The journey of the La Corona name, from its 19th-century origins and challenges to its resurgence and adaptation in the modern Cuban cigar industry.
Ah, my esteemed reader, it feels like an age has passed since we last exchanged words. In the interim, my adventures took me to the vibrant heart of Havana, a city where the digital tendrils of the Internet are as elusive as the whispers of history that echo through its streets. But now, after a fortnight steeped in the rich tapestry of Cuban culture, I return, eager to unfurl the scrolls of history, knowledge, and why not … personal anecdotes.
So, I invite you, dear connoisseur of life's finer pleasures, to create an ambiance befitting the tales I'm about to relay. Pour yourself a measure of smooth rum, or perhaps brew a robust cup of coffee, the choice is yours. Ignite the embers of your preferred cigar and let its aromatic plumes encircle you, creating an oasis of tranquility and anticipation.
Prepare yourself, for in this digital letter, I will unravel the saga of the legendary La Corona, a name that resonates with the legacy of cigar craftsmanship and the indomitable spirit of Cuban heritage. This is not just a recounting of facts, but an invitation to journey through time, where I got lost between centuries, to explore the essence within the chapters in the tobacco history books. So, sit back, savor your drink, and allow the narrative to transport you to the famous grounds of La Corona.
Traverse with me, if you will, back to a time where the air was imbued with the rich scent of tobacco, and the name "La Corona" was not yet emblazoned upon the history books of cigar legends. This tale begins not in grandiose factories or amidst waves of smoke but in the hands of José Cabargas, who in 1845 breathed life into this cigar brand. Like a craftsman with his clay, Cabargas molded La Corona into more than just cigars, he crafted a legacy within his own humble factory.
As the smoke from these fine cigars found its way beyond the shores of Cuba, reaching the discerning noses of aficionados in Spain and England, the brand flourished. It seemed, for a time, as though nothing could tarnish the reputation of La Corona. However, as the wheel of fortune turns, so too did the fate of this empire with the death of Jose Cabargas. The mantle was passed to his widow and children, under whose stewardship the brand faced its first tribulations and eventual disappearance from the ledgers of cigar manufacturers by 1880.
Yet, from the ashes of its supposed demise, La Corona was reborn under the ownership of Manuel López in 1882. With a new sanctuary for its creation in La Vencedora, alongside the José Domingo brand, La Corona found a second breath. The narrative, however, was far from settled, as the brand once again changed hands, this time weaving its destiny with that of Segundo Álvarez and Perfecto López.
The plot thickens as we reach the zenith of our story in 1889. Álvarez and López, our protagonists, not only merged their entrepreneurial spirits but also their dreams into the acquisition of the Palacio de Aldama. This grand edifice, born from the ambitions of Manuel José Carrera and the fortunes of Don Miguel Aldama, was a palace of dreams and dramas. Conceived for the joys of Aldama's offspring, it was instead entangled by the tumults of war and loss.
In the hands of Álvarez López y Cía, the Palacio was named "La Corona," transcending its past sorrows to become the crucible for the resurgence of the brand. Thus, the tale of La Corona is not just one of tobacco leaves and cigars, it is a saga of rebirth, of resilience against the tides of change, a testament to the enduring spirit of tradition and innovation.
Imagine, if you will, a moment in time where the name "La Corona" is bellowed from the rooftops, announcing an era of unmatched splendor and acclaim. This was the epoch, a full 44 years after its humble beginnings, when La Corona—both the brand and the factory—ascended to the apex of fame. At the heart of this golden age stood Segundo Álvarez, a colossus in the world of Cuban cigars, whose name was whispered with awe and respect across the salons of Havana and beyond.
But what of the stage upon which this grand drama unfolded? The Palacio de Aldama, a structure that not only defied the ordinary but set the bar for cigar factories across the globe. Transformed into the first factory named La Corona, this palatial marvel stood shoulder to shoulder with the likes of La Esceptión and La Meridiana. Together, they crafted the Habano Golden Perimeter, a district where the air was thick with the promise of luxury, and the streets paved with the gold of tobacco fortunes.
The year 1889 was a watershed in the annals of La Corona. It was then that Álvarez and his partner, actors in this grand drama, decided to intertwine their fate with that of Henry Clay and Bock Ltd., a union blessed with British capital. Yet, as with all great tales, change was on the horizon. By 1898, Álvarez, ever the visionary, cast his lot fully with the Havana Cigar and Tobacco Company, surrendering his shares and, with them, a piece of his soul, into the hands of British interests.
But the plot thickens still, for this was not merely a change of hands but a transatlantic ballet of commerce and craft. Under the brand of the American Tobacco Company, La Corona found itself suffused with American funds, a beacon of international collaboration and intrigue. Amidst this financial wizardry, the Havana Cigar and Tobacco Company, custodians of the La Corona legacy, embarked on a bold architectural endeavor. A third floor rose from the foundations of the factory, a testament to ambition, a defiance of the mundane, elevating La Corona not just in fame, but in stature, marking a new chapter in the storied saga of this illustrious brand.
