Katherine the Great by Prince Matchabelli (1935)

Katherine the Great by Prince Matchabelli, launched in 1935, was more than a perfume—it was a romanticized homage to grandeur, passion, and power. Inspired by the Empress Catherine II of Russia, known to history as Catherine the Great, the fragrance was created in response to a promise. According to contemporary accounts and a widely shared anecdote, the Prince had previously created a perfume for Grace Moore, a celebrated soprano and actress, lauded for her talent and fiery temperament. When his rumored romantic interest, Katharine Hepburn, discovered that Moore had received such an honor, she reportedly stopped the car she was driving and ordered him to “Get out!”—a jealous flare-up that prompted Matchabelli to promise he would one day create a fragrance that captured her own essence. But, he added, it would be "difficult, very difficult." From that dramatic exchange, Katherine the Great was born, its name a tribute both to the formidable Russian empress and the fiery American actress.

The name “Katherine the Great” evokes images of icy palaces, gleaming uniforms, courtly opulence, and a ruler whose intellect and charisma made her one of the most powerful women in history. In the perfume’s original publicity, the narrative takes the listener back to the 18th century: Catherine, newly crowned ruler of Russia, rides among her troops, regal and victorious, when a young soldier steps forward and offers her his sword knot. That moment, echoing chivalric legends, was likened to Raleigh laying his cloak for Elizabeth or Galahad before the Grail. The soldier becomes Grigory Potemkin—her lover, co-ruler, and the embodiment of a sweeping, enduring passion. This theatrical storytelling was typical of Prince Matchabelli’s romantic approach to perfumery, blending biography, drama, and fantasy into every drop.

Launched during the mid-1930s—at the tail end of the Great Depression but still within the glamorous confines of Hollywood’s golden age—Katherine the Great spoke directly to a generation of women who looked to royalty and film stars for escapism, identity, and aspiration. The era’s fashions were richly feminine: bias-cut gowns, structured furs, velvet evening coats, and metallic brocades. Perfume played a critical role in self-presentation, offering not only scent but narrative and status. A woman wearing Katherine the Great was cloaking herself in the mystique of Russian majesty, channeling the boldness of an empress and the allure of a silver-screen siren.

Described as a floral oriental, the fragrance was said to be “sweet, spicy,” and “nobly scented—yet so utterly feminine.” It was a perfume built for furs, for candlelit entrances, for winter nights and serious statements. Another reviewer called it “cool and barbaric like her foreign soul,” a phrase that evokes cold stone palaces and the passionate fire within. This balance between floral softness and exotic depth placed the fragrance within the Oriental perfume tradition that had been growing in popularity since the 1920s, following the groundbreaking release of Shalimar. But Katherine the Great stood out by offering a distinctly narrative interpretation—more literary than simply sensual. It wasn’t just about seduction; it was about legacy, dominance, memory, and empire.

In a fragrance market increasingly dominated by florals, aldehydics, and "modern" American sportswear scents, Katherine the Great remained steadfast in its old-world grandeur. It aligned with the theatrical, romantic trend of perfumes like Evening in Paris or Tabu, yet carved a distinct niche by fusing royalty, politics, and feminine complexity into a single bottle. Women who wore it weren’t merely adorning themselves—they were stepping into a legend.

 

Princesse du Nord by Prince Matchabelli was launched in 1935 and occupies a unique place within the brand's storied collection. Though marketed under its French title—which translates to “Princess of the North”—the perfume was, in essence, a tribute to Catherine the Great of Russia. At times, the fragrance was also labeled Katherine the Great, with both names used interchangeably. When paired together, Princesse du Nord (Katherine the Great) underscored the connection to the powerful Empress who reigned over Russia in the 18th century—a woman celebrated for her intelligence, political prowess, and unapologetic grandeur.

The dual naming was not unusual for Matchabelli, who frequently drew upon themes of royalty, history, and romantic nationalism. As a Russian émigré nobleman himself, Prince Georges Matchabelli often infused his fragrances with cultural references drawn from European aristocracy. In this case, the use of both the French and Anglicized names may have been a strategic decision—French lending an air of refinement and elegance, while “Katherine the Great” emphasized the bold imperial legacy of one of Russia’s most legendary rulers.

The title Princesse du Nord conjures images of snow-covered palaces, imperial courts, and commanding elegance softened by winter light. It suggests a woman who is regal but not remote, a symbol of strength tempered by grace. For consumers in the mid-1930s, this perfume—classified as a floral oriental with spicy, ambery, and slightly cool undertones—would have represented both glamour and power, especially appealing to women who identified with sophistication, mystery, and inner resolve.

