Added Attraction by Prince Matchabelli c1956

Added Attraction by Prince Matchabelli, introduced in 1956, evokes a sense of allure and sophistication, perfectly aligning with the era's burgeoning fascination with personal charm and elegance. The name “Added Attraction” suggests an enhancement of one's natural appeal, implying that the fragrance itself serves as an extra layer of magnetic allure.

The term "Added Attraction" conjures images of increased allure and heightened appeal, suggesting that the perfume provides an additional, irresistible quality. In the context of fragrance, it implies a scent that not only complements but enhances the wearer's presence, adding a touch of distinction and intrigue. This name plays into the mid-20th century’s emphasis on sophistication and personal magnetism, reflecting a time when women sought to express their individuality and charm through their choice of fragrance.

During the 1950s, perfumes were increasingly celebrated for their ability to create a memorable impression, and Added Attraction fits well within this trend. This period saw a strong emphasis on fragrances that combined floral notes with deeper, more complex bases, reflecting both the era's love for rich, opulent scents and the growing interest in perfumes that offered a sense of both warmth and sensuality.

Added Attraction is classified as a floral chypre fragrance, distinguished by its vibrant and warm character. The perfume’s blend of floral elements with a musky, mossy, and woodsy base would have appealed to women seeking a scent that was both dynamic and grounding. The fragrance reflects the era’s preference for bold, yet sophisticated aromas that promised to enhance the wearer’s personal allure. As such, Added Attraction not only aligned with contemporary trends but also stood out as a testament to Prince Matchabelli's ability to capture the zeitgeist of the 1950s in a bottle.

Cachet by Prince Matchabelli c1970

Launched in 1970, Cachet by Prince Matchabelli was a bold statement in the perfume industry, embodying sophistication and individuality. The choice of the name "Cachet" was a strategic one, reflecting the French word that denotes prestige, distinction, and a unique mark of approval. In this context, "Cachet" suggests an aura of exclusivity and refinement, qualities that Prince Matchabelli aimed to convey through this fragrance. The name evokes images of high status and elegance, positioning the perfume as a symbol of personal distinction.

The term "Cachet," rooted in French, implies a sense of authenticity and uniqueness. It brings to mind an elevated status and a mark of distinction, enhancing the fragrance’s allure. In the realm of perfume, "Cachet" would be interpreted as a scent that is not only luxurious but also tailored to enhance the wearer’s personal charm. The name suggests that the fragrance possesses an innate quality that complements and amplifies the individual characteristics of those who wear it.

In the context of the early 1970s, Cachet was introduced during a period marked by diverse and evolving trends in fragrance. The era was characterized by a fascination with bold, innovative scents that combined classic elements with new, daring combinations. Cachet’s classification as an animalic floral chypre fragrance was quite fitting for the time, reflecting a blend of traditional chypre notes with modern, sensual undertones. Its spicy aldehydic top notes, sultry woody floral heart, and warm, leathery mossy base aligned well with the prevailing tastes of the decade, which embraced both complexity and sensuality in perfumes.

The introductory advertisements for Cachet emphasized its unique ability to interact with the wearer’s body chemistry, claiming that it would enhance and play up each individual's special qualities. This marketing approach was designed to resonate with women seeking a fragrance that offered both freshness and a distinctive personal touch. By highlighting the perfume’s capacity to adapt to personal chemistry, Prince Matchabelli tapped into a desire for individuality and self-expression, making Cachet a compelling choice for women looking to assert their own unique style in the early 1970s.

Prophecy by Prince Matchabelli c1962

Prophecy by Prince Matchabelli, launched in 1962, marked a significant return for the brand as their first major new fragrance since 1958. The choice of the name "Prophecy" is both intriguing and evocative. A prophecy is a declaration or prediction about future events, often imbued with a sense of mystery and foresight. This name suggests a fragrance that holds promises and secrets, inviting the wearer into a realm of the unknown and the extraordinary.

The term "Prophecy" conjures images of ancient wisdom and enigmatic revelations, invoking a sense of anticipation and wonder. It suggests a scent that is not just a fragrance but a journey into something profound and transformative. The emotional resonance of the name is one of intrigue and allure, appealing to those who seek a perfume that carries with it an air of sophistication and depth.