As the dawn of the 20th century broke over Havana, the winds of change were stirring, announcing a new era for La Corona. It was during this transformative period that the American Tobacco Company, with its gaze fixed firmly on the future, embarked on a monumental project. A stone's throw from the famous Capitolio, a new edifice was to rise, born from the dreams of industrialists and the legacy of tobacco royalty. The land, procured from Leopoldo Carvajal, the distinguished Marquis of Pinar del Río, was to become the foundation of an architectural marvel.
Enter Milliken and Bros, a New York construction firm charged with a task as formidable as it was groundbreaking. Their mission: to build the first structure in Cuba to be forged from steel and concrete. This was no mere building, it was a testament to modernity, an edifice that would require nearly one million pesos to bring to fruition. The result was nothing short of revolutionary. The "Palacio de Hierro," or Iron Palace, as it came to be known, stood as a beacon of industrial might and architectural innovation. By 1904, its completion began a new chapter for La Corona, as it took its place alongside the Palacio de Aldama, under the same name.
Within the steely embrace of the Iron Palace, the art of cigar making was elevated to new heights. Over twenty brands, from the revered to the obscure, were crafted within its walls, turning this fortress of industry into a crucible of creativity. Yet, as the decades passed, the once-vibrant roster of brands faded into the history books, granting the Palacio de Hierro a new, more solemn title: the "Pantheon."
For nearly three decades, the twin factories of La Corona stood as pillars of the cigar world until the tremors of social unrest, ignited by the dire straits of the 1929 crisis, shook their foundations. The Palacio de Aldama, once a symbol of opulence and industry, shuttered its doors amidst the yelling of demonstrations and riots. However, the spirit of La Corona, indomitable as ever, found new life in 1933, not as a producer of cigars, but as a cigar lounge, store and warehouse, transforming into a beacon of commerce and culture.
The narrative took yet another twist in 1945, as the talks of demolition loomed over the Palacio de Aldama. Yet, like a phoenix rising from the ashes, the collective will of cultural and artistic societies armed with protests breathed new life into its walls, securing its proclamation as a National Monument in 1949. The revolution of 1959 further secured its place in history, transforming this former temple of tobacco into the Institute of Cuban History.
Thus, the tales of La Corona weave through the fabric of time, from the marvel of industrial triumph to the quiet dignity of historical preservation. In the heart of Havana, these structures stand not just as buildings, but as monuments to the enduring legacy of Cuban culture and craftsmanship.
In the wake of the Palacio de Aldama's closure, a significant chapter in the saga of La Corona drew to a close. However, the narrative was far from over. The American Tobacco Company, in a strategic pivot, established a new bastion for cigar production in Trenton, New Jersey. This move not only marked a geographical shift but also a transformation in the dynamics of cigar commerce. While the Havana Cigar and Tobacco Company—renamed as Tabacalera Cubana S.A.—continued to cater to the Cuban domestic market, the American arm wielded the allure of Cuban-origin leaves to craft cigars stateside, navigating the waters of international tariffs and competition.
Despite these tumultuous shifts, the La Corona brand maintained its lustrous sheen through the 1950s, reigning supreme in the Cuban cigar sector and capturing the imaginations and palates of aficionados worldwide. Yet, the winds of change were relentless. The 1960s a decline started in the brand's exports, a slow fading of its international footprint as American factories began to dominate La Corona's production.
The Cuban revolution cast a long shadow over this landscape of smoke and legacy. With the march of troops into Havana, the state assumed control over the tobacco industry, starting an era of nationalization that saw La Corona's exports diminish to a mere whisper of their former glory, culminating in the ending of production in 1999.
Yet, from the ashes of the old, a phoenix was destined to rise. In 2005, approximately a century after the Iron Palace first asserted its dominion over the Havana skyline, the La Corona factory bid adieu to its legacy of cigar production, embracing a new incarnation as a hotel. This marked not an end, but a metamorphosis, a bridge between centuries.
Amidst this backdrop of change and continuity, a new La Corona emerged, at number 520 on Avenida 20 de Mayo. The modern factory we know today, full of life with around 750 employees, including 300 specialized rollers, stands as a testament to resilience and adaptation. Within its walls, the legacy of La Corona is woven with the threads of contemporary craftsmanship, housing the production of illustrious names such as Hoyo de Monterrey and Montecristo, among others.
This new chapter is about evolving a tradition, about marrying the rich heritage of the past with the vibrant possibilities of the future. The "new" La Corona, in its modern aspect, continues to write the ongoing saga of a name that has weathered the storms of history, politics, and economics, standing as a symbol of excellence in the ever-changing world of Cuban cigars.
In the latter half of the 19th century, a period ripe with innovation and transformation, La Corona etched its name into the very essence of cigar culture, becoming synonymous with quality, tradition, and the art of cigar making itself.
But the tale does not end as the pages turn into the 20th century. Rather, the brand and its factories continued to evolve, navigating through waves of change, political changes, and the shifting sands of market dynamics. Throughout this journey, La Corona remained steadfast, a beacon for aficionados and craftsmen alike, a symbol of enduring excellence in a world in flux.
