1000

*sigh* Probably the greatest perfume of all time. I cannot comprehend it, and that is part of it's allure and intrigue. My 1985 vintage EDT opens with bitter and herbal notes which immediately put me in mind of gin and tonic, reminding me somewhat of Eau de Cartier. I detect lavender, even though it's not listed. This bitter, bracing opening is incredibly short-lived, and quickly gives way to a very soft, fuzzy, buttery, powdery heart where the standout notes (for me at least) are violet leaf, osmanthus, rose, and moss. But these notes don't come close to describing the overall effect of this perfume, and what it does. It consistently eludes all of my attempts at comprehension. And this is perhaps its genius - it's an exeptionally engaging perfume which reveals new facets in each wear. It is a goldilocks composition which is neither sweet nor bitter. It is simulaneously warm and cool. Its overall effect is smooth and shifting, like mother of pearl - iridescent. In fact, this word, 'iridescent' is an apt descriptor here: 'a lustrous rainbowlike play of color caused by differential refraction of light waves that tends to change as the angle of view changes'. There are a number of interesting etymological connotations here: the word is derived from Iris, the Greek goddess whose name means both the rainbow, and the halo of the moon. A messenger of the gods, she was said to travel on the rainbow, and is associated with communication, described as beng a link between the heavens and the earth. Like the Biblical Joseph, she is said to have worn a coat of many colours which created the rainbows she used to travel between heaven and earth. The iris plant derives its name from her, alledgedly on account of its many colours. Iridescent is the perfect word, then, because 1000 is the olfactory equivalent of mother of pearl, containing all the colours at once, but shifting so quickly that you cannot ever fully grasp them in your comprehension individually. Off white, to those not paying attention - but look closely, and you'll be treated to a kaledescopic lightshow. This is what this perfume does: it offers glimpses of its facets which change with weather, surface of application, time, and temperature. It's olfactory impression is abstract and pale, like a Monet. The overall effect is arresting, absorbing, and quite literally breathtaking. The quality of natural ingredients is so fine, I feel the soul of the plant essences with every rapturous inhalation. The cool of the morning, the burning glory of midday, the blazing energy of the sun channelled back upwards through sappy stem, and released in a sigh of fragrant ephemera - in a bottle. Its quality and artistry are absolutely unparalleled, and I say this as a vintage collector and amateur natural perfumer with a growing collection of rare ingredients and classic perfumes. I realise this all sounds very grandiose and indulgent, but this perfume is truly worthy of such praise. Oh how I long to sample the extrait! RIP 1000 - in shallow water, shrimps make fools of dragons. You were doomed to obsolecence in this age of debasement and vulgarity.

over the years i have slapped on puddles of 1000 (various places, not all of which are considered appropriate "pulse points"). i've always immediately fallen into the sort of trance that can only be described as an ecstasy of the sort that occurs when one's limbic system goes absolutely bananas - otherwise known as "falling in love". yes, that little escapade has happened to most of us at least once: there you are sitting across from someone you've known for decades and suddenly - thwap!! twanggggg! - the arrows of love bring down another one. and they try to tell us it is just chemicals. in the brain. well, let's consider that for a moment. one opens a bottle of highly concentrated chemical molecules, many of which swiftly fly up one's nose where the alchemy of our electro-chemical being turns the chemicals into impulses of positive or negative charge, which are immediately paraded in a line-up. good's good and bad's bad, and if one is lucky the scents will be labelled good. but even if they escape that necessary sidestep they can sweep into the limbic system and suddenly - whoaa! - mad love, mad, bad love with nobody to fix it onto. well, it will just have to be focused on the aromas emanating from one's scented bod. always i used to think that the edt was good. and it was. but definitely not as good as the edp. well, when you've graduated from the t to the p, it's just a matter of time to the extrait. and there it sat: a big hunk of burning love - let's not get carried away there! a big chunk of finely polished crystal containing an almost viscous syrup. off came the top, and what floated out right away? nothing. definitely a big splash was going to be required, along with some extra heat. duly anointed fifteen or so spots with liberal doses of 1000. thought of whom i considered to be extra hot, to help warm it up. well the aromas unfurled rather languidly around me until i was swaddled in a cloud of magic. it's a walk along the mill-stream through a great park and forest, the rain has let up and the sun is coming out, the hounds are baying, small animals are scurrying through the undergrowth, the gardener's burning the cuttings and from nowhere appears a glass of chateau margaux 1961. not a hint of this with the edt or the edp which are like a slam-bam-thank-you-ma'am by comparison. it was this experience that persuaded me not to waste any more time on them. life is too short. tomorrow is supposed to be the rapture which i will leave to those who may get their wish to be yanked out of their lives into the thin upper atmosphere by some old boy in a dress and a beard. no, *my* rapture consists of perfume, the real thing, unadulterated by diluants. my limbic system is so much better behaved since i put aside my child's edts, my teen's edps and picked up my woman's extraits. (c)2011 bluemlein