In the context of perfume, "Prophecy" implies a fragrance that is complex and multifaceted, offering a narrative through its scent. It promises an experience that evolves and unfolds, much like a story or prediction coming to life. For women of the early 1960s, a perfume named "Prophecy" would likely have been seen as an exciting and forward-thinking choice, aligning with a growing trend towards more sophisticated and unique fragrances. The name would have resonated with the era's fascination with innovation and exploration, reflecting a desire for something both modern and timeless.

Launched during a period of significant change in the fragrance industry, Prophecy was part of a broader trend of complex, layered scents that emerged in the 1960s. This era saw a shift towards more intricate and daring compositions, moving away from the simpler, more straightforward fragrances of the past. Prophecy, with its classification as a complex aldehydic woody floral fragrance with amber notes, fit well within this trend. Its combination of aldehydes, woody elements, and rich amber would have set it apart from the more traditional floral and citrus-based perfumes of the time, offering a distinctive and forward-looking option for the discerning woman. The fragrance's intricate blend reflects the period's embrace of bold, innovative styles, making it a fitting addition to the evolving landscape of perfumery.

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.

Stradivari by Prince Matchabelli c1942

Stradivari by Prince Matchabelli, launched in 1942, was introduced during a period marked by the profound impacts of World War II. The war had reshaped industries, including the fragrance sector, with shortages of materials and a shift in consumer behavior towards practicality and austerity. Despite these challenges, the release of Stradivari signaled a return to the elegance and luxury that Prince Matchabelli was known for, offering women a touch of glamour in an era of rationing and restraint. This perfume, the first new scent from the company since the outbreak of the war, provided a moment of escape and a connection to the beauty that persisted even in difficult times.

The choice of the name "Stradivari" was deeply symbolic and evocative. Named after the Prince Matchabelli Orchestra, which was also formed in 1942, "Stradivari" refers to the legendary Italian luthier Antonio Stradivari, whose violins—known as Stradivarius—are celebrated for their unparalleled craftsmanship and exquisite sound. The name itself, of Italian origin, embodies the highest standards of artistic achievement and refinement. By naming the perfume "Stradivari," Prince Matchabelli aimed to evoke the same sense of timeless beauty and meticulous artistry that Stradivarius instruments represent. It suggested a fragrance composed with the same care and precision, offering a sensory experience as harmonious and balanced as a perfectly tuned symphony.

The word "Stradivari" conjures images of classic elegance, sophistication, and artistic mastery. It evokes emotions of admiration and aspiration, as Stradivarius instruments are not only rare and valuable but also symbols of enduring quality and beauty. In the world of perfume, the name "Stradivari" would be interpreted as a promise of a refined and well-crafted scent, one that resonates with a deep, rich complexity akin to the sounds produced by a Stradivarius violin. For women in the 1940s, a perfume named "Stradivari" would have been perceived as a luxurious and sophisticated choice, offering a sense of prestige and connection to the cultural richness that persisted despite the hardships of the war.

Spring Fancy by Prince Matchabelli c1954

Launched in 1954, Spring Fancy by Prince Matchabelli embodies the essence of its name, evoking a sense of seasonal renewal and vibrant elegance. The choice of the name "Spring Fancy" reflects a deliberate nod to the freshness and lightness associated with springtime. The term "Spring Fancy" conjures images of blooming flowers, lush greenery, and the rejuvenating spirit of the season. It suggests a fragrance that captures the light-hearted and uplifting mood of spring, blending effortlessly into the sunny days and blooming landscapes of the warmer months.

The name "Spring Fancy" evokes a sense of whimsy and delight, implying a fragrance that is both fresh and charming. It invites imagery of delicate blossoms and the playful elegance of spring fashion, suggesting a scent that is both vibrant and refined. For women of the 1950s, a perfume named "Spring Fancy" would have symbolized a joyful escape from the heavy, winter scents, offering a light, floral fragrance that complements the seasonal shift. It would have been perceived as an ideal choice for daytime wear, capturing the essence of spring with its bright and airy composition.

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.

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.

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.

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.