specific details about the exact date of discontinuation remain elusive, the fact that Beloved continued to be sold into the mid-1970s underscores its status as a beloved classic, valued for its unique and memorable composition.

Infanta by Prince Matchabelli c1937

Prince Matchabelli’s choice of the name "Infanta" for his 1937 fragrance reflects a sophisticated and evocative connection to Spanish royalty and historical grandeur. The term "Infanta" is derived from Spanish, where it refers to a princess who is the daughter or younger sister of the reigning monarch, but not the heir apparent. The choice of this name suggests a perfume designed to embody the elegance and nobility associated with royal lineage.

In evoking the title "Infanta," the fragrance conjures images of royal splendor and historical sophistication. Women of the time would have associated the name with the refined and elite qualities of Spanish aristocracy, particularly reflecting on the life of Maria Theresa of Spain. Born as an Infanta and later becoming Queen of France and Navarre as the wife of King Louis XIV, Maria Theresa was renowned for her virtue and resilience amidst personal hardships and political complexities. Her life, marked by both grandeur and personal struggle, would have provided a rich source of inspiration for the fragrance’s identity.

The perfume itself, characterized as a heavy, sweet, spicy floral oriental with a dry, dusty, smoky base, would resonate with the opulence and complexity attributed to royal figures like Maria Theresa. Its aromatic profile aligns with the era’s trend for rich, exotic scents that often featured deep, intricate layers. During the late 1930s, the fragrance market was dominated by luxurious and extravagant perfumes that catered to a desire for opulence and escape from the everyday.

"Infanta" stood out by embodying the lavish and multifaceted essence of its namesake, distinguishing itself in a market saturated with similar heavy and floral orientals. This fragrance’s choice of a historically significant name and its complex scent profile likely appealed to women seeking a sense of regal sophistication and a connection to historical grandeur.

During the 1930s, the film industry also reflected themes of royalty and historical drama. While there were no films explicitly dedicated to Maria Theresa, the era was rich with cinematic portrayals of historical figures and romanticized versions of aristocratic life. Such films would have amplified the cultural resonance of a perfume named "Infanta," linking it to a broader narrative of historical prestige and personal drama.

Thus, "Infanta" by Prince Matchabelli not only aligned with contemporary trends in luxurious perfumery but also capitalized on a historical and emotional narrative that would have deeply resonated with women of the time.

Maria Theresa with Her son, the Dauphin, Louis of France, Pierre Mignard 1661

The Launch:

On November 4, 1937, The Prince Matchabelli Corporation hosted an elegant cocktail party at the prestigious Hotel Pierre in New York to unveil their latest fragrance, Infanta. This sophisticated event marked a significant moment for the company, as it showcased their newest creation amidst the grandeur of one of New York City's most iconic venues.

The choice of the Hotel Pierre, known for its opulent décor and renowned clientele, set the perfect stage for the introduction of Infanta. The atmosphere of the evening was likely one of refined luxury, reflecting the perfume’s own rich and complex character. Guests were treated to an exclusive preview of Infanta, a fragrance that promised to embody the elegance and historical allure associated with its name.

The cocktail party not only highlighted the release of Infanta but also underscored Prince Matchabelli’s commitment to sophistication and innovation in the perfume industry. By hosting the event in such a distinguished location, the company reinforced the fragrance’s association with high society and exclusivity, appealing to an audience that valued both luxury and historical prestige.

Fragrance Composition:

So what does it smell like? It was a heavy, sweet, spicy floral oriental perfume with a dry, dusty, smoky base note. It was described as the following: heavy, sultry, dry, dusty, spicy, smoky.

