1963 Prince Matchabelli Perfume Advertisement

1963 advertisement showing various Prince Matchabelli perfumes and colognes: Wind Song, Beloved, Stradivari, Golden Autumn, Crown Jewel, Abano, and Duchess of York,.

Prince Matchabelli 1958 Advertisement

Perfumes shown in the ad are: Added Attraction, Wind Song, Stradivari, Beloved, Crown Jewel, Duchess of York, and Abano.

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

Duchess of York by Prince Matchabelli c1934

Launched in 1934, Duchess of York by Prince Matchabelli drew inspiration from a blend of romantic legend and historical reverence. The choice of the name "Duchess of York" immediately evokes an image of regal elegance, nobility, and refined femininity. The title resonates with an aura of sophistication and aristocratic charm, a fitting association for a perfume designed to capture timeless grace. While the name honors a historical figure—Isabella of Castile, as per the promotional narrative—it also serves as a broader emblem of high breeding and quiet dignity, attributes prized in the social context of the 1930s.

The promotional materials of the era tell an evocative story: two Spanish princesses, Isabella and her sister, flee their homeland after their father's murder, only to encounter the gallant English princes Edmund Langley and John, Dukes of York and Lancaster, who rescue and marry them. This romanticized tale of exile, chivalry, and love imbues the perfume with an emotional depth, creating a narrative that would have resonated with women in the 1930s, who often longed for romantic escapism during a challenging time in history. The perfume is described as embodying the gentle sweetness and loneliness of Isabella, capturing her essence with "the tenderest perfume of our day... of lilacs and young love."

The perfume debuted during the interwar period, a time defined by recovery from World War I and the Great Depression's lingering effects. The mid-1930s was marked by a cultural shift toward escapism and romanticism, evident in art, cinema, and fashion. Hollywood's golden age brought forth glamour and opulence, offering relief from the hardships of the beginning of the decade. Women’s fashion reflected this duality—daywear remained tailored and practical, but evening wear embraced femininity and elegance, with flowing silks, bias-cut gowns, and elaborate details.

Perfume, as an accessory of refinement, played an essential role in a woman’s wardrobe. A fragrance like Duchess of York, with its delicate lilac notes, would have appealed to women seeking an air of sophistication and a connection to old-world romance. The name and concept aligned with the aspirational qualities many women admired—a graceful nod to aristocratic ideals and enduring beauty.

The name "Duchess of York" conjures a sense of understated elegance and refinement, which is seamlessly mirrored in the fragrance’s composition. Classified as a floral scent, the perfume centers on purple English lilacs, an aroma that symbolizes purity, renewal, and romance. Descriptions highlight its delicate sweetness, an homage to gardens in bloom, where the soft fragrance of lilacs and slipper flowers create an atmosphere of serenity and beauty.

This interpretation reflects not only the historical and romantic legacy of Isabella of Castile but also the ideals of the 1930s woman. With notes described as “unforgettable sweetness” and an “English garden bouquet,” the perfume evokes imagery of a cultivated garden, a tranquil space of quiet luxury and impeccable taste. The use of lilac—particularly "Persian lilac from the Black Sea Riviera"—adds a touch of the exotic, underscoring the perfume's romantic narrative. The claim that the scent was "stabbing to the masculine heart" adds a layer of intrigue, suggesting a seductive, feminine allure.