Russian Easter Lily by Prince Matchabelli c1938

Russian Easter Lily by Prince Matchabelli, introduced in 1938, was a distinctive addition to the fragrance market, both in name and composition. The choice of "Russian Easter Lily" for this perfume was a nod to the elegance and symbolic resonance of the lily in Russian culture. The term "Russian Easter Lily" refers to the Lilium candidum, also known as the Madonna Lily. This flower is renowned for its purity and beauty, often associated with Easter celebrations and religious symbolism.

The name "Russian Easter Lily" evokes a sense of grace and refinement, conjuring images of delicate, white lilies blooming in a serene, elegant setting. It brings to mind the fresh, clean beauty of springtime, alongside a hint of the exotic allure tied to its Russian association. The perfume's name suggests an air of sophistication and a nod to the floral traditions that celebrate the lily's beauty and symbolism.

In perfume terms, "Russian Easter Lily" would be interpreted as embodying a fresh, floral essence with a touch of the exotic. The fragrance is described as cool and refreshing, setting it apart from the more common Bermuda lily perfumes of the time, which were typically heavier and sweeter. This perfume's unique character lies in its piquant, less sweet profile, offering a crisp and invigorating alternative to the more opulent and heady floral scents prevalent in the 1930s.

Launched during a period when floral fragrances were popular but often leaned towards richer, more opulent profiles, Russian Easter Lily provided a refreshing contrast. Its light and airy composition would have appealed to women seeking a sophisticated yet less overpowering scent, reflecting a modern sensibility in the fragrance trends of the era. This fragrance fit into the broader market by offering a novel take on floral scents, distinguishing itself through its unique freshness and subtlety.

Holly Berry by Prince Matchabelli c1940

Holly Berry by Prince Matchabelli, launched in 1940, carries a name deeply rooted in the festive imagery and emotions associated with the holiday season. The choice of the name "Holly Berry" likely reflects an intention to evoke the cheer and warmth of Christmas, with the holly plant being a traditional symbol of Yuletide celebrations. The crisp, spiky leaves and bright red berries of the holly plant are emblematic of winter, often used in decorations to bring a touch of nature indoors during the colder months. By naming the fragrance "Holly Berry," Prince Matchabelli sought to capture this sense of festivity and nostalgia, creating an immediate association with the joyous and communal spirit of the holidays.

The cologne itself mirrors this festive imagery, with its merry green hue reminiscent of holly leaves, further enhancing the connection to the plant's symbolism. The scent is designed to sparkle with the same liveliness as the holiday season, offering a sensory experience that transports wearers to a world of warmth, gatherings, and celebration. The name "Holly Berry" evokes images of cozy firesides, snow-dusted landscapes, and homes adorned with garlands of holly. Emotionally, it conjures a sense of nostalgia, comfort, and the joy of shared traditions, making it a name that resonates deeply with the spirit of the season.

In the context of perfume, "Holly Berry" would be interpreted as a fragrance meant to embody the essence of the holidays. Its festive aromatic profile, with tart fruit notes, sweet, warm spices, and a green, fern-like woodsy base, would be seen as a reflection of the scents commonly associated with wintertime celebrations. The tartness of the fruit notes might be reminiscent of winter berries, while the warm spices could evoke the scent of holiday baking, and the green, woodsy base could mirror the fresh, natural scent of evergreen foliage.

Incanto by Simonetta c1955

Launched in 1955 in collaboration with Prince Matchabelli, Incanto by Simonetta was a fragrance designed to capture the essence of its creator, Simonetta Visconti, a renowned Italian fashion designer. The name "Incanto" is derived from the Italian language, meaning "enchantment" or "spell." This choice of name reflects a desire to evoke a sense of magic and allure, aligning perfectly with Visconti’s sophisticated and captivating designs.

The word "Incanto" conjures images of ethereal beauty and romantic allure. It suggests a fragrance that enchants and mesmerizes, evoking feelings of wonder and fascination. In the context of perfume, "Incanto" would be interpreted as a scent that has the power to captivate the senses and leave a lasting impression, much like the enchanting qualities associated with its name. For women of the 1950s, a perfume named "Incanto" would have resonated deeply with the era’s fascination with elegance, mystery, and romance. It would have appealed to their desires for something luxurious and magical, reflecting the sophisticated and glamorous aspects of their lives.

The 1950s was a decade marked by an opulence in fragrance, with many perfumes featuring rich floral and woody notes. During this period, fragrances often embraced a blend of deep, complex scents that conveyed a sense of luxury and refinement. Incanto, with its deep woodsy floral profile and heavy emphasis on jasmine, aligned with these trends, yet it also stood out for its distinctive blend. The perfume’s emphasis on jasmine, a note known for its lush and intoxicating qualities, set it apart from other floral fragrances of the time, which often balanced multiple floral notes with lighter, fresher accents.

Incanto’s deep woodsy floral composition, featuring prominent jasmine, reflected the era’s trend towards luxurious and complex fragrances while also introducing a unique and captivating scent profile. Its association with the fashion-forward Simonetta Visconti and the evocative name "Incanto" made it a memorable addition to the perfume landscape of the 1950s, capturing the essence of enchantment and sophistication that defined the decade.

Violette de la Reine by Prince Matchabelli c1924

Violette de la Reine was introduced in 1924 by Prince Matchabelli, a name carefully chosen to evoke a sense of regal elegance and sophisticated charm. The title translates from French as "Violet of the Queen" a name that suggests both opulence and a direct connection to the brand's royal aspirations. In this context, "Violette" refers to the violet flower, a symbol of modesty and delicate beauty, while "de la Reine" means "of the Queen," imbuing the fragrance with an air of royal prestige and grace.

