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.

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

Princess of Wales by Prince Matchabelli c1939

In 1939, Prince Matchabelli launched a fragrance named Princess of Wales, a title that was not chosen lightly. The name itself carries significant historical and emotional weight, evoking images of British royalty and elegance. The title "Princess of Wales" traditionally refers to the wife of the heir apparent to the British throne, a position of high prestige and public admiration. By naming the fragrance Princess of Wales, Prince Matchabelli sought to associate the perfume with the grace, beauty, and regal aura that the title embodies.

Princess of Wales was dedicated to Queen Alexandra, the beautiful and beloved wife of King Edward VII, who held the title Princess of Wales from 1863 until her husband’s accession to the throne in 1901. Queen Alexandra was renowned for her beauty, fashion sense, and charitable work, becoming a cultural icon of her time. Her popularity and influence extended beyond the United Kingdom, making her an ideal muse for a fragrance intended to capture the elegance and sophistication of a bygone era.

Alexandra was celebrated for her delicate, refined style, often setting trends that were emulated by women across Europe. Her ability to balance royal duties with a sense of personal grace made her an enduring figure in British history. By dedicating Princess of Wales to Queen Alexandra, Prince Matchabelli tapped into a rich vein of historical significance, linking the perfume to an era of opulence and elegance that many women of the 1930s would have admired.

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.

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."

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.

Golden Autumn by Prince Matchabelli c1948

Launched in 1948, Prince Matchabelli's Golden Autumn embodies the essence of its evocative name with a fragrance that captures the crisp, vibrant spirit of the season. The choice of the name "Golden Autumn" is both poetic and descriptive, aiming to evoke the rich, warm hues and the serene beauty of autumn. The term "Golden Autumn" suggests a period of transition where the landscape is bathed in a golden glow, with leaves turning vibrant shades of amber and gold. This imagery aligns perfectly with the fragrance's profile, which combines the freshness of autumn with the depth and richness of an Indian Summer.

The name "Golden Autumn" conjures images of a landscape transformed by the fall season, where leaves create a carpet of gold and the air is filled with a crisp, invigorating chill. It evokes feelings of nostalgia and warmth, suggesting a time of reflection and appreciation for the natural beauty of the changing seasons. In the context of perfume, "Golden Autumn" would be interpreted as a fragrance that embodies the essence of this picturesque and transformative period, capturing the invigorating freshness of autumn and the comforting warmth of summer’s lingering touch.

Women of the 1940s would likely have found Golden Autumn appealing for its sophisticated and vibrant character. During this era, the fragrance market was evolving, with many perfumes reflecting either the opulence of the pre-war years or the emerging modern sensibilities of the post-war period. Golden Autumn's vibrant woody mossy chypre composition stood out for its crisp and refreshing qualities, which contrasted with the more opulent, heavy fragrances that had dominated the previous decade. Its blend of floral notes with woody and mossy elements created a unique and uplifting scent that resonated with the seasonal theme of renewal and change.

In the broader context of 1940s fragrances, Golden Autumn was both a product of its time and a departure from conventional trends. While the chypre fragrance family was gaining prominence, with its characteristic blend of citrus top notes, mossy and woody bases, and complex floral heart, Golden Autumn's interpretation of this style was distinctive. Its focus on the fresh, invigorating aspects of autumn, combined with the warmth of an Indian Summer, made it a notable and refreshing addition to the perfume market. The fragrance’s ability to capture the essence of the season while providing a sense of comfort and warmth made it particularly appealing to women seeking a fragrance that reflected both the beauty of the changing seasons and the elegance of post-war modernity.