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!

My bottle is from 2006-ish. Not sure if that is pre or post formulation, but I love this. I already told the story on my review of Roja Enslaved, but Roja Dove himself recommended this bottle for me at the Haute Parfumerie in Harrod's where I bought it, and where Jean Patou's creations were treated with the respect they deserve. The top notes are bright: I get osmanthus mainly with a touch of peachy apricot with rose underneath. There may be a bit of violet, but it's quiet. The rose and jasmine unfurl slowly - there may also be ylang ylang although it's unlisted - and it gets drier as it progresses, any fruit in the top gone within 5 minutes. It always reminded me of champagne. Maybe it's the aldehydes that are definitely there, but there's I swear it has the smell of a dry Veuve Clicquot. As time progresses, the floral becomes greener and cleaner, more a chypre - oakmoss, sandalwood and patchouli mix and mingle with the white florals and there is something else, woody and dry - probably the oak note. The oakmoss smells synthetic but I don't mind - it just adds a green-ness to the overall profile which is lovely as it moves down the pyramid. The patchouli too is mild. It has medium sillage and a lovely longevity of at least 12 hours on me. For most of its life it's osmanthus/jasmine/lily-of-the-valley (white florals) and oakmoss/patchouli/sandalwood/oak (chypre-y woods) on me - not much rose after the heartnotes and no geranium. Still, I adore it. I bought the body lotion as well, so it would last longer. "1000" (Roja pronounced it "mille", which is french - and italian - for 'one thousand') is feminine without being girly. It's the perfume of a grownup woman who knows her mind and wears what suits her, rather than to impress men, and yet always dresses impeccably. I always feel like a "mille" (ha!) bucks when I wear it, like I've doused myself in sparkling champagne. I'm gutted it's been discontinued as I prefer it to Joy. It's a timeless masterpiece. It deserves to be perennial. Grazie mille, "Mille". <3

I have a bottle of this in the EDP. Now I'm reviewing a vintage EDT that I had just picked up and comparing the two. The EDP is much more osmanthus and apricot centric with rose. It's almost as if the perfume is the smell of an apricot colored rose. You get this golden sunset hue from the EDP. Vintage style of course. You have to really love vintage chypre to love 1000. Personally I think this and Patou Sublime are the greatest chypre ever created. I still don't understand why mitsuko is given that title and I am a big fan of Guerlain. But for me mitsuko can't rival the beauty of sublime or 1,000. Now comparing the EDP to the EDT The EDT is much more violet centric and it's greener. It smells almost like black violets would smell such a thing existed in nature. I also get the apricot colored roses in the Osmanthus. But the violet really shines in the EDT vintage. Boy they just don't make fragrances like this anymore. I hope I've bought enough in my stockpile to be able to have and wear these types of fragrances for the rest of my life. I have newer fragrances and I wear them and I enjoy them to a degree. But it seems that I wear them more for others. The older I get the more I just want to stay home and wear these vintage beauties that the majority today just don't understand. It just is so wonderful to smell a true master fragrance that creates a mood an aura around a woman. Instead of all the cotton candy vanilla sugar nonsense that the market is flooded with nowadays. This smells like a time gone by when people dress for dinner they actually went out to dinner. Dinner and dancing. Romance was still alive. People didn't just exist They lived. This is probably one of the most beautiful perfumes that have ever been made or ever existed. The more I smell it the more I fall in love with it. A beautiful bouquet of apricot, deep red roses and the darkest purple violets that you will ever smell. Absolute perfection.

EDT I've reviewed this before, but felt I should add a few things. A list of notes, and performance, is not enough to describe how a certain perfume 'feels'. This is obvious enough. That's why people write reviews trying to explain it to others, or to themselves. In this particular instance, this is made more difficult by having the same page for various iterations of 1000. The EDT is very different to the EDP. I would not categorize the EDT as a floral (I wouldn't do that re the EDP, but that's another story). The EDT is, to my humble nose, a Chypre. Every spring it becomes my favourite cologne. I don't mean that it performs like a cologne, I mean it has the style of cologne the way it used to be (i.e. a Chypre cologne). It actually reminds me of colognes that my father would wear, and not made anymore because all these perfume houses are afraid people will describe them as old fashioned. To be more precise, colognes that 'break through' and provide a certain freshness (bitterness in fact from the Chypre structure). A favourite of my fathers was Chanel Pour Monsieur. It left a similar trail to this 1000 EDT. Obviously Chanel has citrus opening, whereas 1000 has something else (it's not the osmanthus that dominates-it's more of the geranium and I would even suggest a bit of mimosa?), but the 'feeling' in both is the same. The versions of Pour Monsieur that I owned over the years had lost that (the latest one is gradually morphing into a musk perfume). But this, the EDT 1000 is the one that remains unapologetic, and no wonder it's discontinued. All these Noses out there, you'd think there would be something similar, but I can't think of anything. Sadly I've noticed when they try to use oakmoss they don't know how to use it properly and it's either too little or too harsh.

