Chimere by Prince Matchabelli c1979

Chimère by Prince Matchabelli, launched in 1979, emerged during a period rich with evolving trends in the perfume industry. The late 1970s were marked by a resurgence of interest in classic and sophisticated fragrances, with a growing appreciation for complex, multi-layered compositions. The choice of the name "Chimère" reflects the era’s fascination with mythology and the allure of the exotic, evoking a sense of mystery and fantasy.

The term "Chimère" is derived from French, and translates to "chimera" in English. In mythology, a chimera is a creature composed of parts from different animals, symbolizing the blending of disparate elements into a single, fantastical entity. This name evokes images of mythical grandeur and enigmatic beauty, suggesting a fragrance that combines various elements to create something unique and captivating. The word “Chimère” conjures feelings of mystique and allure, suggesting a scent that is both intriguing and sophisticated, with a sense of fantasy and otherworldliness.

For women of the late 1970s, the name "Chimère" would have resonated with the era's embrace of both classic elegance and adventurous innovation. The fragrance’s profile—beginning with a bright aldehydic top note, progressing into a rich, narcotic floral heart, and resting on a warm, woody, and mossy base—mirrored the decade’s preference for complex, well-rounded scents. This fragrance was in line with the period’s trend towards rich, multifaceted compositions, yet its specific blend of floral and woody elements with a hint of mysterious spices set it apart.

The choice of "Chimère" as a name aligns with the broader trend of the time, where perfumes were increasingly marketed not just as scents, but as experiences that evoke specific moods and imagery. The name and the fragrance’s description as a "semi-oriental, a brilliant floral blend of roses, jasmine, gardenia, and lily of the valley touched with a subtle splurge of mysterious spices and darker notes" fit well within the era’s interest in luxurious and intriguing fragrances that offered a sensory escape from everyday life. Thus, Chimère captured the essence of the time, embodying both the classic and the contemporary, and appealing to those who sought both elegance and a touch of the exotic in their scent.

Georgian Carnation c1934

Georgian Carnation by Prince Matchabelli, introduced in 1934, was a fragrance deeply rooted in both personal and cultural significance. Named in honor of Prince Matchabelli's Georgian heritage, the title evokes a rich tapestry of images and emotions tied to his homeland. The term "Georgian" brings to mind the storied landscapes and historical elegance of Georgia, while "Carnation" conjures the image of the lush, fragrant flower, known for its vibrant beauty and spicy-sweet aroma.

The name "Georgian Carnation" bridges the personal with the botanical, suggesting a perfume that embodies both the exotic allure of Georgia and the classic floral sophistication of the carnation. For women of the 1930s, the choice of this name would have resonated on multiple levels. It represented not only a connection to the Prince's own roots but also an invitation to experience a fragrance that was both exotic and familiar. The 1930s were a period marked by a fascination with opulence and the exploration of exotic themes, often reflected in the perfume industry. While the market was rich with floral and spicy fragrances, "Georgian Carnation" distinguished itself by combining a sweet and spicy profile with a narrative of cultural heritage.

The perfume's classification as a sweet and spicy floral aligns with the era's trends, which favored rich, evocative scents that offered a sense of sophistication and depth. "Georgian Carnation" would have been appreciated for its ability to blend the heady sweetness of the carnation with spicy undertones, creating a fragrance that was both captivating and elegant, fitting perfectly within the luxurious and often elaborate tastes of the 1930s perfume market.

Tres L.A. by Prince Matchabelli c1988

"Tres L.A.," launched in 1988 by Impulse, a division of Prince Matchabelli, was a fragrance designed to capture the vibrant essence of Los Angeles with a touch of glamour. The name "Tres L.A." blends French and American elements, with "Tres" being French for "very" or "too," and "L.A." referring to Los Angeles. This choice of name effectively evokes a sense of sophistication and allure while simultaneously positioning the fragrance within the context of the trendy and youthful Californian lifestyle.

In the late 1980s, the fragrance market was marked by a strong emphasis on bold, distinctive scents and a growing preference for perfumes that mirrored the dynamic culture of the time. "Tres L.A." was designed to resonate with young women aged 18 to 25, who were seeking an alternative to the more mature and opulent fragrances like Giorgio by Giorgio Beverly Hills. The name "Tres L.A." conjures images of sun-soaked beaches, the glitz of Hollywood, and a lifestyle marked by high energy and youthful exuberance. It suggests a perfume that embodies a fun, carefree attitude—perfect for the fashion-forward and adventurous spirit of the era.

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.

Wind Song Breezy by Prince Matchabelli c1976

Launched in 1976, Wind Song Breezy by Prince Matchabelli was designed to offer a refreshing twist on its predecessor, Wind Song. The name "Wind Song Breezy" evokes a sense of lightness and airiness, suggesting a fragrance that is as invigorating and effortless as a gentle breeze. The term "breezy" enhances the imagery of freshness and movement, conjuring thoughts of a soft, cool wind rustling through blooming gardens. This imagery aligns with the perfume's character, offering a fresh and green floral scent that is both invigorating and natural.

