Dead Letter Office: Nina Ricci Signoricci 2- Twin Sons of Different Mothers

One of the easier to explain reasons for a perfume ending up in the Dead Letter Office is a brand which fools with the names of their perfumes. There are many enduring lessons where the moral of the story is not to confuse the consumer. This month’s entry Nina Ricci Signoricci 2 is one of those tales.

If I was asked to make the case for a post-War perfume brand which has been lost in the shuffle of the Grand Maisons I could make a compelling case for Nina Ricci. L’Air du Temps is one of the great early perfumes to arise after World War 2 ended. If you judge this on the modern formulation I hope you have an opportunity to try an earlier version where the floral heart is among one of the most beautiful in all of perfume. The fragrance side of the brand was overseen by Robert Ricci for forty years which saw a signature style of sophisticated fragrances released. Many are also in the Dead Letter Office and the survivors have been reformulated into ghosts of themselves.

Robert and Nina Ricci

Most of the fragrances from this period were marketed to women. It wouldn’t be until 1966 that they entered the masculine market with Signoricci. It was primarily a citrus with a bitter green core which even for someone who enjoys green found it distracting in its intensity. Ten years later the sequel would arrive, Signoricci 2.

Signoricci 2 was composed by perfumer Raymond Chaillan. The first thing he seemingly chose to do was to retain the citrus style but to excise the overt green. M. Chaillan’s vision was to produce a sophisticated citrus with a much more understated green component.

Raymond Chaillan

The opening is a sharper version of lemon with petitgrain providing a more focused effect. The floral heart of carnation and jasmine is lifted by a set of expansive aldehydes. This creates space for a thinner green thread to snake through the perfume. Basil, vetiver, and moss take care of this. It becomes very warm as amber, patchouli, and tonka form a comfy base accord.

Signoricci 2 has 14-16 hour longevity and above average sillage.

Signoricci 2 fell square into the mid 1970’s powerhouse men’s perfume style. I have treasured my bottle because I think it is one of the best “formal” citrus perfumes I own. It always seemed to me that Signoricci 2 should have had the opportunity to be reformulated to death as the rest of the brand had been.

Except they decided to choose to confuse their consumer. Soon after Signoricci 2 was released they decided to discontinue Signoricci. At the same time, they then decided to drop the “2” from Signoricci 2. Imagine how this worked over the next few years. Someone who finished a bottle of Signoricci who loved the intense green nature goes to the mall and sprays “Signoricci” on a strip sees the green is gone and walks away. The person who bought Signoricci 2 and enjoyed it, as I did, finishes their bottle. Goes to the mall to replace it only to find “Signoricci” minus the “2”. Walking away they wonder what happened to their sophisticated citrus. I have never understood these kinds of decisions because it leads right to the Dead Letter Office.

There is a part of me that would like to see the two descendents of both of the creatives; grandson Romano Ricci and son Jean-Marc Chaillan collaborate on Signoricci 3. Until then Signoricci 2 will do.

Disclosure: This review is based on a bottle I purchased.

Mark Behnke

Dead Letter Office: Geoffrey Beene Bowling Green- The Overlooked Sibling

One common theme in the Dead Letter Office is that when a designer creates a classic the poor fragrances that follow have a hard time breaking through. Like the younger sibling to the brilliant older one. You might be every bit as good, perhaps better for some, but you will never get noticed. That is the story of Geoffrey Beene Bowling Green.

The brilliant older brother is 1975’s Grey Flannel. That was the first perfume from the brand and it has become a classic. One I admire and recommend to those looking for something different from fresh for an economical price. Bowling Green was the follow-up released almost twelve years later. Like all neglected younger siblings much of the creative information has been lost. All I could find was something within the press release which mentioned it as being “developed personally by Mr. Beene”. Sounds like pr more than actuality especially since there is also no perfumer accredited. It is too bad because Bowling Green is a style of perfume which would be relevant in today’s fragrance world. It has many of the green trends along with being more transparent than most of the other 80’s masculines.

