Wicker by Prince Matchabelli c1968

Launched in 1968, Wicker by Prince Matchabelli arrived at a pivotal cultural moment. The late 1960s were a time of sweeping social change—defined by youth rebellion, shifting gender roles, and a collective yearning for freedom, nature, and simplicity. Against this backdrop, Wicker was marketed as a fantasy—an escape into a sun-drenched world of romance, ease, and barefoot elegance. The name alone—Wicker—evoked a tactile, emotional, and visual identity that was both nostalgic and deeply of-the-moment.

The word “wicker” refers to a method of weaving pliable plant materials—typically willow, rattan, or reed—into furniture or baskets. The term comes from the Scandinavian languages, most notably the Swedish vika, meaning “to bend.” Pronounced simply as "WIH-ker", the word conjures immediate images of summer verandas, breezy porches, and natural beauty shaped by hand. In advertising for the fragrance, Prince Matchabelli painted a dreamlike scene: a woman dressed in white silk lounges gracefully in a large wicker peacock chair set on a lush lawn, while a man in a white linen suit stands behind her. The scene is idyllic—bathed in sunshine, suggestive of romance and serenity, and rich with tactile texture.

"Wicker is sun and sky and grass," the ad proclaimed. "And you in white silk and him in white linen and tenderness and kisses." This wasn't merely perfume; it was a mood, a place, a private Eden captured in scent and imagery. It was about stepping into a gentler world whenever you pleased—through a bottle of cologne or a mist of spray.

Cologne Cruise c1954

In 1954, Prince Matchabelli unveiled an enchanting collection known as the Cologne Cruise, a set of four distinct colognes housed in a wardrobe-style steamer trunk. Each one-ounce bottle bore the name—and aromatic spirit—of a Mediterranean port: Tangiers, Valencia, Cannes, and Napoli. Presented in a lively cardboard trunk, each mini-carton featured vibrant depictions of local dress and dance, inviting the wearer on an olfactory voyage from exotic spice markets to sun-drenched flower festivals.

The choice of name—Cologne Cruise—was both clever and timely. In the mid-1950s, global travel was becoming increasingly accessible, yet still retained an aura of sophistication. Ocean liners and luxury air travel were enjoying a post-war renaissance, and "cruising" had become emblematic of leisure, elegance, and adventure. By calling it Cologne Cruise, Prince Matchabelli tapped into the allure of jet-setting and exploration—inviting women to embark on a fragrant journey without leaving home. The name evokes blue seas, coastal promenades, the gentle sway of a ship, and the discovery of foreign cultures, all captured in wearable spritzes of cologne.

Damas by Prince Matchabelli c1930

Damas by Prince Matchabelli, launched in 1930, stands as a compelling example of the brand’s penchant for fragrances steeped in double meanings and historic allusion. The name “Damas” is particularly evocative—it could be interpreted simply as the French plural for “ladies,” suggesting elegance, femininity, and refinement. But given Matchabelli’s known fascination with Russian history and nobility, it is also possible that the name refers to General François-Étienne de Damas, a French officer who served in the Russian army during the Napoleonic Wars. The perfume may therefore have been intended both as a celebration of womanhood and as a subtle tribute to a military figure with ties to the imperial world Matchabelli often honored in his creations.

Pronounced DAH-mahs (with a soft French inflection), the name “Damas” carries with it an air of continental sophistication. It conjures images of richly embroidered damask textiles, candlelit salons filled with music and perfume, and the quiet intensity of diplomacy, culture, and ceremony. The word evokes a certain sensual depth—opulence tempered with mystery.

Launched at the dawn of the 1930s, Damas entered the world during a period marked by both artistic exuberance and looming economic uncertainty. The Jazz Age was giving way to the Great Depression, and while fashion was becoming more restrained compared to the lavish excess of the 1920s, there remained a deep desire for escapism and luxury. Perfume played a vital role in this era, offering women an affordable form of indulgence and self-expression.

Cachet Noir by Prince Matchabelli (1983)

Cachet Noir by Prince Matchabelli was launched in 1983 as a sophisticated and more luxurious companion to the original Cachet, which had already enjoyed popularity since its 1970 debut. The name Cachet Noir is French—cachet meaning “seal” or “distinction,” and noir translating to “black.” Pronounced cash-ay nwahr, the name immediately evokes mystery, elegance, and refinement. Where Cachet was fresh and wearable, Cachet Noir was designed to be deeper, sultrier, and more sensuous—a fragrance for the evening, for a woman of quiet power and undeniable allure.

The 1980s were a bold, image-driven era, marked by excess and aspiration. Power dressing defined fashion, and shoulder pads, glossy lips, and assertive femininity ruled both boardrooms and cocktail lounges. In fragrance, this era saw the rise of heady orientals, lush florals, and daring chypres—scents that made a statement and lingered long after their wearer left the room. Cachet Noir fit perfectly within this context. Its spicy opening and warm, balsamic base mirrored the rich, opulent direction perfumery was taking at the time, influenced by hits like Opium (1977), Cinnabar (1978), and Obsession (1985).

To choose a name like Cachet Noir during this period was intentional—it promised something exclusive, elegant, and dramatic. It suggested a scent worn with a sleek black gown, red lipstick, and confidence. The "noir" element hinted at mystery and sensuality, aligning perfectly with the decade's fascination with luxurious self-expression.

