Princess of Wales by Prince Matchabelli c1939

Princess of Wales by Prince Matchabelli was launched in 1939, a time when the world stood on the edge of great uncertainty, but glamour and royal imagery still held powerful sway over the imagination. Matchabelli, well known for his aristocratic roots and romantic sensibility, drew once again from the wellspring of European royalty to name this fragrance. The title Princess of Wales—evokes the highest rank of a woman in the British monarchy outside of the queen, a figure traditionally associated with grace, refinement, and quiet strength. In this context, the perfume’s name lent it an immediate air of prestige and timeless femininity.

The fragrance was described as a “light-hearted and sweet” floral with sparkling notes of fern, flowers, and spice—a combination that offered both freshness and warmth. It was said to be dedicated to the memory of Alexandra of Denmark, the wife of King Edward VII, who held the title of Princess of Wales from 1863 until her husband's ascension to the throne in 1901. Alexandra became a fashion icon of the late Victorian period, admired for her poise, delicate beauty, and impeccable style. The perfume was imagined as a tribute to her era’s romantic fashion—bustles, basques, silks, brocades—and to her personality: both elegant and vivacious.

The late 1930s marked the final chapter of the Art Deco era, with its bold geometry and glamor, yet also the beginning of a return to more subdued and sentimental modes as Europe moved toward war. Women of the time would have found in Princess of Wales a nostalgic nod to romantic elegance and a reassuring connection to tradition and royalty. The scent—marketed as perfect for winter wear, particularly with "your furs and your important afternoon costumes"—was designed to uplift and accentuate sophistication during a time of growing austerity. Its bouquet base ensured it lingered gently on the skin, allowing it to carry its wearer from day into evening with a dignified sweetness.

Arriving in the United States on the last voyage of the famed French ocean liner Isle de France, the perfume also carried with it an air of European exclusivity, which would have appealed to American consumers still captivated by the mystique of Old World elegance. Classified as a sweet floral with hints of spice and green fern, Princess of Wales stood apart from the heavier orientals and sharp florals popular in earlier years. It reflected a shift toward subtle sophistication—still feminine, still romantic, but with a poised restraint that echoed Alexandra herself. In the context of other perfumes of the late 1930s, it was both timely and distinct, bridging the fantasy of royalty with the practical elegance demanded by a changing world.

 

Fragrance Composition:

So what does it smell like? Princess of Wales by Prince Matchabelli is classified as a sweet floral fougere fragrance for women. Fern, flower and spice.

• Top notes: aldehyde C-10, aldehyde C-11, Calabrian bergamot, Sicilian lemon, Paraguayan petitgrain, Provencal lavender 
• Middle notes: hydroxycitronellol, French fern accord, Bourbon geranium, Indian carnation absolute, isoeugenol, Chinese ginger, Bulgarian rose otto, Egyptian jasmine absolute, Comoros ylang ylang oil, heliotropin, Tuscan violet leaf absolute, Veronese orris butter 
• Base notes: Venezuelan tonka bean, coumarin, Tyrolean oakmoss absolute, Tibetan musk, musk ketone, Indian ambrette seed, Mysore sandalwood, Siam benzoin, Sumatran styrax, Bourbon vanilla, Indonesian patchouli, Java vetiver, Virginian cedar, Brazilian rosewood, Persian galbanum

Scent Profile:

The first impression of Princess of Wales is sparkling and polished—like sunlight dancing off fine silk. A powdery effervescence greets the senses, thanks to aldehyde C-10 and C-11, synthetic molecules that lend the fragrance a bright, champagne-like lift. These aldehydes give off a slightly waxy, citrus-sparkling top that enhances the freshness of the natural notes and sets the stage for elegance. Following close behind, Calabrian bergamot, grown along Italy’s southern coast, lends its refined citrus zest—less sharp than lemon, more floral and green—while Sicilian lemon brings a brisk, slightly tart edge. Paraguayan petitgrain, distilled from the twigs and leaves of the bitter orange tree, adds a verdant, leafy bitterness that balances the sweetness, and Provencal lavender rounds out the top accord with a soft aromatic clarity, clean but never soapy—its French terroir lending an especially delicate camphoraceous nuance.

As the top fades, the heart blooms with a textured bouquet of herbs, florals, and spice. A breath of French fern accord—a classical fougère element—evokes the cool dampness of a shaded glen, softly green, tinged with dew. This is bolstered by hydroxycitronellol, a floral aroma chemical with a lily-of-the-valley nuance that freshens the composition without overwhelming it. Bourbon geranium, with its rosy-mint tone, and Indian carnation absolute, both spicy and floral, are intensified by isoeugenol, the molecule behind the warm clove-like facet that makes the carnation feel fuller, more vivid. Chinese ginger adds sparkle and subtle heat, lifting the floral heart with a zesty whisper. 