There is very little I can add to the many reviews already listed. What I can say is that as a twenty-something (ok nearly 30, but still, in my head I will be forever 17!) this doesn't smell "old" to me. It smells classic. This is definitely wearable by a younger crowd, please don't feel it isn't for you because of some of the comments! This is definitely worth seeking out for a sample spray if nothing else. Very complex and rich it doesn't have the same feel as many modern perfumes...to me with many of the popular [not all I hasten to add!] modern scents it is like listening to a classical orchestral piece through a mobile phone...you feel there should be something MORE to it, something else there behind the shrieky treble, all you get is second violin, 3rd clarinet, there is no percussion, no bass!. With 1000 it is like listening to the same genre of music but through a really high end stereo if that makes sense and suddenly you see the composition in full, the piccolo and triangle at the top, double bass, euphonium, drums at the bottom. Everything is there and yet it works in harmony and symphony so you don't think "I am listening to cornets, and flutes, and cellos, and..."you just give yourself to the music. This is how 1000 feels to me. On my skin this somehow smells expensive, if such a thing can be true, well blended so it is hard to pick out single notes, more this is the sum of many notes not a bunch of single notes stood in line. I get a sort of honeyed musky mossy floral with animalic undertones - enough to say "I am a WOMAN"! without feeling a need to pull on a miniskirt and high heels! It is hard to explain. It makes me feel classy :) Oh and don't let price put you off, one or two sprays of edp lasts over 14 hours on me!

I just purchased a vintage EDT in pretty good shape. I've always loved 1000 the best out of the 3 most famous Patou's, Joy and Sublime being the other 2, but had only experienced it in it's most recent incarnation. That alone was enough to make me love it, but this vintage is something else! I'm not quite sure if the opening is a little off, which is quite possible, but it smells rather musty and indolic at first. It unfolds slowly. After 30 minutes it begins to take shape as a masterfully blended floral with a slight fruitiness that somewhat sweetens the fragrance. Far, far from cloying, sugary, or gourmand, the fruitiness doesn't scream so much as to support, especially the connection between apricot and osmanthus. Two sprites to my wrists provide a large amount of projection especially given it's status as an EDT. It really does become softer, slightly powdery, and much more feminine as it continues to dry down. It takes it's time, and the longevity is impressive, especially considering how many different modern EDPs I own that seem to come and go in under two hours! Yes, this is classic perfumery, with all that implies. Many younger people will undoubtedly find it hopelessly outdated. Yet there is no denying that this is a prime example of the beauty of French perfumery from an era when artistry was seemingly more important than profit margins. Now that Patou perfumes are no longer made (😢), I treasure it even more. I strongly suggest that younger perfumistas try to at least sample this, as well as Joy and Sublime. My love for Patou goes beyond those three, but they are good starting points for those interested in exploring the brand and gaining an appreciation for the art of classic French perfume.

The ad photo where the model appears to be in ecstasy is spot on. I probably have a similar (though not as lovely) look when I daub/spritz this beauty on. JP 1000 is quite feminine but, please men, do not be afraid to try this out. I think I would quite possibly pounce on a man wearing this. It is floral but oh-so sexy and animalistic. This fragrance is so well made and blended that pulling out the separate notes is difficult, for me. Yet this potion is magic in a bottle. The most prominent note, to my nose, is violets but this is a deep dark violet made more succulent with the help of roses. She seems prim & proper but she really isn't fooling anyone. She is unabashedly sexy to the max! She is not shy, but rather, is quite confident. She enjoys many carnal delights and she is skilled at them. Sexy. Sexy. Sexy! The first time I ever smelled 1000 was at a dance club where I met a young lady who was a friend of my friend. I gave her a hug and she smelled so incredible. She promptly opened her purse and pulled out a bottle of Jean Patou 1000, and liberally sprayed some on me. I remember this moment clearly on that wild and wonderful evening, almost like it was yesterday. It probably took me a decade before I finally purchased my own bottle, but I never forgot about beautiful Mille. Now, I own a spray bottle of EDT, a vintage 'Eau de 1000' with the brown tortoise cap (currently wearing), and a vintage bottle of '1000 de Jean Patou' in a Baccarat bottle, housed in a brown flocked box. While I don't have a "signature" fragrance, 1000 would probably be "The One" if I was forced to choose.