• Top notes: grape, iris, Calabrian bergamot, nutmeg, bergamot, lemon, cardamom
• Middle notes: orange blossom, carnation, ylang ylang, rose, gardenia, jasmine, opoponax, labdanum cinnamon, clove, violet leaf
• Base notes: cedar, labdanum, frankincense, patchouli, orris, vanilla, Abyssinian ambergris, Mysore sandalwood, East Indian vetiver, oakmoss, benzoin, leather, tonka bean, civet, Tonkin musk, myrrh, olibanum

 

"Infanta is the name of the new perfume and it has been called by those who have tried it one of the most exciting, unusual perfumes of the year, 1937, Haunting romance, exotically ephemeral and exciting, tantalizing. Infanta in one of the most disturbing perfumes on the market "

Stage, 1937:

"MATCHABELLI— "Infanta", a heavy, exotic perfume, is the newest one here, and comes in a new type of crown bottle resting on a very royal-looking square white cushion."

Vogue, 1937:

"DISCOVERIES IN BEAUTY "Infanta." Prince Matchabelli's new and knowing perfume, is vividly beautiful. It comes in a new type of Matchabelli crown, round instead of oval, and rests regally on a cushion of royal-blue velvet."

Etude, 1937:

"Black as vivid to the sense of smell as it is to the sense of sight, Weil has created Noir perfume to be worn only with black! ... Prince Matchabelli's newest presentation "Infanta," is another example of the perfume trend toward the strange.."

Etude: The Music Magazine - Volume 56, 1938:

"INFANTA. Matchabelli also produces Infanta, equally regal with its deep and tantalizing atmosphere of mystery and flirtation from grilled balconies; of fans and flashing blades; of Spanish grandees strolling and strutting; of the pomp and medieval brilliance in the time when Spain was discovering and conquering the Americas. An imaginative, sultry, smoky odor, brought to life by the heavy sweetness of Spanish grapes and exotic gardens."

Harper's Bazaar, 1939:

"Prince Matchabelli's contribution to the Spanish influence— "Infanta" perfume and a make-up to go with this shade of red for November 1939."

Scent Profile:

As you delve into the scent of Infanta, the experience unfolds through a complex interplay of ingredients, each offering a distinctive aromatic character.

The fragrance opens with a vibrant burst of grape, offering a juicy, sun-warmed sweetness that immediately captivates the senses. This freshness is complemented by the velvety smoothness of iris, which introduces a refined, powdery elegance. Calabrian bergamot adds a sparkling citrus note, reminiscent of sunlit Italian landscapes, while lemon contributes a bright, tangy sharpness that invigorates the fragrance’s top layer. The warmth of nutmeg introduces a comforting, exotic spice, enhancing the initial sweetness with its rich, aromatic depth. Cardamom further enriches this opening with its sweet, spicy complexity, adding an exotic flair to the fragrance’s fresh start.

As the scent evolves, the heart reveals a lush, floral bouquet. Orange blossom envelops you with its radiant, intoxicating aroma, reminiscent of blooming citrus groves. The rich, spicy fragrance of carnation adds a warm, floral depth, while ylang ylang imparts an exotic, tropical sweetness. Rose provides a classic, romantic touch with its deep, velvety scent, blending seamlessly with the creamy richness of gardenia. The heady, sweet aroma of jasmine enhances the heart with its alluring intensity. The inclusion of opoponax and labdanum introduces warm, resinous sweetness with balsamic undertones, while cinnamon and clove infuse the fragrance with a warm, spicy richness. Violet leaf adds a fresh, green contrast, providing a crisp, herbaceous note that balances the sweeter floral elements.

The base of Infanta is where the fragrance truly reveals its depth and complexity. Cedar offers a dry, woody scent that grounds the fragrance, while labdanum adds a rich, resinous sweetness with a touch of opulence. The smoky, resinous aroma of frankincense introduces an ethereal, meditative quality, enhancing the fragrance’s mystical allure. Patchouli provides an earthy, woody depth, adding to the fragrance’s exotic character. Orris contributes a creamy, powdery texture, enhancing the base with a refined, luxurious touch. The sweet, warm aroma of vanilla softens the base, adding a comforting richness. 

Abyssinian ambergris provides a rare, marine-like depth with its warm, animalic undertones. Mysore sandalwood adds a smooth, creamy warmth, while East Indian vetiver introduces a smoky, earthy complexity. Oakmoss brings a natural, forest-like quality with its rich, damp aroma. The resinous sweetness of benzoin and the bold, rugged scent of leather enhance the base with their creamy, spicy, and deep characteristics. Tonka bean adds a rich, vanilla-like warmth, while civet and Tonkin musk provide a musky, sensual richness. Finally, the resinous warmth of myrrh and the incense-like quality of olibanum complete the fragrance with their deep, contemplative notes.

