logo
'Beautiful, just beautiful' Debenhams £37 perfume that smells 'divine'

'Beautiful, just beautiful' Debenhams £37 perfume that smells 'divine'

Wales Online5 hours ago

'Beautiful, just beautiful' Debenhams £37 perfume that smells 'divine'
The Nectar Love by DKNY 100ml perfume is currently on sale at Debenhams for £37, but shoppers can get it for even less with a discount code
Debenhams shoppers in a frenzy over £35 DKNY perfume that smells 'divine'
(Image: whitemay via Getty Images )
Debenhams customers are flocking to purchase a 'divine' DKNY perfume that's been slashed to more than half its original price. Nectar Love by DKNY, typically priced at £81 for a 100ml bottle, is currently on offer for £37 - but there's a trick to get it for even less.
First introduced in 2017, Nectar Love by DKNY starts with sweet solar notes, nectarine, yellow freesia, mandarin orange and grapefruit, before transitioning into a floral heart of mirabelle, jasmine and lily-of-the-valley. It concludes with a warm base of beeswax, vanilla, musk, cedar and neroli.
This fragrance has drawn comparisons to Guerlain's Aqua Allegoria Nettare Di Sole (£91 for 75ml) due to the shared beeswax note. For those on a tighter budget, Lush's Honey I Washed the Kids (£22) body spray offers a similar sweet honey-coated scent.
READ MORE: Butlin's major holiday park revamp with brand new attractions and deals from £69
READ MORE: Tom Ford's 'best' perfume shoppers 'have bought' is 20% off on Lookfantastic
While reviews on Debenhams primarily praise the swift delivery rather than the scent itself, Fragrantica, a website where fragrance enthusiasts share their thoughts, hosts numerous reviews, reports the Manchester Evening News.
One admirer commented: "This is such an underrated fragrance! It's a quite sharp floral at first but then it gets super cosy and the honey is delightful. I even had a customer at work that complimented me on it earlier today!".
Another penned: "Beautiful, just beautiful. This was gifted to me by my aunt last year. I was tentative at first because the amount of citrus notes frightened me. I don't do well with citrus-forward scents. They catch in my throat and make me cough violently. But Nectar Love is just gorgeous. It smells divine. Like the food of the gods on Mt. Olympus."
DKNY Nectar Love
£81.00
£37.00
Debenhams Buy Now on Debenhams Product Description
Nectar Love is a floral, fruity gourmand that delivers an addictive, exclusive dose of delicious attraction.
One expressed disappointment over the perfume's staying power, remarking: "I love the smell of this, it's mainly nectarine and beeswax. It's sweet and fresh. Too bad the longevity is weak, or I would have bought a bottle."
It's important to remember that how you apply fragrance can affect its lasting power, with the best results often achieved when sprayed onto clean, moisturised skin post-shower.
Article continues below
One customer initially thought the fragrance was more appropriate for sunny days but found it delightful even in dreary weather, commenting: "I thought this was best as a warmer weather scent but I've just worn outside on a wet and chilly British day and oh my goodness - it takes on a whole different scent. In love for cheering up grey rainy days."
Shoppers can find Nectar Love by DKNY for £37 at Debenhams now.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Davina McCall pays emotional tribute to partner as he shares important health message
Davina McCall pays emotional tribute to partner as he shares important health message

Edinburgh Live

timean hour ago

  • Edinburgh Live

Davina McCall pays emotional tribute to partner as he shares important health message