Released during the waning days of the Art Deco era, Princesse du Nord reflected the transition from the florals and aldehydic brilliancy of the 1920s into the more sensual, emotionally complex compositions of the 1930s. With its noble associations and bold character, it would have stood apart from the more delicate or whimsical scents of the time, presenting itself as a statement perfume—one suited to dramatic coats, jeweled brooches, and evenings at the ballet.

Fragrance Composition:

So what did it smell like? Katherine the Great by Prince Matchabelli is classified as a floral oriental perfume for women. Suitable for furs. It was described as being "nobly scented — yet so utterly feminine. Bouquet fragrance." Also described as a "sweet, spicy blend" and "cool and barbaric like her foreign soul."

• Top notes: aldehyde C-10, aldehyde C-11, aldehydes C-12 MNA, Calabrian bergamot, Italian sweet orange oil, Sicilian neroli, Paraguayan petitgrain, French linden blossom absolute, lily of the valley, hydroxycitronellal, linalool and lilial
• Middle notes: Indian tuberose absolute, hyacinthine, South French broom absolute, Indian champaca absolute, Grasse carnation, eugenol, Zanzibar clove, isoeugenol, Szechuan cinnamon, Jamaican nutmeg, Ceylon cardamom, Russian coriander, Moroccan orange blossom, methyl anthranilate, Turkish damask rose, rosa centifolia, geraniol, phenyl ethyl alcohol, Riviera mimosa, Tuscan violet, methyl ionone, alpha-ionone, English oak leaf absolute 
• Base notes: Omani frankincense, Somali opoponax, Cyprus labdanum, Paraguayan guaiac wood, Peru balsam, South American tolu balsam, ambergris, ambreine, Tibetan musk, musk ketone, Abyssinian civet, civetone, Canadian castoreum, Mysore sandalwood, Mexican vanilla, vanillin, ethyl vanillin, Siam benzoin, coumarin, East Indian vetiver, vetiveryl acetate

Scent Profile:

Katherine the Great by Prince Matchabelli unfolds as a story told in scent—layered, imperial, and unapologetically dramatic. As I smell it, note by note, the fragrance begins not with a whisper, but a herald's trumpet. Bright, expansive aldehydes—C-10, C-11, and the crystalline, almost metallic C-12 MNA—sparkle at the top like light flashing off a polished scepter. These aldehydes don't simply announce the perfume, they ignite it. Their soapy, ozonic brilliance gives the composition lift and effervescence, creating space for the richness to follow.

Beneath this radiant opening, a wave of citrus spills forth: Calabrian bergamot, vibrant and tart with green undertones; Italian sweet orange, juicy and sun-drenched, lending warmth and golden sweetness; and Sicilian neroli, delicate and waxy, the blossom of the bitter orange tree distilled into silken brightness. Paraguayan petitgrain adds a bitter-green, twiggy contrast, grounding the citrus in a touch of herbaceous sharpness. Then comes French linden blossom absolute, honeyed and subtly green, with a tea-like transparency that catches me off guard—it feels both refined and untamed. The lily of the valley note, composed with hydroxycitronellal, brings a crystalline, dewy freshness; it evokes the fragile white bells of early spring under a sheen of frost. The added linalool and lilial support this floral illusion—both soft and floral-green, they round out the aldehydic top and lift it gracefully into the heart.

As the top recedes, the perfume begins its true aria. Indian tuberose absolute sings first—lush, narcotic, creamy with a subtle mentholated edge. It’s followed by the ethereal coolness of hyacinthine and the dry, sun-warmed bloom of Southern French broom absolute, which adds a honeyed, herbal dimension. The Indian champaca absolute hums with tropical richness—spicy, fruity, and leathery, offering a wild exoticism that echoes the “barbaric” descriptor in historical reviews.

The spicy florals arrive in full procession: Grasse carnation, sharp and peppery with the help of eugenol and isoeugenol, gives the perfume its unmistakable kick. Zanzibar clove deepens that spice, while Szechuan cinnamon and Jamaican nutmeg offer both fire and roundness. Ceylon cardamom—sweet, green, and camphorous—twists the spice into something more mysterious, made even more complex by Russian coriander seed oil, with its lemon-pepper freshness. From Morocco, orange blossom absolute adds a creamy, animalic depth, pushed into narcotic sweetness by methyl anthranilate. The floral heart softens under the sway of Turkish damask rose and Rosa centifolia, a pairing that brings full-bodied velvet richness. Geraniol and phenyl ethyl alcohol act like light through stained glass—enhancing the natural rose, making it glimmer.