Added Attraction by Prince Matchabelli (1956)

Added Attraction by Prince Matchabelli was launched in 1956, a year marked by glamour, burgeoning confidence, and a renewed postwar femininity in American culture. The name itself—Added Attraction—was a phrase of the era, used often in the language of advertising and film to suggest an irresistible extra, a compelling bonus, a final flourish that clinches desire. The phrase "Added attraction” evoked images of romantic intrigue, flirtation, and allure—perfectly tailored to the midcentury woman who was being encouraged to cultivate beauty, charm, and self-possession. To name a perfume Added Attraction was to imply that the fragrance was the final detail, the extra something that made a woman unforgettable.

The mid-1950s, often referred to as the "Golden Age" of American consumerism, was a time when femininity was carefully choreographed. Fashion favored full skirts, cinched waists, and soft silhouettes, echoing Dior’s New Look, while beauty advertisements leaned into the idea of polished, poised perfection. Perfume was central to this performance—a final touch that helped a woman project poise, sophistication, or mystery. Added Attraction entered this scene as a warm, musky floral with a mossy, woodsy foundation—notes designed to suggest sensual depth without being overpowering. It was an alluring blend meant not just to be worn, but to be noticed, remembered, and perhaps even longed for.

Women of the time would likely have embraced the name and the scent as part of their beauty arsenal—something subtle enough for day but with the lingering warmth and presence to carry into the evening. It promised a touch of glamour, a trace of mystery, a confident sense of womanhood. The scent’s composition placed it within the broader trends of the 1950s, when chypres and floral-orientals were growing in popularity. However, its musky depth and understated sensuality gave it distinction. Rather than broadcasting seduction, Added Attraction whispered it—a quality that set it apart from both the powdery aldehydic florals of the early '50s and the overtly provocative scents that would soon follow in the next decade.

Prophecy by Prince Matchabelli (1962)

Launched in 1962, Prophecy by Prince Matchabelli arrived at a moment of cultural and scientific transformation. The name alone—Prophecy—was bold and evocative, carrying a sense of mystery, promise, and vision. To choose such a title for a fragrance suggested a forward-looking confidence, a belief in things yet to come. The word prophecy implies foresight, intuition, and fate—a glimpse into the unknown that stirs the imagination. It evokes images of celestial symbols, starlit skies, and the elegant stillness of a woman who sees beyond the present. Emotionally, the name speaks to both wonder and empowerment—a perfume meant not only to adorn but to awaken.

The early 1960s were poised between tradition and transformation. The decade began with elegance and order—matching handbags, sculpted silhouettes, and ladylike restraint—but change was rapidly approaching. Space exploration, modernist architecture, and scientific advancements defined what would come to be known as the Atomic Age, an era obsessed with the future and the unexplored. In fashion, clean lines, metallic fabrics, and futuristic styles began to appear. In perfumery, the era saw the continued dominance of aldehydic florals, popularized by Chanel No. 5 and Lanvin's Arpège, yet a new generation of fragrances began pushing these structures into more modern, daring directions.

Prophecy embodied this evolution. Classified as a futuristic aldehydic woody floral with amber, it captured the crisp brightness of radiant aldehydes—the very molecules that gave mid-century perfumes their sparkling lift—and combined them with an unexpectedly warm and layered base. The perfume reportedly contained one hundred and thirty ingredients, a blend of Old World and New World materials, suggesting a deliberate fusion of tradition and innovation. Among them were rose, jasmine, and freesia, adding softness and floral nuance, balanced by sandalwood and vetiver grass, which grounded the composition in warmth and depth. The inclusion of amber introduced a touch of sensuality, a golden resinous undertone that hinted at mystery and allure.

Stradivari by Prince Matchabelli (1942)

Stradivari by Prince Matchabelli was launched in 1942, at a moment of profound global upheaval. As World War II raged on, American life had been reshaped by rationing, military drafts, and shifting domestic roles. Amid this atmosphere, the release of a new perfume carried a particular emotional resonance—especially one as richly romantic and evocative as Stradivari. It was the first new perfume Matchabelli introduced since the outbreak of the war, and it offered not only fragrance, but fantasy and escape. Women of the time—whether working in factories, volunteering for the Red Cross, or maintaining the home front—could find in Stradivari a small but soul-stirring luxury, a poetic whisper of beauty in uncertain times.

The name Stradivari is Italian, pronounced "Strad-ah-VAH-ree", and it immediately conjures one of the most hallowed legacies in classical music. Named in homage to the famed luthier Antonio Stradivari—whose violins and cellos are revered for their exquisite craftsmanship and soul-stirring tone—the perfume nods to this artistry in scent form. It also takes inspiration from the Prince Matchabelli Orchestra, formed the same year the fragrance was launched, further anchoring it in the brand’s romantic alignment with music and the arts. To wear Stradivari was to don an invisible symphony—one composed not in strings, but in scent.

The fragrance is classified as a semi-oriental floral, with prominent woody and spicy notes over a mossy base. In perfumery, the term "semi-oriental" during this period often indicated a chypre-adjacent structure—dry and elegant, but laced with warmth and sensuality. Stradivari opens with a flourish of heady florals and soft spice, slowly developing into a woodier, duskier base with a slightly exotic, lingering finish. It was described as “rich, lasting, destined for the woman of deep emotion”—a statement that placed it squarely in the lineage of expressive, personality-driven scents, as opposed to light, fleeting florals.