Geoffrey Beene

What strikes you right out of the bottle is a focused burst of verbena. The lemony quality combined with the green is kept tightly constrained. To that lavender and a bit of mint add some detail. The lemon becomes more present as some petitgrain teases it away from the verbena. The mint slides away in the face of more savory herbs like sage, basil, and rosemary. Over all of this crests a wave of cardamom recapitulating the lemon thread from the top. There is some pine to play around with a terpenic green contrast, but the middle part of Bowling Green is cardamom. As it recedes what remains is a mixture of synthetic woods representing sandalwood, fir, and cedar; most predominantly that last note. The cedar provides a clean woody foundation to close things out.

Bowling Green has 12-14 hour longevity and average sillage.

Bowling Green never came close to being the sales equal of Grey Flannel. To their credit the brand did not pull the plug quickly as it lasted well into the 2000’s before finally giving up. I think they just tired of promoting a perfume which was never going to catch on. I think Bowling Green is as good as Grey Flannel, but that opinion never found wide agreement which is how it ended up in the Dead Letter Office as the overlooked sibling.

Disclosure: This review is based on a bottle I purchased.

Mark Behnke

Dead Letter Office: Jean Patou Ma Liberte- The Kerleo Years

Those who have followed me over the years know there is a special section in the Dead Letter Office for the perfumes of Jean Patou. Much of their reputation rests on the creations of perfumer Henri Almeras from 1925-1946. The only remaining evidence of the glorious history of the brand is the evergreen best-seller Joy. This is not to say there haven’t been numerous attempts to bring the brand back to life. Perfumer Jean-Michel Duriez oversaw one of the more confusing transitions through the turn of the century. Most recently perfumer Thomas Fontaine has been re-formulating the original collection the best that he can with modern substitutions. In between there was another short creative spurt overseen by perfumer Jean Kerleo from 1972-1995.

M. Kerleo’s tenure has provided one of those rarest of unicorn fragrances, Patou pour Homme, in 1980. It lives up to every bit of the hype. Lost within this group of Patou perfumes done by M. Kerleo is one I admire just as much; Ma Liberte.

Jean Kerleo

Throughout this time M. Kerleo seemed to enjoy using lavender as a keynote. It would show up in both Patou pour Homme and Patou pour Homme Prive as well as Voyageur. Ma Liberte was another example of the flexibility of lavender in the hands of an artist.

In the beginning of Ma Liberte M. Kerleo chooses to contrast the lavender with tart citrus which is ameliorated with the lighter nature of heliotrope. Jasmine will become the note in the heart which picks up the lavender and allows it to flower more fully. Then the other hall mark of M. Kerleo’s time at Patou is his use of spices. He swirls in cinnamon, nutmeg, and clove to create this swirling warm shimmer covering the florals. It leads to a rich cedar and sandalwood base.

Ma Liberte has 14-16 hour longevity and above average sillage.

If there is a question which has perplexed me; it is how the Jean Patou collection never caught on beyond Joy. I’ve never seen a reliable explanation on why they never were commercially successful but that is the reason they populate my favorite corner of the Dead Letter Office.

For those of you who look at the prices for Patou pour Homme and Patou pour Homme Prive on the auction sites and just groan at the prices you are who this version of this column is for. Ma Liberte is as good as either of those and it can be found on the same auction sites for much, much, less. If you have given up on obtaining the Patou pour Hommes give Ma Liberte a try.

Disclosure: This review is based on a bottle I purchased.

Mark Behnke

Dead Letter Office: Christian Dior Dior-Dior- Roudnitska Overture

Whenever I go to see a musical on the stage one of my favorite moments is the overture. Just prior to the curtain rising on Act 1 Scene 1 the orchestra lays down a preview of the musical themes which will appear during the musical to come. I’ve always found it a fascinating kind of audio foreshadowing. After I’ve seen the production it can be a short reminder of the event.

