I belong to that generation who in infancy heard a great deal about Alexandra of Denmark from people who still remembered her huge blue eyes, her bewitching smile and incomparable charm which miraculously project even today from cinema newsreels of 100 years ago. Some of us might go so far as to observe that Prince William’s looks are inherited as much from his paternal gt gt gt grandmother as from his mother. Alexandra rivals even the late Princess of Wales and Elizabeth the Queen Mother in the British royal popularity ratings on account of the conventions of her day setting her slightly apart from her subjects: there was no hugging, weeping, betting or gin and Dubonnet to encourage a woman-to-woman mateyness. Alexandra was ethereal, elusive, remote and revered; yet she projected such warmth, sympathy and grace coupled with flirtatious caprice and vibrant feminity as to make her adored though untouchable.
She dressed to please herself, pinning Orders and crown jewels on at random wherever they suited her best, regardless of protocol. Her fans and accessories were ordered from Carl Faberge; she was famously slim and diet-conscious in a very porky age. But how did the divine Alexandra smell? Alexandra Rose Day, founded in her old age commemorated her love of that flower and Floris supplied both her and her husband’s mistress, Mrs Keppel with their Red Rose. Long discontinued, this was a magnificently petally, velvety, deep soft rose which had as great an influence on rose scents in its time as Malle’s Une Rose in the 21st century. Ladies of Alexandra’s day were considered to be flower-like in their delicacy, their sensibility and fragility – they should be scented like blossoms, avoiding the coarse actressy voluptuousness of musk, civet and amber. A faint odour of flowers should emanate from their clothes, laid up in fresh lavender, rather from their bodies: colognes and toilet waters were still applied to handkerchiefs rather than to the skin or the hair, a practice still considered “fast” – a useful and telling word long since obsolete, alas.
Queen Alexandra would have been well aware of Grossmith’s best-selling perfumes, recently revived this century in their old splendour – Phul Nana, Shem El Nessim and Hasu no Hana. Her daughter-in-law (the future Queen Mary) wore Grossmith’s Bridal Bouquet to her own wedding – an occasion on which it was noted that Alexandra looked lovelier than the bride. Houbigant, Guerlain and Piver would have been familiar names to her. She lived long enough to smell Chanel No 5 and the baroque splendours of Caron even if she was too much of a Victorian to have worn them. But after the rose, the flower most traditionally associated with Alexandra is the violet – in the style of her day she pinned huge corsages of them to her clothes, carried bouquets of them in public and incorporated velvet and silk violets in her toques – the convention of royal ladies not obscuring their faces by wide brimmed head gear being already well established. Besides, as her mother-in-law Queen Victoria waspishly observed, “Darling Alix has the tiniest head I have ever seen” so that Alexandra was well aware of the flattering appearance of small, high turbans. She moved in a mist of Parma violet cologne, sheer silks and lace,the perfection of Edwardian womanhood.
Her rooms at Sandringham and Buckingham palace were crammed with roses, violets and azaleas. Faberge also recreated her favourite plants in crystal, gold and precious stones. Her favourite floral scents would have scented her gloves and rice powder for the face. I wonder whether this well-known fascination of the nation’s favourite old lady (she died at 80 in 1925) for these fragrances led to them for so long after her death to be considered old-fashioned and demode. And then quite suddenly, around ten years ago, the tide turned again and rose and violet perfumes came back, firstly via the niche perfumers and then amongst the commercial houses. One of the most opulent and most artful is Lipstick Rose, in the Malle collection – here Ralf Schwieger triumphantly updates the accord, introducing a violet-rose perfume with fruity aldehydic notes of immense vibrancy and panache, but still displaying a retro powderiness and floral poignancy that is the quintessence of Alexandra.
Image from Wikipedia