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Fragrance Notes
The first impression, and usually the lightest part of the fragrance. These notes evaporate first, which is how a fragrance is built to open.
As well as the top notes fading, your nose adapts to a constant scent and stops registering it, while people nearby still smell it. Smell your wrist after leaving the room, or ask someone close.
The main body of the scent, emerging as the top notes fade. It shapes how the fragrance smells once it settles on skin.
As well as the top notes fading, your nose adapts to a constant scent and stops registering it, while people nearby still smell it. Smell your wrist after leaving the room, or ask someone close.
Heavier molecules that evaporate slowly, like woods, musk, amber and oud. They are there from the start, and they are what remains once the rest has faded.
As well as the top notes fading, your nose adapts to a constant scent and stops registering it, while people nearby still smell it. Smell your wrist after leaving the room, or ask someone close.
Good Girl Gone Bad opens on osmanthus, jasmine and rose de mai, a fruity-floral start with an apricot-leather edge from the osmanthus. Tuberose, milk and narcissus build a creamy, white-floral heart, settling on amber and white cedar extract for a soft, warm finish with genuine depth.
Good Girl Gone Bad opens on a fruity-floral trio: osmanthus, jasmine and rose de mai. Osmanthus is the note doing the most distinctive work here, carrying its characteristic apricot-and-leather duality alongside true floralcy, while jasmine and rose de mai add indolic, honeyed depth typical of a full white-and-red floral pairing. The heart moves into tuberose, milk and narcissus, and this is where the composition turns creamy. Tuberose contributes a heady, waxy petal-richness; milk softens that intensity into something rounder and less sharp, closer to skin than to a bouquet; narcissus adds a green, slightly hay-like undertone that keeps the heart from reading as one-dimensionally sweet. The base is comparatively restrained: amber for warmth and a soft, resinous sweetness, and white cedar extract for a clean, pale woodiness that grounds the florals without weighing them down. The scent shape is a rich white-and-fruity floral built on a creamy, slightly leathery frame, with the amber-cedar base there to extend it rather than redirect it. Nothing in the base competes with the florals for attention; its job is to hold them in place for longer than the top and heart notes could manage alone. The fruity edge from osmanthus and the creamy edge from milk are the two facets most likely to stand out on first wear, since both push the florals away from a purely soapy or classical register.
In the opening phase, osmanthus, jasmine and rose de mai sit closest to the surface, and the apricot-leather facet of osmanthus is the most noticeable early signature. Within the first while, the composition moves into its heart, where tuberose, milk and narcissus take over — the florals become fuller and creamier, and the milk note in particular softens what could otherwise be an intense white-floral into something smoother and closer to skin. As the fragrance settles further, amber and white cedar extract come forward, and the effect turns warmer and quieter: the sharper floral top notes fade, and what remains is a soft, ambered floral with a pale woody underpinning. The arc runs from bright and fruity, through creamy and floral, to warm and settled, without any single note dominating the whole way through. It is a slower build than a simple soap-clean floral, with each phase given enough room to register before the next one takes over. Each stage stays recognisably tied to the one before it, so the change feels like a gradual deepening rather than an abrupt switch to a completely different fragrance partway through wear.
Good Girl Gone Bad is built and marketed as a women's fragrance, and the osmanthus-jasmine-tuberose-narcissus structure sits squarely in classic feminine floral territory.
Good Girl Gone Bad suits anyone who wants a fuller, creamy white floral for evening wear, where the tuberose-milk-narcissus heart and the amber-cedar base have time to unfold. It carries the richness of a formal floral without leaning purely sweet.
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Google Reviews
4.9/ 5
Reviews on Google
Wide range of budget friendly to relatively high end priced perfume brands. Rayhan, Armaf, French Avenue, Brandy, Lattafa just to mention a few. They also sell a 10ml of any brand you like, good for testing before you commit to the whole bottle.
This store reminds me of my days in Dubai. Prices are competitive and most probably the best I have found on the market. Amazing perfumes!
Shahed was very welcoming and friendly… He was knowledgeable about the perfumes and took the time to understand what I was looking for before recommending a fragrance that suited my preferences perfectly.
What a good find! A place where you can smell all the Dubai perfumes. Monique assisted us and she was very helpful. Will see you soon!
Customer service 10/10. Tamzyn helped me she was very nice energetic and helpful… when I heard the price I had to take it. So very affordable in my opinion.
The quality of the fragrances is outstanding. The oils and perfumes are impressive and has longevity… I will definitely be returning and recommending this shop to others.
He was very helpful and friendly as I did not have a clue of what I wanted to get for my mom… It smells very nice. I got compliments at work… I would recommend people to go here.
Brandy Designs is a perfume brand from the United Arab Emirates, and we're its sole South African distributor.
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Yes. We're the sole South African distributor for Khadlaj, Orientica, Mural de Ruitz, La Beauté, Brandy Designs, Al Badar and Ilham. We buy their perfumes from the brands themselves, and each bottle arrives sealed in its original box.