I wouldn’t say it is common in perfume for something to be an overture. As I finally acquired enough of 1976’s Christian Dior Dior-Dior it was hard not to think of it as a retrospective overture of perfumer Edmond Roudnitska’s portfolio at Dior.

Edmond Roudnitska

By 1976, M. Roudnitska had created five previous Dior releases. The Dior style was defined in those singular perfumes many of them masterpieces of the perfumed art. By this point in his career he was fully embracing simple constructions. He was a precise artist using only the least amount of ingredients to achieve his desired effect. The apex of this style might have been the two releases which preceded Dior-Dior; Diorella and Eau Sauvage. It is their influence which is most noticeable in Dior-Dior.

The early part of the overture carries the lemon and hedione aspects of Eau Sauvage. They provide the same expansiveness so recognizable from that previous perfume. Then the strings provide the lilt of melon from Diorella. In Diorella the melon is on the verge of being overripe. In Dior-Dior it comes from the day before that, as it is lighter in degree. The lily of the valley from Diorissimo provides a strong green and floral aspect. This is all finished off with some oakmoss and woods to make it chypre-like.

Dior-Dior has 14-16 hour longevity and above average sillage.

Something which carries many of the best parts of the Roudnitska Dior partnership should have been a big seller. It didn’t last long and was sent to the Dead Letter Office surprisingly quickly. Granted M. Roudnitska had been making Dior perfumes since 1948 and perhaps the time for his style has passed. That seems unlikely based on the continued popularity of those previous Dior perfumes. Which is where I return to my overture analogy. Dior-Dior is like an appetizer when you can have the entrée of Eau Sauvage, Diorella, or Diorissimo. I understand that after having the opportunity to experience this now. After wearing Dior-Dior I just wanted to hear the full versions because I know they are there. I wonder if Dior-Dior was an actual overture from which the three perfumes it reminds me of followed whether it would have had greater success. When the overture comes at the end of the musical I think it is easy to understand why it is in the Dead Letter Office.

Disclosure: This review is based on a sample provided by a generous reader.

Mark Behnke

Dead Letter Office: Trussardi Python- A Fine Chocolate

I’m starting this edition of Dead Letter Office a little bit differently. In the almost four years I’ve been writing on my own at Colognoisseur I am very happy that certain columns connect with specific readers. This usually leads to delightful conversations via e-mail or chat. One big fan of this column has decided to move beyond that. Over the past year I can count on seeing a chat pop-up the next morning after a Dead Letter Office piece. This reader has a crazy collection of discontinued fragrances. At the beginning of the summer I was asked how many more Dead Letter Offices I had in me. I responded that I was getting to the end of my list that I own. I was asked for my address and a few weeks later the most amazing surprise arrived; a box full of samples of discontinued gems. There was a little note which accompanied it, “this should keep you busy”. I’ve asked, I’ve pleaded, I’ve begged for the reader to allow me to name them. I feel like I should be able to call this the “Person’s Name Collection” when I write about it. For now, it will remain an anonymous random act of kindness.

Louise Turner

When you get something like this there is a giddy moment of colognoisseur in the rare perfume store. I wanted to try everything. As the temperatures were cooling there was one which I had heard about which was purported to be a “perfect chocolate gourmand”. I felt like that was where I wanted to start, with Trussardi Python.

Trussardi is an Italian fashion design house which began by selling leather goods in 1911. Over the next seventy years the brand would expand into accessories of all kinds. In an interesting turnabout the fragrances which bore the brand name came before the clothes. In 1982 they would release their first branded fragrance; the women’s ready-to-wear collection would come a year later. The rest of the 1980’s would see a dramatic worldwide expansion for all things Trussardi.

