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.

Prince Matchabelli Crownstick Lipstick

Prince Matchabelli "Crownstick" Lipstick, made up of brass and stands 2-1/2" tall. It is topped by a realistic crown replica with a tiny cross on top,  similar to the design of their perfume bottles. The name "Prince Matchabelli" is engraved in script wraps around the body of the lipstick.

Stage, Volume 13, 1935:

"Prince Matchabelli's new Crownstick (it sports the famous M'atchabelli crown for a top) comes in several fine colors."

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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.

Where Should I Apply Perfumes?

As a general rule, fragrance should be applied to pulse points. This is where the blood vessels are closest to the skin giving off more heat and acting like mini fragrance pumps.

Pulse points are the wrist, crook of the arm and back of the knee, and the base of the throat. Also, for long lasting fragrance spray at the ankles, it allows the fragrance to blossom up. For a sexy twist, apply perfume to your cleavage or spray perfume on your nude body before dressing. The nape of the neck, is a very romantic area, whenever your hair moves it might swish the perfume around, nice little subtle trail of perfumed loveliness.

Apply perfume right after you take a shower or bath. Your pores are more open then and will more easily soak up the scent. Some people say that rubbing the wrists together will crush the scent, I tried this with different perfumes over the course of two weeks, just to see if its true, it seemed to me that the friction of rubbing the wrists together actually heated up the fragrances and made them seem more potent.

I have read though that the perfume can react not so nicely to the first layer of skin...and give off a smell that isn't pleasant. Others say that to spray the perfume in the air and then walk into it, I have done this before, and it seems that it lets you control the amount of fragrance that is applied to your skin, rather than spraying directly onto the skin, this works best with heavier perfumes.

I spray perfumes on my clothes when I want to make the scent last longer, I won't spray perfume on fragile fabrics like silks or lace. You can spray your coat with perfume. Also an old tip is to apply pure parfum extrait to your furs. Doing this is up to your own discretion.

Do not apply perfume after you put your jewelry on, take it off first, then apply the perfume. The chemicals in perfume can leave stains or have chemical reactions to the metals, Pearls are especially susceptible to damage from perfume since it destroys their lustre.

Coco Chanel always said to apply perfume where you want to be kissed. I read an old perfume guide from the 1930s and it mentioned that you can apply perfume to your fingertips and eyebrows. Also apply perfume to a cotton ball and tuck it into your brassiere. Apply perfume to your hankies or gloves.

Jeanne Lanvin of Lanvin Perfumes suggested that you should apply perfume wherever your clothes cover your body, that way it will seem if it is coming from within and blend with the natural oils of your skin to make a truly individual fragrance. She also says the best time to apply perfume is 15 or 20 minutes before you are about to go out, that way the perfume has time to "set".

A 1924 ad for Ann Haviland perfumes suggests:

#1. to apply perfume to your eyebrows as the short hairs of the eyebrows retain the perfume longer than the skin since evaporation takes place more slowly.Besides, this is an ideal two-some,the girl usually comes up to a man's chin, not far below his nose.

#2. One little known method of applying perfume is to saturate a piece of cotton with your chosen scent, place it under the shoulder strap of your slip. Body heat releases an aura about you.

#3. A glamorous method of using perfume is to spray it on the hem of your evening gown, then as you walk or dance, the fragrance is wafted into the air around you. This is the best way to do it.

#4. Another pointer is to apply perfume to the inside of your gloves, while your gloves are on, the warmth of your hands attract the perfume which will cling to the fingers.

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.

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.