Our community members are treated to special offers, promotions and adverts from us and our partners. You can check out at any time. More info Celebrity hairstylist Michael Douglas, who has been dating Long Lost Family host Davina McCall since 2019, has shared an invaluable tip for individuals affected by breast cancer. The commendable gesture prompted Davina, 57, to refer to him as "an ally". Together, they present the Making The Cut podcast, which promises to keep their audience in the know on the finest entertainment picks, culinary delights, and must-see destinations. During a fresh instalment of their podcast, Michael recounted an encounter with Senior Fashion stylist Claire Ginzler, the creative mind behind Tips for your T**s—a platform committed to spreading awareness about breast cancer. He discussed his interaction with Claire with Davina, revealing that it took place at a product launch hosted by Joel Dommett's wife Hannah: "As I was there, I met this lady and she said, 'it's super nice to meet you, and I listen to your podcast all the time.'" Claire's devotion to fashion aligns with Michael's profession, having circled each other in the industry over the years. Michael continued: "Her name is Claire and she's a fashion stylist, so we slightly worked in the same business for quite a long time, and she said, 'I've set up this podcast and Instagram site, and I was wondering if you'd be interested in looking at it and talking about it on your podcast.' It's called Tips for your T**s and it's all about breast cancer." (Image: JMEnternational, Getty Images) Davina responded with "oh, great," as Michael divulged further: "So it's all to do with things relating to that. So you can follow them on Instagram and they've also got a podcast on Spotify called Tips for your T**s podcast, where she interviews lots of people who have had a series of issues or problems with breast health. "And I thought, this is a great thing to tell more people about. If you're concerned at all about your own boob health, or you've got a mum, or a sister, or a daughter who is struggling with anything around breast cancer, then this is an absolutely brilliant source of information, and support, and love for anything to do with your boobs." Davina expressed gratitude to Michael for his suggestion, articulating: "Can I say thanks again for being an ally? You are so good at this, it means a lot to all of us. And we really, really, really appreciate it - thank you." As he talked about his dedication to the cause, Michael shared: "There's a lot of women in my life... Well I'd be lost without you all, put it that way," prompting Davina to respond: "We'd be lost without you!". In the UK, Cancer Research UK reports that roughly 56,000 women and 400 men receive breast cancer diagnoses annually, making it the nation's most prevalent cancer. (Image: Getty Images for the NTA's) The NHS lists symptoms of breast cancer in women as a lump or swelling in the breast, chest, or armpit, changes in breast skin, changes in breast size or shape, nipple discharge not related to pregnancy or breastfeeding, changes in nipple shape or appearance, and persistent breast or armpit pain. Davina recently discussed her health with Michael on her podcast, after opening up about her partner's support during her own health struggles with a benign brain tumour. In an interview with Women's Health UK, Davina shared how she confided in Michael about her fears before undergoing surgery: "I said I felt really scared. I had a massive cry... he said that when we first got together, he was like, 'You're quite hard to look after, how do I do that?'". Michael stood by her throughout her recovery, and Davina recalled him saying: "You know, I've been training for this moment. And I'm ready, you know, I've got your back." After being given the all-clear following surgery, Davina took to Instagram to update her followers: "I am feeling much, much, much better. I am nearly ready to drive, which is a big indicator of how I'm feeling." Long Lost Family: Born Without Trace returns on Wednesday night at 9pm on ITV and ITVX.