Nathalie Gracia-Cetto

As they reached the turn of the century they decided to jump on the fledgling gourmand perfume trend with Python. At this point in time Thierry Mugler Angel had spawned multiple follow-ons. To stand out perfumers Louise Turner and Nathalie Gracia-Cetto decide to create a photorealistic chocolate accord and serve it up on a sandalwood platter. It turns out to be all of that.

The perfumers raise the curtain with a raucous fanfare of orange, jasmine, and rose. It is loud and proud to be on your skin. Soon enough the chocolate comes forward as it seems to kick the florals to the curb while embracing the orange. The perfumers pull a neat effect by using plum to add depth to the chocolate. This then allows cardamom and nutmeg to gently spice the overall accord. The base is all sandalwood in overdose. It is sweet and creamy and kept there with a little vanilla.

Python has 14-16 hour longevity and average sillage.

The chocolate in the heart of Python is not an abstraction in any way. The perfumers successfully present the smell of a fine chocolate bar. Evidently the abstract fireworks of Angel were preferred by the segment of consumers who wanted to buy a gourmand perfume. Which meant Python would join many other early gourmands in the Dead Letter Office.

Disclosure: this review is based on a sample supplied by a reader.

Mark Behnke

Dead Letter Office: Comme des Garcons Play- Not Around Long Enough

I have written often how lack of longevity on skin has become inextricably entwined with quality in the consensus of the fragrance consumer. I can write until my fingers tire that the very notes which impart longevity are some of the cheapest and most synthetic; it falls as if a tree in a forest with no one around to hear. One of the reasons this has become a truism in perfume marketing is because in the mid-2000’s a number of brands put this to the test by releasing truly interesting short-lived perfumes. Almost all of them now occupy a shelf in the Dead Letter Office. One of the best examples is Comme des Garcons Play.

Christian Astuguevieille

By 2007 Comme des Garcons had emerged as one of the early pillars of the niche perfume sector. Overseen by Creative Director Christian Astuguevieille they would define many of the core principles of what it meant to be an artistic fragrance. Especially in these first years they were also the most willing to experiment. To their credit they still are. What that meant in 2007 was M. Astuguevieille wanted to see if the idea of longevity could be overcome with something truly avant-garde but fleeting.

The place within the Comme des Garcons brand where something like this might do well was the Play collection. On the clothing side Play was debuted in 2002 as a source of “casual luxury”. Which meant t-shirts and other casual wear done in the Comme des Garcons way. This brand generated one of the most iconic Comme des Garcons images. Shown above artist Filip Pagowski’s heart with eyes is as emblematic of the overall brand as it is for the sub-collection it was designed for. The Play collection were sold in these new outlets called Dover Street Market. To fill up the shelf space accessories were going to be hard on the heels of the clothing.

Aurelien Guichard

Five years on M. Astuguevieille collaborated with perfumer Aurelien Guichard for Play. It isn’t explicitly stated in any of the press materials that they were trying to make a short-lived fragrance. What is sure is Play is the Comme des Garcons aesthetic in short form.

It opens on a mixture of peppery citrus as black pepper and bitter orange provide a lively opening. It transitions quickly to an herbal heart of sage and thyme lifted on a cloud of aquatic notes like Calone. It sets up the truly odd accord that forms the base. If you ever spent time wiring stereo speakers in the old days before wireless made it irrelevant there is a smell of electronics in a wood cabinet. That is exactly what M. Guichard assembles out of patchouli, oakmoss. and musks for the final moments of Play. I’ve always thought of this as an electronic chypre.

Play has 4-6 hour longevity and moderate sillage.

The final accord is a classic odd Comme des Garcons example. It is unlikely that was the reason Play didn’t survive. The longevity was pointed out time and again whenever it was written about. It became a kind of baseline to compare other new releases to, “it lasts longer than Play”. Very quickly the decision came to pull the plug. It would be replaced by set of three perfumes Play Red, Play Green, and Play Black which would not make the same mistakes. What it comes down to is Play was not around long enough because it was not around long enough on a perfume lover.

