logo
Steve Madden launches new fragrance Rose Goldie

Steve Madden launches new fragrance Rose Goldie

Fashion Network2 days ago

American fashion brand Steve Madden has launched its latest fragrance, dubbed Rose Goldie.
A follow-up to the original Goldie fragrance, Rose Goldie is a floral-ambery composition that aims to capture the energy, confidence, and trends of a new generation of fragrance lovers.
It opens with Italian bergamot, neroli, and red currant, giving way to tuberose, gardenia, and pink peony. A warm, sensual base of amber, white moss, and sugared musks rounds out the composition, creating a bold and memorable trail.
"For the second iteration of Goldie, my vision was to infuse a sparkling rose hue into the fragrance," said Christine Hassan, perfumer at Givaudan.
"To achieve this effect, I crafted a blend of vibrant bergamot, luscious red currant, and delicate pink peony. This radiant core is layered over a luxurious floral bouquet and grounded in warm amber and sugared musks – creating a modern addiction. A true pink heart of gold.'
Housed in Steve Madden's signature heart-shaped bottle, the new scent features high-shine rose gold detailing, paired with a matte white outer carton and rose gold foil accents.
Offered in two sizes, it is now available at Steve Madden stores, SteveMadden.com, Amazon, Macys.com, and select retailers across the U.S.
"Goldie's name means a lot to me, and with Rose Goldie, we've taken that sweet, feminine spirit and added a little edge,' added Steve Madden, founder, creative & design chief.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Gauff fights past Keys to book French Open semi-final spot
Gauff fights past Keys to book French Open semi-final spot

France 24

time3 hours ago

  • France 24

Gauff fights past Keys to book French Open semi-final spot

The second seed battled past her fellow American 6-7 (6/8), 6-4, 6-1 in a tense last-eight clash littered with a whopping 14 double-faults and 101 unforced errors. Gauff will face the winner of the last quarter-final between Mirra Andreeva and world number 361 Lois Boisson for a place in her second French Open final on Thursday. "It means a lot, especially getting through this tough match today, it wasn't an easy match and I'm very happy to get through it," she said. "I'm so excited to be in the semi-finals back here again and have a lot more work to do. Just savour this one today and then next one tomorrow." Keys came through a tense first set in a tie-break after blowing a 4-1 lead with a double-break, but Gauff upped her level enough to fight back. The 21-year-old was the runner-up to Iga Swiatek in a one-sided showpiece match in 2022. Keys had been hoping to challenge for a second consecutive Grand Slam title, but failed to reach the semi-finals in Paris for a second time. Gauff will be hoping to go at least one better than last year when she was beaten by Swiatek in the last four. Both players seemed to struggle with nerves early on with six breaks of serve in total in the first set. They also made 10 double-faults between them in the opener, while an off-colour Keys made 28 unforced errors and Gauff, who missed a set point in the 10th game, 21. However, it was the seventh seed who finally fell over the line and into a one-set lead when Gauff followed her seventh double-fault by sending a wild return sailing wide of even the tramlines. Gauff improved slightly to take a 4-1 lead herself with a double-break in the second set, only to gift Keys a way back into it with a sloppy service game finished off by another double-fault. Keys made it three successive games with a forehand winner to level at 4-4, but then gave up the 11th break of the match. Gauff served it out to force a decider as her opponent dumped a backhand into the net. The 2023 US Open champion found some consistency in the third set, which was enough to ease to a victory sealed with a break to love when Keys blazed a forehand long.

French artist Nicole Croisille, voice of the famous 'Da ba da ba da' from the film 'A Man and A Woman,' dies
French artist Nicole Croisille, voice of the famous 'Da ba da ba da' from the film 'A Man and A Woman,' dies

LeMonde

time4 hours ago

  • LeMonde

French artist Nicole Croisille, voice of the famous 'Da ba da ba da' from the film 'A Man and A Woman,' dies

