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,.

Sparkling Burgundy Bubble Bath by Prince Matchabelli c1940

Sparkling Burgundy Bubble Bath by Prince Matchabelli, launched in 1940, carries a name that conjures images of luxury, sophistication, and indulgence. The choice of the name "Sparkling Burgundy" was likely inspired by the rich, celebratory nature of Burgundy wine, a symbol of refinement and festivity. By associating the bubble bath with this renowned wine, Prince Matchabelli aimed to evoke a sense of opulence and pleasure, transforming the everyday act of bathing into a decadent experience. The term "Sparkling Burgundy" itself suggests not just the richness of the wine but also the effervescence and sparkle that brings it to life, much like the bubbles in a luxurious bath.

The word "Sparkling Burgundy" immediately brings to mind the deep, velvety red hues of the wine, with its complex, aromatic profile that tantalizes the senses. It evokes emotions of warmth, comfort, and indulgence, reminiscent of sipping a fine wine by a roaring fire on a cold winter's evening. The word suggests a sense of celebration, of something special and out of the ordinary, making the idea of a "Sparkling Burgundy" bubble bath feel like an extravagant treat. In scent, "Sparkling Burgundy" would be interpreted as a rich, full-bodied fragrance with a blend of spicy, fruity, and slightly woody notes, capturing the essence of the wine while adding a layer of complexity and depth that elevates the experience.

For women of the 1940s, a fragranced bubble bath called "Sparkling Burgundy" would have represented a moment of escape and luxury in their daily lives. During this time, the world was in the midst of World War II, and many women were juggling the demands of work, family, and contributing to the war effort. A product like Sparkling Burgundy Bubble Bath would have offered a rare opportunity for self-care and indulgence, a way to unwind and relax in the comfort of their own homes. The association with Burgundy wine would have made the product feel sophisticated and mature, appealing to women who sought a touch of elegance in their beauty routines.

Cherokee Skincare and Toiletries

In 1936, Prince Matchabelli filed for a trademark to use the name Cherokee for a skin care and toiletry line. Ultimately it was used for a shade of face powder.

Consumer Reports: Buying guide issue - Volume 14, 1949:




The name was reserved for use for the following types of products:

Skin Care:

• Astringents
• Astringent Cerates
• Bleach Creams
• Beauty Creams
• Cold Creams
• Cleansing Creams
• Obesity Creams
• Refreshing Creams
• Vanishing Creams
• Skin Lotions
• Obesity Astringents
• Face Bleaches 
• Face Packs
• Eyedrops
• Skin Whitening in Liquid, Cream or Solid Form

Cosmetics:

• Eyebrow Grower
• Eyelash Grower
• Dry Rouge
• Liquid Rouge
• Face Powders
• Chemical Preparations for the Darkening of Eyelashes and Eyebrows

Other Toiletries:

• Body Lotions
• Talcum Powders
• Dusting Powders
• Hair Pomades
• Body Powders
• After Shave Lotions

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Prince Matchabelli 1958 Advertisement

Perfumes shown in the ad are: Added Attraction, Wind Song, Stradivari, Beloved, Crown Jewel, Duchess of York, and Abano.

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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Matchabelli Art Deco Solid Perfume Locket c1975

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

McCall's, 1975:

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

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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.