The name conjures images of a noble court, where violets might be the favored flower of a queen, lending an aura of luxury and refinement to the perfume. For women of the 1920s, a period marked by a flourish of both fashion and fragrance experimentation, the name "Violette de la Reine" would have evoked an image of classic elegance combined with the sophistication of high society. The notion of a queen's violet would suggest a fragrance that is not only refined and beautiful but also carries a hint of nobility and exclusivity.

In the context of the 1920s fragrance market, this violet soliflore stood out for its purity and focus. Soliflore perfumes, which highlight a single floral note, were somewhat unconventional at a time when complex and multi-layered compositions were becoming increasingly popular. "Violette de la Reine" offered a straightforward yet luxurious interpretation of violet, appealing to those who desired a more classic and singularly elegant olfactory experience. 

While it aligned with the era’s penchant for sophistication and refinement, its dedication to the violet note set it apart from the more elaborate fragrances of the time, reflecting a timeless and regal quality that resonated deeply with its intended audience.

Where Should I Apply Perfumes?

As a general rule, fragrance should be applied to pulse points. This is where the blood vessels are closest to the skin giving off more heat and acting like mini fragrance pumps.

Pulse points are the wrist, crook of the arm and back of the knee, and the base of the throat. Also, for long lasting fragrance spray at the ankles, it allows the fragrance to blossom up. For a sexy twist, apply perfume to your cleavage or spray perfume on your nude body before dressing. The nape of the neck, is a very romantic area, whenever your hair moves it might swish the perfume around, nice little subtle trail of perfumed loveliness.

Apply perfume right after you take a shower or bath. Your pores are more open then and will more easily soak up the scent. Some people say that rubbing the wrists together will crush the scent, I tried this with different perfumes over the course of two weeks, just to see if its true, it seemed to me that the friction of rubbing the wrists together actually heated up the fragrances and made them seem more potent.

I have read though that the perfume can react not so nicely to the first layer of skin...and give off a smell that isn't pleasant. Others say that to spray the perfume in the air and then walk into it, I have done this before, and it seems that it lets you control the amount of fragrance that is applied to your skin, rather than spraying directly onto the skin, this works best with heavier perfumes.

I spray perfumes on my clothes when I want to make the scent last longer, I won't spray perfume on fragile fabrics like silks or lace. You can spray your coat with perfume. Also an old tip is to apply pure parfum extrait to your furs. Doing this is up to your own discretion.

Do not apply perfume after you put your jewelry on, take it off first, then apply the perfume. The chemicals in perfume can leave stains or have chemical reactions to the metals, Pearls are especially susceptible to damage from perfume since it destroys their lustre.

Coco Chanel always said to apply perfume where you want to be kissed. I read an old perfume guide from the 1930s and it mentioned that you can apply perfume to your fingertips and eyebrows. Also apply perfume to a cotton ball and tuck it into your brassiere. Apply perfume to your hankies or gloves.

Jeanne Lanvin of Lanvin Perfumes suggested that you should apply perfume wherever your clothes cover your body, that way it will seem if it is coming from within and blend with the natural oils of your skin to make a truly individual fragrance. She also says the best time to apply perfume is 15 or 20 minutes before you are about to go out, that way the perfume has time to "set".

A 1924 ad for Ann Haviland perfumes suggests:

#1. to apply perfume to your eyebrows as the short hairs of the eyebrows retain the perfume longer than the skin since evaporation takes place more slowly.Besides, this is an ideal two-some,the girl usually comes up to a man's chin, not far below his nose.

#2. One little known method of applying perfume is to saturate a piece of cotton with your chosen scent, place it under the shoulder strap of your slip. Body heat releases an aura about you.

#3. A glamorous method of using perfume is to spray it on the hem of your evening gown, then as you walk or dance, the fragrance is wafted into the air around you. This is the best way to do it.

#4. Another pointer is to apply perfume to the inside of your gloves, while your gloves are on, the warmth of your hands attract the perfume which will cling to the fingers.

Grace Moore by Prince Matchabelli c1934

In 1934, Prince Matchabelli introduced a fragrance named Grace Moore, a choice steeped in both homage and contemporary flair. The perfume was created in honor of Grace Moore, a celebrated stage star renowned not only for her remarkable vocal talent but also for her strikingly dynamic personality. Known for her beauty and a tempestuous spirit, Moore captivated audiences with a combination of elegance and fervor. The perfume mirrored this duality, described in the press as "feminine with a touch of a vixen," reflecting both grace and an alluring edge.

The name Grace Moore conjures images of glamour and sophistication, intertwined with a hint of rebelliousness. The elegance associated with Moore's stage presence, coupled with her fiery temperament, suggests a fragrance that embodies both refinement and an underlying boldness. In a perfume, this name evokes a scent that is not just sweet or delicate but also has an intriguing complexity—a blend that is sophisticated yet spirited, much like the woman it honors.

For women of the 1930s, a perfume named Grace Moore would have been particularly appealing. The era was marked by a fascination with the glamorous lives of film and stage stars, and a fragrance named after a prominent figure would resonate with the desire to capture a bit of that celebrity allure. It was a time when perfumes were increasingly being marketed with a narrative that linked them to personalities and lifestyles, reflecting both the social aspirations and the changing roles of women.