Comparison of vintage Extrait and EdT, both bottles c. 1985 I'm a very lucky guy today. I get to visit with an old friend that I haven't often called-on for fear of running-out their company and losing them forever. Ironic, isn't it. I've bemoaned the loss of Jean Patou from our lives more than once, so I'll spare you the wailing and gnashing of teeth this time and focus on the joy - no pun intended - that is Jean Patou's 1000. The openings of each perfume are starkly different in my vintage bottles. A lot of this is due to their age, but a lot of it isn't. The EdT is hot. Fuel-like notes of violet leaf and bracingly bitter bergamot feel as though they might ignite at any moment. The extrait is much richer, pliant, and smoother, which is no surprise for an extrait, but the difference must be noted. The extrait also focuses more on an osmanthus note that is a bit floral and a bit fruity. The heart sections of both are virtually the same, which is to say, completely stunning. Sheer, soft, hazy, and powdery aldehydes abound in both. No surprise, the EdT is "thinner" than the extrait; the texture is lighter, airier, and contains more space. Near equal emphasis is placed on rose, muguet, and jasmine. The extrait's texture is opulent and luscious, like velvet to the EdT's linen. Emphasis is more on the rose than jasmine and muguet. The EdT approaches its final dry down faster, as it should, with significant attention placed upon damp and woody oakmoss and a creamy sandalwood. Hours later than the EdT the extrait reaches the same life stage of damp and woody oakmoss and creamy sandalwood, but the patchouli note is dialed up a notch or two to provide more breadth and depth. The different textures both perfumes have carry-on into their final dry downs and skin scents as well. You have no idea how difficult it was to stay completely objective and clear to describe these two formats. Every inhale I took of either one was an experience that nearly made my eyes roll to the back of my head and my heart flutter. 1000 is a masterpiece in both formats, but, of course, the extrait is first amongst equals. The effort that went into its creation - the use of exquisite and expensive materials blended 1000 times before Kerleo felt he finally got it right - results in a feeling of luxury that is somehow effortless. Luxury can be pushy, heavy, and sometimes just a bit too much. Not 1000. It is luxury without limitations or ego; it's about you and it, not just about it. Like the best of old friends, their company helps you feel complete. It was a lovely visit with this old friend today, and I can't wait to see them again.

Patou 'Mille' for me, is one of the most extraordinary perfumes created during the course of the latter part of the 20th century and it came as no surprise to learn that it had taken over ten years to perfect this fragrant jewel. I remember it's launch in the early seventies and have remained a loyal and faithful devotee ever since. And Yes, this perfume was not designed for the mass market, the couturier was indeed famous for having created the costliest perfume in the world some forty years earlier, 'Joy' I'm sure '1000' was created as a homage to Jean Patou and modern counterpart to his 1930's flagship fragrance. Similarities are apparent in both presentation, design and the liberal use of rare elements in perfume manufacture. A tribute of great respect, I imagine ! The House of Patou was well established before this beauty made it's grand entrance. Pedigree alone will not assure the longevity of any contender in this industry of fashion, beauty and fickle fads, much to our collective chagrin with so many Old Time favorites either dying out due to the inaccessibility of essences, absolutes and raw materials or simply being unceremoniously dumped or discontinued.from waning interest ? '1000' is basically a niche fragrance composed primarily of rare, exotic and natural components categorized as Floral Chypre, tending more to the mossy, woody notes interwoven with facets of hidden floralcy. It's structure is so complex I was initially left bewildered after applying this gorgeous 'juice', there's just so much going on here. The eventual and complete dry down is astounding, I know of no other remotely similar. Patou 'Mille' in my opinion is Unique ! The Osmanthus seems to impart a slightly creamy green olive nuance with overtones of ripe Apricots, Grasse jasmine & rose as the primary floral heart notes ? Violette odorata concrete and angelica also add weight to this sweet but never cloying combination. I can only speculate on the other constituents within this phase of the dry down. The obvious trade off with this natural beauty is the necessity to re apply if using the lesser concentrations. The 'Parfum' is absolute luxury, liquid gold ! My fervent hope is for this exceptional perfume to endure, and Heaven forbid not suffer the same fate as has befallen so many other past iconic treasures from 'Patou' ! 'Caline'. . . was utterly sublime before 'Sublime' Long Live the House of "Patou" & To the Genius of Jean Kerleo !

I have always been fascinated by fragrances, and while growing up, my mother was managing a cosmetics store, and I remember having all of the most exclusive perfumes on display all around our house. In a beautiful velvet box, there was a special bottle that she opened only on rare occasions. I got one dab from the cork on my wrist from this pure perfume, and every time this intoxicating scent lasted for what seemed like forever. The fragrance was also something beyond all others, a perfect amalgamation of many exclusive components, where you could no longer feel one note being more dominant than the other. The perfume in the bottle was 1000 (Mille), by Jean Patou, which was launched in 1972. The nose behind 1000 is Jean Kerleo. I am no expert on writing reviews of perfumes, but my mother use to say that 1000 smells like a whorehouse, and this metaphor describes with great accuracy this decadent and demanding fragrance! This is not a perfume for those who look for a modern and easily accessible candy treat, but it is rather a timeless classic, for a mature and confident woman, comparable to a very sexy and provocative dress, where you are required to wear the fragrance, otherwise it will wear you! With the risk of sounding cliche, they don’t make perfumes like this anymore! Beyond having the perfect formulation of notes, the original 1000 contains only natural materials, out of which many today have been replaced by synthetic substitutes, if they haven’t been omitted entirely. Needless to say, the more contemporary formulations of 1000 are merely a bleak and watered out version of the original. Jean Patou sadly enough discontinued the whole fragrance line in 2020, so what is still left out there now, is all there is. After a recent conversation with my mother, she dug out a surprise from her treasure trove, and sent it to me, a sealed vintage bottle of the 1000 perfume, according to the batch number manufactured in September 1981. This baccarat crystal bottle and it’s content is worth a small fortune today, but this is one of my greatest YOLO moments, and from today, until the day I die, I will be able to smell like a salacious fille de joie, rather than a chaste flower girl. I gently broke the 40 year old baudruche, and drowned in nostalgia, and immense pleasure! I totally love it!