The opening accord for me has so much going on that it almost creates a bland effect- I think my nose just checks out. In the heart 1000 becomes vetiver heavy, with an incense/spicy note that I can't quite nail down. Coriander? Almost celeraic, in that very herbal spicy plane. Then a touch of geranium appears, and patchouli, supported by cedar. An almost apricotty suede note appears, osamanthus, and lightly floral iris. At this point 1000 is warm, mildly spicy, and very very beautiful. I'm getting peek a boo violet, as well, fading in and out, and rose begins to appear. Then oakmoss follows, and a green note, I believe it's the violet leaves, followed by bergamot, and eventually by an almost juicy orange note. In the dry down, I get vetiver, bergamot, a touch of rose, sweet violet, and the slightest hint of spice. Just perfect. The most remarkable thing about 1000 is the continuing evolution, with all phases (except that initial accord) showing up as warmly showcased soliflores, somehow combined to make a gradual appearance. 1000 is almost operatic, as each note is hit, one at a time, occasionally combining into wonderful accords. And yet, this is a casually elegant scent, and would be as at home on a mother chasing her kids around the yard as on the same person in a power suit. I do find the warmth comforting- the idea of this as a mother's scent keeps reoccurring. It is not mature, but there is something about it that speaks of safe harbour, understanding, and heart.

I wasn't going to buy a full bottle of this, I bought a small keep sake bottle 0.16. My husband does not like this one, he says it smells like old ladies but that is what I like about it. It is a classic. This type of perfume isn't made anymore. It smells like something my Grandmothers would've wore and I find as I age I crave more things from the past, the future holds nothing for me. I just sampled Joy Forever and while I understand what the perfumer was trying to do to attract a new crowd w/ that one, I still think they should've concentrated on who were the backbone of their brand, women who want classy, distinctive scents, not abstract, fabric softener fragrances. I was a fool not to sample this brand years ago. I had been wearing Opium as my signature for years and years, then I backed away from perfume. I got into collecting during the COVID lockdowns. I started w/ Henry Rose, then w/ naturals and now I am dabbling into Jean Patou and a couple of Guerlain's. This is all new to me and I have really enjoyed buying a big collection which I feel is almost complete. I keep smelling my small bottle of 1000 and sample and can't get over how much I love it. I have other fragrances my husband doesn't appreciate, he will just have to learn to live w/ a full size bottle of 1000 and I will wear it from time to time, it is so gorgeous.

I fret sometimes that the classic Patou scents will disappear forever, or be released like inferior revenants with the same name and a different fragrance (cough, cough Miss Dior; cough, cough, "Joy by Dior"), so I felt compelled to pick up a discounted tester bottle of 1000, or Mille en français, before it disappears forever. I'm so glad I did. I think I might enjoy this even more than Sublime, which is slightly more animalic and (to my nose anyway) not quite as deliciously leathery. I don't see a leather note in this, but I think I can smell it. Perhaps it's the oak in combination with some of the other notes, possibly osmanthus? Anyway, that is the mystery of a wonderful perfume--the whole is greater than the sum of the parts. This makes me think of a glamorous woman in a vintage leather jacket who is carrying a gigantic bouquet of flowers while tromping through oak leaves, perhaps in the Jardins du Luxembourg. Update: My perfume pen pal, Sarah, sent me a dabber of the vintage extrait, and it's a revelation--a million times better than the recent formulation I have. The vintage extrait, with the real oakmoss and labdanum, was pure perfection, but the nearly full reformulation of the EDP is still much more beautiful than anything the Louis Vuitton people have put out in an age. I'll miss the Patou house.