Disclosure: This review is based on a bottle I purchased.

Mark Behnke

Dead Letter Office: Thierry Mugler B*Men- Too Normal

Thierry Mugler is one of the most successful mainstream perfume brands ever. Starting in 1992 with the release of their first perfume, Angel, they invented the gourmand style of perfume. I looked back over my master list of all that I own and within the mainstream sector there is nothing that comes close to the number of Thierry Mugler bottles. I would say that the creative team at Thierry Mugler seems to have cracked the code on how to market challenging niche-type fragrances to the masses. Despite all that success when you are working with that mindset there are going to be times you don’t make the connection to the mass market. It took twelve years for the first miss to happen, B*Men.

As is obvious from the name B*Men is the sequel to A*Men. What is less obvious is this wasn’t meant to be alphabetical per se. Instead Thierry Mugler is a big comic book fan and these were meant to be the beginning of a team of perfume superheroes. The ad above from the release in 2004 gives you an idea of what the superhero looks like. The third member of the team would come along in 2007; Ice*Men.

Jacques Huclier

B*Men was composed by a team of A*Men perfumer Jacques Huclier assisted by Christine Nagel. A*Men had been the masculine gourmand partner to Angel. B*Men was going to go in a more traditionally masculine direction building around citrus, spices, and woods. Which might be the beginning of why this didn’t succeed. The first four releases; Angel, A*Men, Innocent, and Mugler Cologne would never carry the adjective traditional. B*Men seemed to want to see if classic fragrance making with only slight Mugler tweaks could still appeal.

Christine Nagel

B*Men starts on a duet of tangerine and rhubarb. The rhubarb is used as a vegetal grapefruit surrogate. It adds green and tart to the sweeter tangerine forming a soft citrus top accord. The heart is a sturdy redwood which is surrounded by cardamom and nutmeg. The base veers away from any hint of gourmand as amber replaces the signature base accord of A*Men. That makes B*Men much less of a powerhouse than A*Men is.

B*Men has 8-10 hour longevity and moderate sillage.

Everything about B*Men, except for the rhubarb, is traditional masculine tropes. I think it is one of the better versions of this style of perfume. When I’m in the mood for this B*Men is one I consider. The rest of the world gave a collective shrug of the shoulders. The most consistent criticism was it wasn’t “as good as A*Men”; which shouldn’t be a disqualifier. I think it more likely a perfume brand which had conditioned its consumer for something different lost them with something so similar to other perfumes. It makes it one of the more interesting denizens of the Dead Letter Office. Sent there for being too normal.

Disclosure: This review was based on a bottle I purchased.

Mark Behnke

Dead Letter Office: Beth Terry Creative Universe Mare- Not All Indie Survives

The first flush of independent perfume brands came in the late 1990’s in to the early 2000’s. It was a brave new world for these alternatives to what the department stores were offering. When there are no rules or past performances to learn from the early indies were going on instinct; and not much else. It is one reason that the breadth of fragrance from the niche and independent perfumers was so large; nobody knew what would connect. There were advantages to this; being small you didn’t have to move thousands of units. You could narrowcast looking for enough perfume lovers to connect to your brand. It probably wasn’t until 2010 that the winners and the Dead Letter Office denizens were completely sorted out. The story of Beth Terry Creative Universe Mare is an example of one that tried to write their own rules only to end up here.

Beth Terry began her career working in the fashion industry. She worked at Charivari the cutting-edge fashion store in New York. She learned from the experience on how to appeal to the individualists out there; with money. She also had always wanted to make a fragrance capturing the experience of drinking green tea with her grandfather. Her first release under the Beth Terry Creative Universe brand, in 1995, was also one of the earliest green tea fragrances, Te.  Working with perfumer Victor Rouchou, who would collaborate on all the releases, she produced a minimalist architecture in which grapefruit, green tea, and green notes form the axis upon which it spins. Te would turn out to be a big hit because Ms. Terry knew how to get it seen where it would do the most good. She wasn’t going to buy an ad in a fashion magazine but she knew all the editors and could get them to feature Te in an article; as good as an ad to a small brand. It reportedly sold out in the exclusive department stores on both sides of the Atlantic.