Then comes the sumptuous heart of Bulgarian rose otto, velvety and honeyed, its fullness enhanced by Egyptian jasmine absolute, lush and indolic, giving the bouquet its romantic sensuality. Comoros ylang ylang oil contributes a soft banana-creamy undertone, while heliotropin, a synthetic evoking cherry-almond sweetness, interlaces with Tuscan violet leaf absolute and Veronese orris butter—the former green and watery, the latter powdery, cool, and softly rooty, like iris petals mingling with fine suede.

The base arrives as a warm cascade of woods, resins, and balsams. Venezuelan tonka bean, rich in coumarin, provides the almond-vanilla warmth that is foundational to the fougère style. The coumarin lends an airy sweetness and is seamlessly woven into Tyrolean oakmoss absolute, grounding the perfume in a mossy, dark green richness. Tibetan musk and musk ketone create the soft, powdery warmth that clings gently to the skin—both animalic and clean, a whisper of intimacy. Indian ambrette seed, vegetal and lightly fruity, brings natural musk nuance with a slightly amber lift. 

A creamy richness unfurls from Mysore sandalwood, prized for its soft, milky character and rarity. This sandalwood is flanked by Siam benzoin, Sumatran styrax, and Bourbon vanilla, which, together, infuse the drydown with a sweet, balsamic resin glow. Indonesian patchouli adds earthy complexity, Java vetiver contributes a smoky-green sharpness, while Virginian cedar and Brazilian rosewood layer in dryness and structure. A final accent of Persian galbanum, sharp and resinous, gives a verdant bite to the woodiness, ensuring the scent retains its spirited elegance from start to finish.

In Princess of Wales, Prince Matchabelli conjured not just a fragrance, but a portrait—one of nobility softened by mischief, feminine grace touched with clever defiance. The interplay of sparkling aldehydes, lush florals, and grounding fougère accords make it feel both classically composed and distinctively alive—a scent fit for royalty, but with a twinkle in her eye.

Bottles:

The Princess of Wales perfume by Prince Matchabelli was presented in the house’s iconic gilt crown bottle, a symbol that by 1939 had become inseparable from the Matchabelli name. This elegant flacon, shaped like a stylized royal crown, reinforced the theme of aristocratic beauty and refinement. For this particular release, the packaging was especially luxurious—housed in a rich grey satin box, adorned with a white royal crest and lined in cerise velvet, the presentation echoed the refined opulence of a Victorian court. The tactile richness of the box and the lustrous finish of the crown-shaped bottle invited not just admiration, but reverence, turning the perfume into a personal keepsake, not merely a cosmetic item.

This visual opulence was no accident. According to a 1940 issue of Art and Industry, the fragrance was designed to complement the nostalgic revival of 1890s fashion trends—“go’s waistlines, flounces, bustles, and snoods.” The Princess of Wales perfume was positioned as the perfect accessory for the woman embracing this romantic silhouette—elegant, high-spirited, and just a bit theatrical. It connected the past to the present in scent as well as style, referencing Victorian grace while being perfectly attuned to late-Depression-era desires for dignity, romance, and escape.

An editorial in The New Yorker from the same year remarked that while many customers were initially drawn to Prince Matchabelli’s perfumes because of their collectible bottles—Duchess of York, Ave Maria, Katherine the Great, and Princess of Wales among them—they continued purchasing them “for the scents themselves.” This loyalty signaled the success of Matchabelli’s strategy: pairing arresting design with high-quality compositions that stood out in the crowded perfume counters of the time.

In sum, Princess of Wales wasn’t just a perfume—it was a fully realized experience of royal fantasy and romantic nostalgia, beautifully crafted to match both the bottle and the fashions of the era. The packaging and the scent worked in harmony to evoke a timeless elegance that kept it desirable well into the post-war years.

Fate of the Fragrance:

Launched in 1939, Princess of Wales by Prince Matchabelli debuted at a moment of transition and uncertainty on the global stage. As Europe inched closer to the outbreak of World War II, American women—though still insulated from direct involvement—sought comfort, escapism, and identity in beauty rituals and familiar luxuries. The launch of Princess of Wales, with its graceful name and nostalgic scent, arrived at the perfect intersection of sentiment and style. It was conceived not only as a fragrance, but as a symbol of refinement, lineage, and femininity rooted in royal inspiration.

Still available in 1943, during the height of wartime rationing and industrial redirection, Princess of Wales managed to endure on shelves when many luxury goods were disappearing. This endurance speaks to its appeal and the emotional connection it fostered with its audience. While many perfumes of the time were shifting to more utilitarian packaging and wartime formulas, Princess of Wales retained its signature charm and was still sold in its iconic gilt crown bottle. The fragrance—light, sweet, and delicately spicy—offered women a sense of continuity, glamour, and elegance in a world that was changing rapidly around them.

Although its exact discontinuation date remains unknown, its continued presence in the market into the mid-war years suggests that Princess of Wales had a lasting and cherished place in the Matchabelli fragrance portfolio. Its refined profile and romantic packaging captured a specific moment in perfume history when scent became both a personal comfort and a quiet act of self-expression in uncertain times.