Good Girl Murano

Good Girl Murano by Carolina Herrera is a Oriental Floral fragrance for women. This is a new fragrance. Good Girl Murano was launched in 2026. Good Girl Murano was created by Louise Turner and Quentin Bisch. Top notes are Lemon, Coffee, Bergamot and Almond; middle notes are Orange Blossom, Tuberose, Bulgarian Rose, Jasmine Sambac and Orris; base notes are Orange Blossom, Tuberose, Bulgarian Rose, Jasmine Sambac and Orris. On International Women’s Day, Carolina Herrera reaffirms its ongoing commitment to supporting female creativity through the Carolina Herrera for Women in the Arts platform, unveiling Good Girl Murano—a one-of-a-kind artistic tribute crafted entirely in glass. Conceived as a collector’s piece, Good Girl Murano is limited to just ten bottles worldwide, each handmade on the island of Murano. The project forms part of Carolina Herrera for Women in the Arts, an initiative dedicated to supporting female voices across creative disciplines. Venetian designer Lucia Massari was invited to reinterpret the iconic stiletto bottle through the language of Murano glass. She began with the island itself—its workshops, its furnaces, and its long lineage of makers. Her role was to observe, research, and bring together the artisans capable of translating the fragrance’s inherent tension—control and indulgence, light and depth held in delicate balance—into glass. After months of dialogue and experimentation, she selected borosilicate glass for the body of the bottle, developed in collaboration with Ash Polzer, an American artist who established her practice within Murano’s historically male-dominated glassmaking tradition. Polzer’s work expands the vocabulary of local craftsmanship with a precision that feels both contemporary and quietly radical. For the final gesture, Massari turned to Luigi Varagnolo, among the last masters specializing in the intricate florals and curling forms of Venetian mirror ornamentation. His contribution—a delicate glass flower crowning the stiletto—introduces a note of fragility, almost ironic, against the silhouette’s sharp elegance. The result is not a literal reinterpretation, but a shift in material meaning. The stiletto becomes lighter, transparent, almost architectural—an object suspended between memory and reinvention.