The choice of "Breezy" in the name reflects the evolving fragrance trends of the mid-1970s, a time when lighter, more ethereal scents began to gain popularity. This period saw a shift away from the heavy, opulent perfumes of the earlier decades towards fragrances that embodied a sense of freedom and modernity. Wind Song Breezy embraced this trend with its fresh green notes and light floral composition, offering a modern and youthful alternative to the more traditional scents of the era.

Women of the 1970s, who were increasingly drawn to scents that mirrored the changing social and cultural landscapes, would have appreciated Wind Song Breezy for its contemporary and natural feel. The fragrance's blend of romantic and fresh floral notes captured the spirit of the time, making it a fitting companion for a decade marked by a desire for simplicity and authenticity in personal expression.

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.

Princesse du Nord by Prince Matchabelli c1935

Princesse du Nord by Prince Matchabelli, launched in 1935, carries a name steeped in historical and regal connotations. Also known as "Katherine the Great,"  When coupled with Princesse du Nord, the perfume draws inspiration from the illustrious Russian empress, Catherine the Great, whose influence and grandeur mirror the fragrance’s own aura of sophistication and elegance.

The name "Princesse du Nord" translates from French to "Princess of the North." This evocative title suggests an image of regal splendor and icy elegance, reflecting the northern European heritage of Catherine the Great. By choosing this name, Prince Matchabelli likely aimed to evoke a sense of royal sophistication and mystery, appealing to women who admired both the grandeur of historical figures and the allure of the exotic.

In the 1930s, the world of cinema and popular culture was rich with stories of historical figures and grandiose settings. Films of the time, such as The Scarlet Empress (1934), which depicted the life of Catherine the Great, contributed to the fascination with regal and historical themes. This cultural backdrop made the name "Princesse du Nord" particularly resonant and appealing.

The name "Princesse du Nord" conjures images of icy, regal splendor and the majestic beauty of northern landscapes. It evokes emotions of grandeur and nobility, suggesting a fragrance that is both sophisticated and enigmatic. The idea of a princess from the north evokes visions of snow-covered palaces, opulent court settings, and an aura of serene, commanding elegance.

For women of the 1930s, a perfume named "Princesse du Nord" would have symbolized a blend of historical prestige and modern sophistication. It would have appealed to those seeking to embrace a touch of royalty and exoticism in their personal scent. The fragrance, classified as a floral oriental, would have resonated with the era’s trend towards rich, complex scents, which often combined opulent floral notes with deep, sensual base elements.

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 Perfume Crownette Purse Bottle c1949

Cute little Crownette, a 1/8 oz purse bottle made for Prince Matchabelli's perfumes Stradivari and Crown Jewel. It stands just 1 1/2 inches tall.

Glass Packer, 1949:

"PURSE VIAL, called "Perfume Crownette," is a gilded miniature replica of Prince Matchabelli's familiar crown bottle. It holds a full dram of Stradivari or Crown Jewel perfume. Bottle, made by Swindell Brothers, is fired with 21 carat gold by Graphite Corp, Chase Brass makes the ball cap. Mounting, including lucite box, is by Warner Brothers. Design was made by Miss EM Seifer, package development manager for Prince Matchabelli, Inc."

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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.

Royal Gardenia by Prince Matchabelli c1929

Royal Gardenia by Prince Matchabelli, launched in 1929, epitomized the opulence and grandeur associated with its name. The choice of "Royal Gardenia" reflects both a nod to aristocratic elegance and the allure of the gardenia flower, known for its rich and luxurious scent. The term "Royal" imbues the fragrance with a sense of regal sophistication, suggesting an experience of luxury and exclusivity. Gardenia, often associated with beauty and refinement, adds a touch of floral richness that was particularly appealing in the early 20th century.

The name "Royal Gardenia" evokes images of lavish gardens in full bloom, where the gardenia's creamy, velvety petals exude an intoxicating fragrance. This combination of terms conjures a vision of opulence and prestige, perfectly suited for a perfume designed to make a bold statement. Women of the 1920s, who were drawn to scents that exuded grandeur and elegance, would have been particularly attracted to a fragrance with such a distinguished name. The allure of gardenia, with its intense sweetness and sophistication, would have resonated with those seeking to embody a sense of refinement and luxury.

In the context of the 1920s fragrance market, Royal Gardenia stood out for its strong emphasis on a single floral note. While the period saw a range of floral and oriental perfumes, the focus on gardenia as a soliflore—particularly one described as very sweet and heavy—was somewhat distinctive. Many perfumes of the era embraced complex, multi-layered compositions with a variety of floral and spicy notes. Royal Gardenia’s dedication to a single, opulent flower reflected a trend towards bold, singular statements in fragrance, contrasting with the more intricate blends popular at the time. This dedication to gardenia not only emphasized its luxurious character but also aligned with the broader appeal of lush, rich scents that were fashionable in the early 20th century.

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.

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.

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.

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