The singer, actress and dancer Nicole Croisille, best known for her performances in Un Homme et Une Femme (A Man and a Woman) died on June 4 at the age of 88. Born on October 9, 1936, in the wealthy Paris suburb of Neuilly-sur-Seine, she was the only daughter of Jean Croisille, a tour guide, and Germaine Decorde. She grew up listening to Chopin and Liszt, played by her mother, an amateur pianist. Trained in classical dance from a young age, she dreamed of an artistic career, even though her father disapproved. "I always knew my place was on stage. That's where I feel best," she used to say. Discovering Sidney Bechet and the atmosphere of the jazz clubs in Saint-Germain-des-Prés as a teenager was a revelation. "I was born with jazz!" she enthused. "I feel this need for rhythm without knowing where it comes from." Croisille studied mime under Marcel Marceau and joined his company for a tour of South America in 1957, then traveled to the United States in 1960. Passionate about American musicals, she managed to land several contracts in North America. She was a revue leader in Reno, Nevada (1958), took part in the Folies-Bergère tour in New York (1964, and sang at the Playboy Club in Chicago (1960). Nicknamed "Soul Sister," Croisille tirelessly worked on her warm voice and sense of swing. In 1966, she met Claude Lelouch and Francis Lai, who invited her to perform the original soundtrack for the film Un homme et Une Femme as a duet with Pierre Barouh. The "Da ba da ba da" chorus instantly became famous and remains etched in collective memory to this day. Claude Lelouch, a loyal friend, also entrusted her with the songs for the films Vivre pour vivre (1967), Les Uns et les Autres (1981), and Itinéraire d'un enfant gâté (1988). Finding success at 40 In the 1970s, she achieved widespread acclaim. As a pop singer, she wanted to present the image of a free woman through her songs: "When success came, I was 40, and I could speak as a woman talking to women." In 1976 and again in 1978, powered by her voice and energy, she triumphed at L'Olympia, Paris's famous concert venue. A versatile performer, Croisille refused to confine herself to a single musical style and constantly alternated between pop, jazz – most notably with the album Jazzille in 1987 – and music hall. In 1992, on the stage of the Théâtre du Châtelet in Paris, as part of an American troupe, she played the title role in the musical Hello Dolly. "It's a childhood dream come true. When I was 10, I decided in my head: 'I want to be like Judy Garland.'" She also appeared in the musicals Follies (2013), Cabaret (2014) and Irma la Douce (2015), where she thrived in working as part of a troupe. Croisille also made several ventures into acting. She performed in theater productions such as Folle Amanda (1996), Coup de Soleil (1999) and Hard (2018), and appeared in films, including La Cage Dorée (The Gilded Cage, 2013) as well as on television. In 2005, she played an unlikeable character in the hit TV series Dolmen, which drew approximately 12 million viewers per episode in France. "Singing, dancing, and acting – that's the life I wanted to lead," she said. Croisille, discreet about her private life, opened up in 2006 with the publication of her autobiography written with Thierry Lecamp. The title summed up her life and 60-year career: Je n'ai pas vu passer le temps ("I Didn't See the Time Go By").

Porn access: Papers react to France's stricter age verification requirements
Porn access: Papers react to France's stricter age verification requirements

France 24

time4 hours ago

  • France 24

Porn access: Papers react to France's stricter age verification requirements

An investigation by Wired magazine says that lobbyists for the farm industry led a campaign to "surveil, discredit, and suppress" animal rights activists for nearly a decade. The magazine says it consulted hundreds of emails and internal documents that show the "secretive and long-running collaboration" between the FBI and the Animal Agriculture Alliance, which represents the interests of American farmers and ranchers. According to Wired, the Alliance spied and served as an informant for the FBI. People working there went undercover at meetings of activists, for example, and sent the recordings to law enforcement. Wired says that the documents demonstrate the industry's mission and efforts to convince the authorities that activists are a "bioterrorism" threat to the United States. Also in the United States, Elon Musk 's short-lived time in Trump's office has prompted continuous coverage from the press. But an opinion piece from The Washington Post says it's wrapping up its Musk coverage. "After this, I am never thinking about Trump's favourite weird billionaire again," writes the author. The article is entitled "All the unforced errors of Elon Musk" and the author calls the billionaire himself a "walking, breathing unforced error". It says that with his Tesla background and his "creative genius", Musk had to do "literally nothing"' to safeguard his reputation. But for "some unknown reason he decided to insert himself in politics", becoming a real "jerk". The piece then criticises Musk – from his relationship with his estranged trans daughter to his time as head of DOGE. It adds that "Musk's short tenure represents the most terrible personification of the Trump administration". But not all op-eds are as critical. An opinion piece in the left-wing paper The New York Times calls Musk a "visionary", saying that yes, he can be "volatile and reckless" but that those who dismiss him as an idiot "haven't been paying close attention". The article says that his vision goes way beyond politics and towards "interstellar colonization". The paper writes that if he succeeds in that mission, his time in the White House will be just "a minor detail" in his story – and not how he will be remembered. We turn next to France, where well-known porn sites have banned French users from accessing them in a protest against France's new stricter age verification requirements. French daily Le Parisien writes that porn sites "aren't bluffing", calling the ban a "poker move". It cites Pornhub's parent company Aylo, which claims that the new regulation is obliging adult sites to collect highly sensitive personal information and that this is putting user security at risk. The company also argues that the regulation might push users to migrate to "darker corners of the internet" that don't ask users to verify their age at all. Right-wing paper Le Figaro writes that from the age of 12, more than half of all underage boys visit porn sites every month. The paper cites a study saying that porn exposure "remains massive" – the number of young people visiting these sites has risen by 36 percent. We finish with another sex-related story: a central piece in one of Europe's biggest museums. A 200-year-old condom is going to be displayed at the Rijksmuseum in Amsterdam, The Times reports. The curator says that it was probably a souvenir from a French brothel and not an actual condom for use. On closer examination we can see a scene comprising three clergymen and a nun. She is pointing at one of them saying "Voilà mon choix" or "Here is my choice". The museum says that the condom provides an insight into "sexuality and prostitution in the 19th century".

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