Edward Burra's tour of the 20th century
Edward Burra's tour of the 20th century

New Statesman​

time2 hours ago

  • New Statesman​

Edward Burra's tour of the 20th century

John Deth (Hommage a Conrad Aiken) by Edward Burra, 1931 The art of Edward Burra is also the art of popping up in unlikely places. He was in the audience in Paris when Josephine Baker made her debut at La Revue Nègre in 1925 and in New York during the Harlem Renaissance; he visited Mexico with Malcolm Lowry and was in Spain as tensions bubbled towards the Civil War; he lived in coastal England during the Second World War witnessing troops departing – and sometimes returning – from the continent and captured the incursion of A-roads and pylons into the ancient landscapes of Cornwall and Wales in the early 1970s. If Burra was Zelig with a paintbrush he was also part of a strand of eccentric English art that, had its origins in William Blake and ran through Richard Dadd, Aubrey Beardsley, Percy Wyndham Lewis and Stanley Spencer. He may have joined Unit One, Paul Nash's short-lived avant-garde gathering of British artists, sculptors and architects, and exhibited alongside Picasso, Miró and Magritte at the International Surrealist Exhibition in London in 1936, but he stood outside stylistic groupings. As he told one questioner: 'I didn't like being told what to think, dearie.' That hint of bloody-mindedness was also perhaps the result of lifelong ill health. Burra suffered from rheumatoid arthritis and anaemia and as a boy contracted both pneumonia and rheumatic fever: 'The only time I don't feel any pain,' he later wrote, 'is when I am working. I become completely unaware.' Physical discomfort was why he chose watercolour over oil paint for most of his work – bending over a sheet on a table was easier than standing at an easel. Burra was nevertheless a social creature; his friends included Anthony Powell and the choreographer Frederick Ashton as well as innumerable artists and flâneurs. He travelled widely in company, diving into both the glitter and the demi-monde of Paris, the cafés, sailor-filled dockside bars and clubs of Marseille and the dancehalls and striptease joints of Harlem, but lived and worked for most of his life at the well-appointed family home in Rye. There, as he painted, he would play the newest jazz bands from his capacious record collection. It was this mixture of circumstances and experience that resulted in some of the most distinctive art of the British 20th century. Burra's hard-to-categorise career is the subject of an immaculate and revealing new exhibition at Tate Britain. It shows a man whose art reflected a rare sense of engagement with his times, especially its queer fringes. The works of the 1920s and 1930s treat his experiences in France and New York and verge on both satire and caricature. Burra used watercolour almost as oil paint and built up layers to give unusual depth of colour and subtle gradations. It was a technique he employed in teeming images: tight-suited sailors at a bar ('Everyone was sailor mad,' said Ashton), burlesque reviews on stage and riotous Harlem ballrooms. Burra moved in a gay milieu and in such places he found a liberating sense of sexual freedom and cross-class slumming. The pictures are peopled with 'types', from heavy-on-the-make-up women and lascivious and sinister men to simple beefcakes and beauties. Some are white-eyed, as if the headiness of the bars and clubs were acting as a narcotic. It is as if Bruegel or Jan Steen had wandered from the Low Countries into seedier and more cacophonous climes. In these paintings he is the English equivalent of Otto Dix and George Grosz but without the bitter edge. If the Germans showed the inequality of the postwar years – fat and seedy plutocrats made rich by profiteering contrasted with mutilated army veterans – Burra was more interested in communities, whether dancers, musicians or trufflers after sex – licit or illicit. Subscribe to The New Statesman today from only £8.99 per month Subscribe Burra's style and subject matter changed with the onset of the Spanish Civil War. He travelled to Spain in 1933 in search of an Iberian version of Harlem, a place of music and dance and, while he found flamenco and colour, he also found burgeoning violence. Unlike so many other British artists and writers, however, he was no Republican sympathiser. His own politics were ambiguous at best, and in 1942 he told John Rothenstein, director of the Tate Gallery, that he was pro-Franco, although this may have been mere provocation. In fact, he seems to have disliked both fascists and communists equally. The paintings he started to make were larger – multiple sheets glued together – and stuffed with rippling and bulbous figures, cloaked and faceless figures among ruins. These were characters of some indeterminate medieval past rather than modern-day combatants, with the sinister mood of Goya's Los Caprichos etchings and the atrocities depicted in his Disasters of War prints transposed into a present that was nevertheless timeless. Indeed the melons-in-a-sack nature of his figures, where shoulders, buttocks and calves bulge alarmingly, are more akin to the Mannerist frescoes of Giulio Romano for the Palazzo del Te in Mantua from the 1530s than anything Burra's contemporaries were producing. The Estate Of Edward Burra, Courtesy Lefevre Fine Art, London / Bridgeman Images What war in Spain and then across Europe awoke in him was a generalised disgust at violence and destruction. Witnessing the soldiers massing at Rye to fight across the Channel unnerved him. Even as they climb into a troop lorry in Soldiers' Backs (1942) there is malignity in their movement, and when he painted Soldiers at Rye (1941), showing a troop dozing, he gave them beaked plague masks that make the men both theatrical and menacing. In 1945 he described to a friend (in prose that was as idiosyncratic as his pictures) the feelings the times released in him: 'The very sight of peoples faces sickens me I've got no pity it really is terrible sometimes ime quite frightened at myself I think such awful things I get in such paroxysms of impotent venom I feel it must poison the atmosphere.' The cartoonist and author Osbert Lancaster astutely observed that, 'What Burra is trying to do… is not to select and record some single aspect of the modern tragedy… but to digest it whole and transform it into something of permanent aesthetic significance'. Nevertheless, Burra's impotent venom stayed with him. Sometimes he found release from it in designing costumes and theatre sets for Carmen and Don Quixote for the Royal Opera House and Sadler's Wells, but it remained lurking. From the late 1930s into the 1970s Burra also painted rural scenes, spurred by a new interest in gardening and by the car trips he took around Britain. Some are pure landscapes, such as a bewitching view of clouded hilltops, Near Whitby, Yorkshire (1972), and some introduce folklore into real views, such as Landscape with Birdman Piper and Fisherwoman (1946). In others, however, he took aim at the encroachment of modernity: a man at a petrol station is enveloped in the coils of his fuel pipe that has turned into a snake, a stream of cars and lorries invades the countryside like an army, and in Skeleton Party (1952-54) a cluster of ghouls, fresh from Mexico's Día de los Muertos, make merry in an industrial landscape. Burra once responded to a question about his art by stating: 'I never tell anyone anything… I don't see that it matters.' He didn't need to: it seems clear that that joyous Harlem jazz had turned into a danse macabre. Edward Burra Tate Britain, London SW1 Until 19 October [See also: Jarvis Cocker at 61: Is this hardcore?] Related

Jason Isaacs hails success of The Salt Path amid film industry ‘terror' over AI
Jason Isaacs hails success of The Salt Path amid film industry ‘terror' over AI

Leader Live

time2 hours ago

  • Leader Live

Jason Isaacs hails success of The Salt Path amid film industry ‘terror' over AI

The British actor stars alongside Gillian Anderson in the film, which tells the real-life story of a couple who trek along the 630-mile South West Coast Path after becoming homeless. Appearing on ITV's Good Morning Britain, Isaacs said: 'This film has been killing it at the box office week after week. 'It's a beautiful story about two positive people of a certain age, and the mysteries and miracles of nature and love. 'What's great is the number of people in Britain who want to tell grown-up stories, nuanced stories, on a limited budget. 'They put their passion into it. 'And with AI coming for everybody, the industry is full of terror. 'But actually right now, grown-ups want to go and see grown-up stories.' The actor, who is also known for playing Lucius Malfoy in the Harry Potter films, praised White Lotus director Mike White, and said he was initially worried about portraying the character of Timothy Ratliff in the hit series. Isaacs said: 'I was scared that I'd be the most boring person that had ever been in White Lotus. 'Because there were no words, and I was chugging all these pills that would, essentially, make me feel asleep. 'But the way Mike tells the story – he's a brilliant director as well as a writer. 'You knew what was going on – I hope you knew what was going on – in my head.'

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store