Principes de Asturias (1918)

Principes de Asturias (also spelled Príncipe de Asturias) was introduced by Myrurgia in 1918, at a time when Spain still maintained its royal court under King Alfonso XIII. The name derives from the historic Spanish title "Príncipe de Asturias," literally meaning "Prince of Asturias." It is the traditional title granted to the heir apparent to the Spanish throne, much like the British title "Prince of Wales." The phrase is Spanish, and it is pronounced as "PREEN-see-peh deh ah-STOO-ree-ahs." Although some advertisements and export labels used the pluralized form "Principes de Asturias," the official royal title is singular, referring to the designated heir rather than multiple princes.

The choice of this distinguished title was almost certainly intended to evoke the grandeur, refinement, and prestige of the Spanish monarchy rather than to honor a specific individual. In 1918, however, there were indeed royal heirs who bore the title. The eldest surviving son of King Alfonso XIII, Alfonso, Prince of Asturias (1907–1938), was the official holder of the title at the time the fragrance debuted. His younger brother, Infante Juan (later Count of Barcelona and father of King Juan Carlos I), did not become Prince of Asturias until Alfonso renounced his succession rights in 1933. Therefore, despite occasional assumptions that the title referred collectively to Alfonso and Juan, the title in 1918 properly belonged only to Prince Alfonso. Myrurgia was likely borrowing the symbolism of the title itself—its associations with nobility, heritage, and Spanish identity—rather than referencing the young prince personally.

To a customer in 1918, the words "Príncipes de Asturias" immediately suggested royal ceremony, ancient castles, velvet-lined palaces, glittering state occasions, and centuries of Spanish tradition. Asturias itself is a rugged, mountainous region in northern Spain that occupies an almost mythical place in Spanish history as the birthplace of the Christian Reconquest. The title therefore carried both political prestige and deep historical significance. It evoked images of medieval fortresses overlooking green mountains, jeweled crowns, embroidered uniforms, heraldic banners, and courtly elegance. Emotionally, the name conveyed dignity, honor, loyalty, refinement, and quiet confidence rather than flamboyant luxury. It suggested aristocratic restraint—a fragrance worthy of someone born into privilege rather than someone seeking attention.

The perfume appeared during the closing months of World War I, although Spain remained officially neutral throughout the conflict. Neutrality allowed Spanish industries, including luxury manufacturers such as Myrurgia, to continue expanding while many of France's great perfume houses struggled with wartime shortages. Europe was entering the hopeful yet uncertain transition from wartime austerity into the exuberant modernity that would characterize the Roaring Twenties. Society stood at the threshold between the graceful elegance of the Belle Époque and the emerging Jazz Age, with fashion gradually moving away from heavily corseted Edwardian silhouettes toward slimmer, freer designs. Women's skirts were beginning to shorten slightly, waists rose, and lighter fabrics replaced the ornate excesses of previous decades. Art Nouveau's flowing curves were giving way to the cleaner, more geometric aesthetics that would soon culminate in Art Deco.

Perfumery was experiencing its own revolution. Synthetic aroma materials developed during the late nineteenth century had become increasingly sophisticated, allowing perfumers to create fragrances with unprecedented complexity and longevity. French houses such as Houbigant, Coty, and Guerlain were transforming perfume into an artistic statement rather than merely a pleasant floral scent. Rich oriental compositions, elegant florals, aldehydic accords, and sophisticated woody bases were becoming fashionable among affluent women. Myrurgia positioned itself as Spain's answer to these celebrated French perfume houses, creating fragrances that blended international sophistication with unmistakably Spanish themes, history, and artistic identity.

Women encountering Príncipes de Asturias in 1918 would likely have perceived it as a perfume of cultivated elegance and noble bearing. Rather than appealing through romance or overt sensuality, the name promised distinction and impeccable taste. For affluent Spanish women, it celebrated national pride while offering a fragrance associated with the royal court. International buyers, meanwhile, would have viewed the title as something wonderfully exotic—a glimpse into Spain's romantic monarchy and centuries-old traditions. Wearing a perfume with such a name allowed a woman to imagine herself surrounded by the refinement of palace salons, formal receptions, and aristocratic society, even if only for a moment.

Interpreted purely as a fragrance concept, the name Príncipes de Asturias suggests a scent built upon balance, discipline, and understated luxury rather than extravagance. One imagines polished woods, immaculate florals, noble herbs, precious resins, and refined citrus rather than overwhelming sweetness or dramatic spice. It evokes freshly pressed ceremonial uniforms, polished leather, carved oak, white gloves, cathedral incense, crisp mountain air, and bouquets arranged for royal receptions. The perfume would be expected to possess composure and quiet authority, unfolding with the dignity and confidence befitting its regal inspiration instead of relying on theatrical excess.

Within the context of the perfume market of 1918, Príncipes de Asturias represented both continuity and originality. Its likely fragrance style would have aligned with contemporary tastes for elegant floral, oriental, and woody compositions that dominated luxury perfumery after the First World War. However, its identity distinguished itself through its unmistakably Spanish inspiration. While many leading perfumes of the era borrowed imagery from Parisian fashion, Oriental fantasy, or classical mythology, Myrurgia consistently celebrated Spanish history, culture, and royalty. Naming a fragrance after one of Spain's highest royal titles reinforced the company's national identity and offered consumers something uniquely Spanish within an international perfume market still largely dominated by French houses. This combination of fashionable perfumery with authentic Spanish cultural symbolism helped establish Myrurgia as one of Spain's most important luxury perfume manufacturers during the early twentieth century.

Fragrance Composition:

I have no notes on the composition of this fragrance, I would need a sample to tell you what it smells like.

Bottles:

The Príncipe de Asturias parfum was presented in a refined bottle whose silhouette recalls that of a classical obelisk, although rendered in a shorter, broader, and more compact form. Its clean architectural lines conveyed strength and dignity, while the substantial proportions gave it an air of permanence and understated luxury. Crowning the bottle was an elegant lapidary-cut crystal stopper in the shape of a teardrop, its many polished facets catching and refracting the light like a fine gemstone. A richly gilded paper label adorned the front, adding a touch of regal brilliance that complemented the perfume's aristocratic name and reinforced its image as a fragrance of royal distinction. 

Príncipe de Asturias was offered in both parfum and face powder, allowing admirers to layer its elegant fragrance as part of their daily toilette. Contemporary accounts even claimed that the perfume had been blended especially for the Spanish Prince, a romantic association that enhanced its prestige and exclusivity. Whether literally created for the heir to the throne or inspired by the ideals of Spanish royalty, the claim transformed the fragrance into more than a luxury perfume—it became a symbol of courtly elegance and noble refinement, offering customers the allure of wearing a scent associated with the highest ranks of Spanish society.

Fate of the Fragrance:

Príncipe de Asturias was eventually discontinued, although the exact date of its withdrawal from the market has not been documented. Period advertisements confirm that it was still being offered for sale in 1927, demonstrating that it enjoyed a respectable commercial lifespan following its introduction in 1918. As fashions changed and Myrurgia introduced newer creations, the fragrance quietly disappeared from the company's catalog. Today, surviving examples are exceptionally difficult to find, making them highly desirable to collectors of antique perfumery and Spanish decorative arts. Complete bottles retaining their original labels, crystal stoppers, and presentation boxes are particularly scarce, offering a rare glimpse into the refined craftsmanship and royal-inspired elegance that characterized Myrurgia's earliest luxury perfumes.