Infanta’s intricate composition weaves together these diverse ingredients into a rich tapestry of scent, creating a fragrance that is both opulent and multifaceted.

Bottles:

Infanta was elegantly presented in a distinctive crown-shaped bottle, reminiscent of the regal packaging associated with the fragrance Simonetta, though with notable differences. Unlike the Simonetta bottle, which was adorned with a sleek black finish, the Infanta bottle was designed with a unique crown motif that diverged from the typical Prince Matchabelli style. This bottle’s crown shape adds a touch of regal charm, symbolizing the grandeur of the fragrance it encased.

Two sizes of the Infanta bottle were offered, each embodying its own form of elegance. The 3/4 oz parfum bottle, standing at 2.25 inches tall, exudes a more substantial presence, capturing the opulence of the fragrance within. In contrast, the smaller 5/24 oz bottle, measuring 1.5 inches in height, offers a more delicate and compact alternative, making it a versatile choice for those who appreciate both luxury and practicality. Each size reflects the same royal inspiration but caters to different preferences in presentation and use.

The "Scepter" bottle was used to hold the Eau de Cologne. Two sizes were used:

• 1 oz
• 2 oz

Fate of Fragrance:

Infanta, a fragrance celebrated for its opulent blend of heavy, sweet, and spicy floral notes, was eventually discontinued, though the exact date remains unknown. Despite its formal discontinuation, Infanta continued to be available for purchase as late as 1953, reflecting its enduring appeal and the continued demand for its distinctive scent profile. This lingering presence in the market underscores the perfume's popularity and the lasting impression it made on its audience, even as newer fragrances emerged.

 

Ave Maria by Prince Matchabelli c1929

Launched in 1929, Ave Maria by Prince Matchabelli carries with it a deeply personal and spiritual significance. The name "Ave Maria," Latin for "Hail Mary," is a reference to the Catholic prayer that honors the Virgin Mary. This prayer has long been associated with themes of purity, reverence, and divine grace, evoking images of serene devotion and spiritual reflection. In naming the perfume Ave Maria, Prince Matchabelli intended to capture these very qualities—offering a fragrance that would resonate with the sacred and the sublime.

The inspiration behind Ave Maria was the performance of Princess Norina Matchabelli, the prince's wife, in the role of Madonna in Max Reinhardt's production of "The Miracle." Georges Matchabelli created the perfume as a tribute to her, translating her inspiring portrayal into a scent that mirrors the reverence and beauty of her performance. In this context, Ave Maria can be seen as more than just a perfume; it is a fragrant homage to the sanctity and grace embodied by the Madonna, as interpreted by Norina.

The word "Ave Maria" conjures a sense of calm, serenity, and an almost ethereal beauty. The name evokes images of candlelit cathedrals, the soft glow of stained glass windows, and the gentle sound of a choir singing in harmony. As a perfume, Ave Maria would be interpreted as a fragrance of quiet elegance and deep emotional resonance—something that transcends mere fashion to touch on the sacred and the timeless. For women of the time, a perfume called Ave Maria would have likely carried an air of refinement and spiritual depth, appealing to those who sought a fragrance that was both worldly and mystical.

Jungle Flower by Prince Matchabelli c1930

Jungle Flower, launched by Prince Matchabelli in 1930, evokes a sense of exotic allure and untamed beauty. The name "Jungle Flower" suggests a bloom that thrives in a lush, wild environment, untouched by civilization. This imagery conjures visions of vibrant, tropical flowers blossoming amidst dense foliage, their vivid colors and intoxicating scents standing out against the deep greens of the jungle. The name alone stirs emotions of mystery, adventure, and an almost primal allure, offering a fragrance that feels both wild and captivating.