Yes. You can test any perfume in our shops before you buy, and take home a 5ml, 10ml or 18ml decant to try first.
Kenilworth: Shop A4, 81 Chichester Rd, Kenilworth, Cape Town.
Bellville: Shop B8, Access Park, 1 Van Riebeeck Rd, Stikland Industrial, Cape Town.
Our shops are open 7 days a week.
We dispatch most weekday orders placed before 14:00 the same day, and delivery across South Africa takes 3–5 working days to major cities and 3–7 working days to outlying areas. You'll get a tracking number by email as soon as your order ships.
Delivery is free on orders over R1,000 in South Africa. For smaller orders, delivery starts from R70, and checkout shows the fee for your address. To pay less, choose a Pudo locker at checkout and collect your parcel from a locker near you.
Yes. Choose PayJustNow, Payflex or Happy Pay at checkout and pay it off in instalments.
Yes. You have 14 days from delivery to return any unopened perfume in its original packaging, and your refund goes back to the card or account you paid with.
| Description |
| Price |
| Vendor |
| Type |
| Scent family |
| Best for |
| Top notes |
| Middle notes |
| Base notes |
| Product variants |
| TL;DR
Good Girl Gone Bad opens on osmanthus, jasmine and rose de mai, a fruity-floral start with an apricot-leather edge from the osmanthus. Tuberose, milk and narcissus build a creamy, white-floral heart, settling on amber and white cedar extract for a soft, warm finish with genuine depth. What Does Good Girl Gone Bad Smell Like?Good Girl Gone Bad opens on a fruity-floral trio: osmanthus, jasmine and rose de mai. Osmanthus is the note doing the most distinctive work here, carrying its characteristic apricot-and-leather duality alongside true floralcy, while jasmine and rose de mai add indolic, honeyed depth typical of a full white-and-red floral pairing. The heart moves into tuberose, milk and narcissus, and this is where the composition turns creamy. Tuberose contributes a heady, waxy petal-richness; milk softens that intensity into something rounder and less sharp, closer to skin than to a bouquet; narcissus adds a green, slightly hay-like undertone that keeps the heart from reading as one-dimensionally sweet. The base is comparatively restrained: amber for warmth and a soft, resinous sweetness, and white cedar extract for a clean, pale woodiness that grounds the florals without weighing them down. The scent shape is a rich white-and-fruity floral built on a creamy, slightly leathery frame, with the amber-cedar base there to extend it rather than redirect it. Nothing in the base competes with the florals for attention; its job is to hold them in place for longer than the top and heart notes could manage alone. The fruity edge from osmanthus and the creamy edge from milk are the two facets most likely to stand out on first wear, since both push the florals away from a purely soapy or classical register. How Does It Develop Through the Day?In the opening phase, osmanthus, jasmine and rose de mai sit closest to the surface, and the apricot-leather facet of osmanthus is the most noticeable early signature. Within the first while, the composition moves into its heart, where tuberose, milk and narcissus take over — the florals become fuller and creamier, and the milk note in particular softens what could otherwise be an intense white-floral into something smoother and closer to skin. As the fragrance settles further, amber and white cedar extract come forward, and the effect turns warmer and quieter: the sharper floral top notes fade, and what remains is a soft, ambered floral with a pale woody underpinning. The arc runs from bright and fruity, through creamy and floral, to warm and settled, without any single note dominating the whole way through. It is a slower build than a simple soap-clean floral, with each phase given enough room to register before the next one takes over. Each stage stays recognisably tied to the one before it, so the change feels like a gradual deepening rather than an abrupt switch to a completely different fragrance partway through wear. Is It for Men or Women?Good Girl Gone Bad is built and marketed as a women's fragrance, and the osmanthus-jasmine-tuberose-narcissus structure sits squarely in classic feminine floral territory. Who It's ForGood Girl Gone Bad suits anyone who wants a fuller, creamy white floral for evening wear, where the tuberose-milk-narcissus heart and the amber-cedar base have time to unfold. It carries the richness of a formal floral without leaning purely sweet. | Regular price
R 350.00
Sale price
Regular price
| Brandy Designs | Eau de Parfum | Osmanthus, Jasmine, Rose De Mai | Tuberose, Milk, Narcissus | Amber, White Cedar Extract |
Fragrance Notes
The first impression, and usually the lightest part of the fragrance. These notes evaporate first, which is how a fragrance is built to open.
As well as the top notes fading, your nose adapts to a constant scent and stops registering it, while people nearby still smell it. Smell your wrist after leaving the room, or ask someone close.
The main body of the scent, emerging as the top notes fade. It shapes how the fragrance smells once it settles on skin.
As well as the top notes fading, your nose adapts to a constant scent and stops registering it, while people nearby still smell it. Smell your wrist after leaving the room, or ask someone close.
Heavier molecules that evaporate slowly, like woods, musk, amber and oud. They are there from the start, and they are what remains once the rest has faded.
As well as the top notes fading, your nose adapts to a constant scent and stops registering it, while people nearby still smell it. Smell your wrist after leaving the room, or ask someone close.
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