Riviera mimosa, with its downy yellow pollen, and Tuscan violet, cool and green, form a cushion for the more elusive notes—methyl ionone and alpha-ionone—which together give a sense of powder, fruit, and vintage elegance. Finally, English oak leaf absolute closes the heart with a crackle of dry, slightly bitter green, echoing autumn leaves underfoot.

Then, the base arrives, and it is regal. Omani frankincense is dry, lemony, and resinous, marrying with Somali opoponax, dark and honey-like, and Cyprus labdanum, deep and leathery with an undercurrent of forest floor. Paraguayan guaiac wood adds smoke and tar, linking seamlessly to the balsams—Peru and Tolu, both syrupy and warm. This resinous heart acts as the bridge to the animalics and woods that follow.

There’s ambergris, lending salinity and a subtle marine warmth, elevated with ambreine for volume and tenacity. Tibetan musk tincture and musk ketone hum softly in the background—a soft, skin-like sweetness, musky but not intrusive. Abyssinian civet and its synthetic double civetone purr with creamy sensuality, adding the “feral polish” that gave Katherine her legendary status. Canadian castoreum contributes a leathery-furred roundness, luxurious and plush.

The woods are equally rich: Mysore sandalwood, revered for its buttery, milky, sacred scent, anchors the base with dignity. It blends with Mexican vanilla—dark, spiced, and earthy—and vanillin/ethyl vanillin, which add sweetness, lift, and silvery diffusion. Siam benzoin and Sumatran styrax echo the earlier balsams with their sugary-resin warmth, balanced by coumarin, sweet and hay-like. Finally, East Indian vetiver and vetiveryl acetate provide a smoky, green earthiness that dries the fragrance with refinement.

Katherine the Great is more than a perfume; it is an imperial composition—its notes move like figures in a grand ballet, sharp with purpose, gilded with ceremony, softened by memory. It is spicy, sweet, lush, and commanding. It evokes brocade-lined drawing rooms, the steel cool of an empress's gaze, and the haunting memory of passions that history dared not forget. It was a fragrance made to be worn not just with furs, but with presence.

"If she is imperious, worldly, a little exotic, give her Katherine the Great." - 1947 ad

Bottles:

c1930s photos from ebay seller my*unique*boutique

c1930s Katherine the Great 4 oz eau de cologne, photo by ebay seller essencebouquet

Fate of Fragrance:

Katherine the Great by Prince Matchabelli was launched in 1935 during a golden era for the house, when the brand was riding high on the success of its crown-bottled classics and cementing its identity as a perfumer of noble fantasies and storied women. The fragrance was part of Matchabelli’s celebrated tradition of naming perfumes after historical or royal figures—real or symbolic—evoking grandeur, allure, and powerful femininity. Inspired by the formidable Russian empress Catherine the Great, the fragrance’s name was styled as Katherine the Great, perhaps as a subtle nod to both her legend and to a contemporary muse, rumored to be Katharine Hepburn.

By the time it was introduced in 1935, America was slowly recovering from the Great Depression, but the escapism offered by luxury, cinema, and glamour was thriving. Perfume was one of the more attainable luxuries, and Katherine the Great, with its rich, spicy floral-oriental character, offered women a scented persona that felt commanding and mysterious, yet undeniably feminine. Its promotional text described a perfume that was “nobly scented — yet so utterly feminine,” suggesting a composition suitable for the confident modern woman of the 1930s who still valued tradition and fantasy.

The fragrance remained on the market for several decades. By 1959, it was still being sold, having become one of the more enduring offerings in the Matchabelli line. Though its exact discontinuation date is unknown, its longevity speaks to the perfume’s appeal through shifting tastes—from the tailored glamour of the 1930s, through the wartime austerity of the 1940s, and into the postwar elegance of the 1950s. Its continued presence in department stores suggests that it was considered a signature fragrance for a certain kind of woman—one drawn to warm, resinous florals and rich animalic bases that evoked vintage opulence and imperial strength.

Today, Katherine the Great remains a rarely seen but storied perfume in Matchabelli’s royal collection, a scent that once offered a generation of women a chance to channel the grandeur and mystery of Russia’s most legendary empress, one spritz at a time.