And then, not much happens: it just slowly fades to a pale musky finish. It smells like the vague remains of some vaguely floral soap you might have used an hour or so ago, mixed with what's left of the melon-y aquatic perfume you were trying to wash off in the first place. Instead, Dolce turns flat, literally within minutes. I was expecting the white florals to deepen - I'm no dummy, I wasn't expecting Robert Piguet Fracas or anything, just, you know, some sort of floral activity. I liked Dolce right away: the opening is a soft but bright floral mix with a nice shot of orange-y citrus, ever-so-mildly green, fruity ("papaya blossom") but noticeably less fruity (and less sweet) than is the current fashion. Yes, we're in romance territory here, from the bottle cap, meant to look like a marzipan flower from a Sicilian confectioner, to the juice, a white floral blend centered on South African white amaryllis, captured via headspace technology and reportedly used here for the first time. Instead of the witty, world-weary exchanges between Scarlett Johansson and Matthew McConaughey for The One or the steamy, Sophia Loren-ish Laetitia Casta pairing with Noah Mills for Pour Femme and Pour Homme or the watery, ooh la la encounter between David Gandy and Bianca Balti for Light Blue, we have model Kate King, all done up in virginal white, demurely accepting a sprig of orange blossom from a worker in the orange orchard. Dolce is the latest from Dolce & Gabbana, and right away it settles itself into a distinct niche in the brand's perfume lineup.
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