Matchabelli Art Deco Solid Perfume Locket c1975

In 1975, Prince Matchabelli launched his Cachet perfume inside of a piece of wearable jewelry, a pewter Art Deco styled locket decorated with black enamel in a chevron pattern.

McCall's, 1975:

"Lauder also fills fashionable silvery bean pendants with Estee Solid Perfume ($15). And Prince Matchabelli makes two pendants— a silver-plated Aztec dragon and a pewter-and-blue-enamel Art Deco design— with Cachet solid perfume."

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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."

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.