Victor Rouchou

Riding the fame in 1999 she released her second perfume Mare. Mare was a stripped-down aquatic consisting of two accords and a floral. The accords were a sea salt and an avocado. The floral was ginger lily. Mr. Rouchou constructed the sea salt accord from the typical building blocks of ozonic and water notes. He manages to form a pure salt breeze accord which is where Mare begins. It is the cleanest version of this accord I have ever tried. The avocado accord is a heavier fruity contrast then the typical citrus of the other aquatics of the day. It is this which made Mare significantly different from anything else on the shelf at the time. The final note is the slightly spicy ginger lily.

Mare has 8-10 hour longevity and average sillage.

Mare has been one of my favorite aquatics ever since I first tried it. Ms. Terry was able to emulate the success of Te with Mare. Through the 2000’s she would hold her own but there were other buzzier indies slowly encroaching on the territory she had to herself early on. The brand would transition from the luxury department stores to small discerning boutiques to a final few points of sale. I can’t for sure find a final date when the brand stopped but based on forensic searching it looks like it was 2010-2011. There were five more releases after Mare and the whole collection is interesting. In the end, even the best indies find their way to the Dead Letter Office.

Disclosure: this review is based on a bottle I purchased.

Mark Behnke

Dead Letter Office: Marc Jacobs Bang- Would You Like Some Pepper?

It is a funny thing that I enjoy not being part of the crowd. Yet I want the general public to admire what I admire. It makes no sense but I know it is how I feel. When it comes to fragrance I feel it most often when a mass-market perfume tries to bring a niche sensibility to a perfume being sold at the mall. The Dead Letter Office is full of these attempts because consumers usually don’t know what to make of these very different perfumes next to the safe fragrances they know right next to them in the department store. One great example of this is 2010's Marc Jacobs Bang.

Marc Jacobs advertising Bang

In 2010 consumers were given two very different choices when they showed up at the Men’s Fragrance counter. In the summer of that year Bang and Bleu de Chanel were released within weeks of each other. For the second half of 2010 there was a referendum on what comprised success in the masculine mainstream fragrance world. If you were going to play it safe Bleu de Chanel was a “greatest hits” collection of every popular masculine accord of the previous twenty years. Bang was going to see if you were willing to leave the well-trod road for something more adventurous.

Ann Gottlieb

Marc Jacobs had been producing perfume since 2001. As a brand it had been primarily focused on perfumes marketed to women. Only 2002’s Marc Jacobs Men was aimed at men. By 2010 Marc Jacobs has produced two huge mainstream women’s successes in Daisy and Lola. As Mr. Jacobs and co-creative director Ann Gottlieb considered a new masculine perfume they decided to go with one of the perfumers who worked on Lola, Yann Vasnier.

Yann Vasnier

M. Vasnier has been one of those perfumers who, when given the opportunity, will happily add in niche aesthetics to the mainstream. As we headed past Y2K in the niche world black pepper was having a moment. Black pepper had been used as a supporting ingredient especially with the spicy varieties of rose. Italian perfumer Lorenzo Villoresi released Piper Nigrum which was a shot of pure black pepper. Just as the internet perfume forums were forming Piper Nigrum was one of the most talked about fragrances in those early days. Black pepper would start regularly appearing as a focal point in fragrances like L’Artisan Parfumeur Poivre Piquant, Penhaligon’s Opus 1870, or Viktor & Rolf Antidote. For Bang M. Vasnier was going to see if a more general consumer was ready for some black pepper.