Prince Matchabelli likely chose the name "Jungle Flower" to encapsulate the idea of a fragrance that is both rare and irresistible—something that stands out, much like a flower in the jungle, for its uniqueness and beauty. The word "Jungle" suggests an environment that is raw and natural, while "Flower" brings in a sense of femininity and delicate charm. Together, the name suggests a perfume that is powerful yet graceful, bold yet tender—a duality that would have appealed to the modern woman of the time.

For women in the 1930s, a perfume called "Jungle Flower" would have evoked fantasies of distant lands and exotic adventures, at a time when travel to such places was out of reach for many. This was the era of Hollywood films that romanticized exploration and discovery, with moviegoers being enchanted by tales of far-off jungles and tropical paradises. Films like "Trader Horn" (1931) and novels such as "Tarzan the Ape Man" (1932) captured the public’s imagination, making the idea of a "Jungle Flower" perfume resonate with dreams of escapism and the allure of the unknown.

The 1930s was a period marked by both the Great Depression and a burgeoning interest in new forms of entertainment that offered an escape from reality. Perfumes during this time were often designed to evoke a sense of luxury and fantasy. Jungle Flower fit into this context as a fragrance that was both heady and original, offering an olfactory escape into a world of lush, tropical splendor. Its description as "the scent of rare originality" and "a haunting scent of irresistible appeal" positioned it as a unique offering in a market that was beginning to embrace more daring and exotic scents.

While other fragrances of the time often leaned towards more traditional florals or the emerging trend of aldehydic compositions, Jungle Flower stood out for its boldness and its embrace of exoticism. The emphasis on the "luscious scent of hyacinth" highlighted its floral richness, while its overall character suggested a fragrance that was both deeply feminine and powerfully seductive.

In summary, Jungle Flower was not just a perfume, but a symbol of the era's fascination with the exotic and the unknown. It offered women a way to experience the thrill of the jungle, the beauty of a rare bloom, and the allure of a scent that was as unforgettable as it was irresistible.

Empress of India by Prince Matchabelli c1930

Empress of India by Prince Matchabelli was launched in 1930. Dedicated to Queen Victoria of England. Princess Norina continued her successful career as a dramatic actress and introduced some of her perfumes to the other actresses. In 1935, after her performance in Victoria Regina, Helen Hayes was told that Princess Matchabelli and Princess Matchabelli were going to attend. Princess Matchabelli instantly joined the game and, assuming the role of courtier, presented Hayes, as Queen Victoria (Empress of India, among other things) with a bottle of Matchabelli's "Empress of India" perfume.

In another account, it is said that Princess Matchabelli, with a grand gesture, presented to Helen Hayes, a bottle of "Katherine the Great" scent. However, it seems that, like the English, she prefers the one called "Duchess of York." Hayes' Victoria Regina, but with that inimitable touch of youth which characterizes the early scenes of her portrayal of England's much-loved queen.

Duchess of York by Prince Matchabelli c1934

Duchess of York by Prince Matchabelli: launched in 1934. Dedicated to Mary Beatrice, Duchess of York, 1658-1718.

Potpourri by Prince Matchabelli c1940

Launched in 1940, Pot Pourri by Prince Matchabelli carries a name steeped in tradition and evokes a rich sense of nostalgia. The term "potpourri" originates from French, where it literally translates to "rotten pot" — a reference to the mixture of dried, aromatic plant materials used to scent rooms. In its essence, potpourri is a fragrant blend of dried flowers, spices, and herbs, carefully curated to create a pleasing and long-lasting scent.

In the context of perfumery, "Pot Pourri" evokes images of a richly aromatic blend, much like the traditional potpourri itself. The name conjures a sense of lush, sensory indulgence, suggesting a fragrance that is as complex and varied as the potpourri blends used in Victorian homes. This connection would resonate with women of the time, who might have associated the name with the opulent and carefully curated scents of their past.

During the 1940s, the perfume market was experiencing a transition. Fragrances were evolving from the more traditional and heavily floral compositions of the earlier decades to incorporate richer and more exotic elements. The launch of Pot Pourri positioned it within this trend, offering a sophisticated blend that combined the classic floral notes with a new depth of oriental spices and woody undertones.