The opening of Bang is not simply black pepper as M. Vasnier uses pink peppercorns and white pepper as leavening notes to keep the black pepper from hitting like a sledgehammer. Even so that top accord carried a great deal of presence pretty much making a consumer confront their feelings on wearing black pepper from the first moment. Even the woods in the heart were led by the rougher edged birch which enhanced the piquancy of the pepper instead of toning it down. Only in the base was the transparently resinous accord where any measure of safety could be found.

Bang has 8-10 hour longevity and above average sillage.

I have loved Bang from the first moment I tried it. Which is why that might be why it is in the Dead Letter Office. Bang was not a tiny step toward niche sensibilities it was more like being shoved through a door and having it locked behind you. Whenever I was out shopping during the 2010 Holiday season I recommended Bang time after time only to have those shopping with me pick up the Bleu de Chanel gift set.

Bleu de Marc Jacobs?

Bang was gone from the department stores by 2015 while Bleu de Chanel has become one of the best-selling men’s fragrances in the world. Marc Jacobs would even ask M. Vasnier to make another perfume a year later called Bang Bang, which was more Bleu de Chanel like. Even down to the color of the bottle. That had no more success than Bang. In 2010 when given a choice the public went with safe while Bang, and Bang Bang, was on its way to the Dead Letter Office.

Disclosure: This review was based on a bottle I purchased.

Mark Behnke

Dead Letter Office: Madonna Truth or Dare- Not a Fragrance Girl

That the Dead Letter Office is full of celebrity perfumes is not surprising. Most of the time the reason is the scent and the celebrity bear no relationship to each other. The few successes usually have a perfume loving star who does want to make a fragrance which does represent something about them. Even in those cases timing is also a large part of eventual commercial success. If the process of designing the perfume causes it to be released as the supernova begins to cool it can miss its window of opportunity. The first perfume by Madonna had a celebrity who loved perfume but she was so determined to get what she wanted it took a long time; perhaps too long before Madonna Truth or Dare was released to the world.

Madonna had spoken often of her fascination with Robert Piguet Fracas and going in she wanted Truth or Dare to be a modern take on Fracas. What she meant was a thinning out of the boisterous tuberose to something more accessible. She also wanted all of the skank that was in Fracas, indoles and musk, to not be present in Truth or Dare. Over eighteen months she would work with perfumer Stephen Nilsen on her vision. 

Stephen Nilsen

First Mr. Nilsen had to come up with a base accord which would not become obliterated by the tuberose. His choice was to go with a gourmand accord of caramel and amber. It was the first thing Madonna and Mr. Nilsen agreed upon. From there it was the typical give and take of perfumer and creative director as they tried to find this modern tuberose accord. This was where the bulk of the process was stuck for months until they were happy. In the spring of 2012 Truth or Dare was released.

Truth or Dare opens with the tuberose matched with its white flower cousins, gardenia and jasmine. As she apparently desired these are white flowers scrubbed clean of their dirtier components. It does allow for it to feel a bit greener at the expense of the creaminess that the mixture of these florals usually provide. As the white flowers move towards that caramel and amber base the gourmand nature turns it into an exotic dessert perfume. 

Truth or Dare has 8-10 hour longevity and above average sillage.

Truth or Dare was discontinued as of the end of 2016; it never gained much of a foot hold. One of the reasons was despite the promise to be exclusive to specific department stores by Memorial Day 2012 it was on sale at Walmart and Target in the US. That was a remarkable lack of faith in the fragrance to move it onto those shelves in a matter of weeks. As I was reacquainting myself with it I was thinking if the tuberose was made even more transparent it would fit in the current day trend of light gourmand florals. 
The basic reason Truth or Dare is in the Dead Letter Office is trying to make a modern version of a classic perfume is not easy no matter how dedicated to the task you are. It ends up pleasing nobody. While she might be a Material Girl; Truth or Dare showed she was not a Fragrance Girl.

Disclosure: this review was based on a bottle I purchased.

Mark Behnke