Pot Pourri was classified as a floral oriental fragrance, notable for its spicy floral blend featuring roses, dark violets, and a nuanced woody dry-down. This blend reflects the broader trend of the time, which favored complex and multi-layered compositions that hinted at exoticism and sophistication. The spicy and woody elements of Pot Pourri added a modern twist to the more conventional floral fragrances of the era.

The 1940s was also marked by a cultural fascination with the past, including a revival of Victorian aesthetics in films like Gone With The Wind. This era's engagement with Victorian themes and styles would have made a fragrance named Pot Pourri, with its historical connotations and aromatic richness, particularly appealing. The perfume's name not only evoked a sense of nostalgia but also fit seamlessly into the broader trend of blending tradition with modernity.

Overall, Pot Pourri by Prince Matchabelli stood out in the 1940s perfume landscape for its unique blend of floral and oriental elements, its evocative name, and its connection to both historical and contemporary sensibilities.

Crown Jewel by Prince Matchabelli c1946

Launched in 1946, Crown Jewel by Prince Matchabelli was a perfume that captured the spirit of post-war elegance and sophistication. The name “Crown Jewel” evokes images of regal splendor and exquisite luxury. In an era recovering from global conflict, the name would have resonated with notions of opulence and refinement, promising a fragrance as precious and distinguished as a royal jewel.

The phrase "Crown Jewel" traditionally refers to a highly valued or cherished object, often a gem or piece of regalia, symbolizing the pinnacle of beauty and worth. In the context of perfume, this name would suggest a fragrance that is not only luxurious but also a standout among its peers. It implies a scent of exceptional quality and significance, one that embodies the grandeur and exclusivity of its name.

During the mid-20th century, the market was rich with perfumes aiming to capture the glamour and sophistication of the era. Crown Jewel was Prince Matchabelli’s response to Jean Patou’s renowned fragrance, Joy, which was celebrated for its lavish floral composition. Both perfumes shared an essence of opulence, though Crown Jewel was distinguished by its aldehydic woodsy floral profile.

The post-war period was marked by a return to elegance and the reassertion of femininity and grace in fashion and beauty. Women of the time were drawn to fragrances that reflected this renewed sense of sophistication and luxury. Crown Jewel, with its description as a "brilliant, opulent floral," aligned well with the trends of the period, appealing to those seeking a scent that was both grand and refined.

Crown Jewel thus stood as a testament to the era's penchant for regal elegance and luxurious allure, echoing the lavishness of its name while providing a floral fragrance that was both distinctive and fitting for the time's aesthetic sensibilities.

Princess Norina by Prince Matchabelli c1928

In 1928, Prince Georges Matchabelli unveiled "Princess Norina," a perfume born from his deep affection and admiration for his wife, Norina. The context of this time period was marked by a fascination with romance and elegance, reflecting the enduring allure of royalty and aristocracy in society. It was an era when fragrances were not merely scents but also expressions of personal stories and aspirations.

Prince Matchabelli's choice of the name "Princess Norina" for the perfume was deeply personal and symbolic. By naming the fragrance after his wife, he sought to immortalize her grace, beauty, and perhaps the regal qualities he admired in her. "Princess Norina" evokes an image of refinement, sophistication, and a touch of fairy-tale allure, appealing to those who appreciated romance and glamour.

For consumers of the time, the name "Princess Norina" would have resonated with notions of aristocratic elegance and romantic ideals. It would likely have attracted those who sought to embody or admire the qualities associated with royalty – elegance, poise, and a hint of mystery. The perfume itself would have been perceived as a tribute to enduring love and refined taste, appealing to those who appreciated luxurious fragrances with a narrative behind them.

The name "Princess Norina" conjures images of grandeur, courtly elegance, and the timeless allure of royalty. It suggests a fragrance that is both delicate and commanding, evoking feelings of admiration, romance, and sophistication. Those who encountered "Princess Norina" would have likely been captivated by its romantic narrative and the promise of experiencing a scent that embodies the essence of a beloved princess – graceful, enchanting, and eternally captivating.