Glorious leathery floral chypre! I first smelled this one at the wrong time/wrong place and it felt "too much." Taking more time with it to appreciate its subtleties, I'm loving it. It starts of with an indolic but elegant jasmine-forward bouquet, not entirely unlike Joy, and then follows with a powdery heart of mimosa/cassie flower and ionones, which brings to mind violets and orris. That overall accord escapes the trappings of "play-doh" or "powder monster" by being lightened with some muguet-type aromachemicals, but "leather-ified" with patchouli, oakmoss, and what feels like the fruity/leathery contradiction that is osmanthus absolute. I see references below to Chanel's Cuir de Russie, and while it's not a "smell alike" to that, it definitely conjures floral leather that feels kind of halfway between Beaux's original CdR and the Polge reinterpretation from the 80s. It also feels kind of like a missing link between the Chanel and Cuir Ottoman with some hints of Guy LaRoche's J'ai Ose. It's more overtly floral than leather, but anyone comfortable wearing Cuir de Russie would, I imagine, feel comfortable wearing this in my opinion. Definitely a dusky, autumnal, night out type scent with its polite but palpable animal presence--civet is so well used here. Thoughts are from an 80's or 90's eau de toilette.

Love is in the air ... It was made for the most prestigious and richest woman in France? Well, it smells just like that... Delivery with the Rolls Royce? Well, it deserves such a delivery ... Garden full of divine flowers that doesn"t grow anymore , what is no longer grown is valuable to gardeners with big hats and their mistresses are watching them approvingly from their windows, holding the curtains in satin gloved hand ... The garden in which every flower with respect to each other gently nod, wishing good morning with moderate, decent dose of smiles ... The scent that fits the French lady who regularly visited the renowned opera with her husband , and all spruced up with glamorous hat and occasional fur collar, proudly displaying herself, because she was aware of her beauty, power and splendor that it had ensured that besides expensive clothes to throw on herself a few drops of "1000" the right perfume, and with good reason smiled from hers lodge ... The smell of "former" lady ... smell that I'd like to feel more often nowadays ... The fragrance that I will be wearing with pride, but not for the reasons that prove the glamor ... but because "1000" is one of the rare perfume that makes me a woman in the true sense of the word.

Received a very generous sample from the lovely Cl today. What a beautiful perfume!! Opens on my skin with about an equal measure of bergamot and tangerine and a gorgeous green note with just a faint hint of the oakmoss to come, then the heart notes start unfolding with a beautiful balance of osmanthus and rose and lots of violet. I'm not getting much of the jasmine, just a hint. And just enough civet to dirty things up just a little bit. It's greener than I expected too, which I love in a perfume. The green seems to keep the florals from being entirely too sweet. Later on it gets very mossy, it's about as mossy on my skin as Mitsouko. Right now this is very much like a slightly more floral Mitsouko, less the stronger peach note but with the stone fruits note of osmanthus. This one just unfolds and unfolds and unfolds and every facet of it is stunning. This review is for vintage EDT. Big love. edit: and unfolds some more. Right at this very moment, it smells very much like Silences. edit2: here towards the end it is just the tiniest bit warm. I'm glad this perfume is no warmer than it is, in my opinion it wouldn't have been near as beautiful. The greenness and coolness of it make it almost a little unearthly.

I have the most recent formulation of 1000, from right before it was discontinued. I'm sure the original formulation must smell drastically different, this profile is not really a chypre. No real moss, but the woody base smells great, especially the oak. I wish more perfumes utilized this note. A big, long lasting, powdery, woody multifloral. To my nose the florals are chiefly jasmine, ylang-ylang, rose, and orris. Bitter, dry, dusty, leathery. A real powder bomb, up there with Samsara. It smells fantastic, but it's one of those fumes I have to be in the mood for to truly love and appreciate. It's absolutely gorgeous in the colder months. Imagine a parallel universe: the ever-prim Chanel No. 5 EDT were formulated to suit the taste of the world's best female MMA fighter instead of a fashion-forward, conniving hussy. It would approximate this. Big boned and coarse, but refreshingly modest and candid. By the end of the day, you appreciate what she brings to the table. The guide book authors are on the money. This is a great option for men who want to smell floral, but do not want to register as effeminate. 1000 pulls off the impressive feat of being more floral and more butch than Habit Rouge.

EDP Funny how mistakes are made. The list of notes on here used to be correct, then it was changed and it is now wrong. The only problem is that given that this is discontinued and there is no Patou webpage for someone to look into, therefore for generations to come whenever someone looks into this page they will forever think that this is a floral perfume. It is in fact a Chypre. The EDP could be interpreted as a Floral-Chypre, but a Chypre nonetheless. Both EDP and EDT have more or less the same structure, but EDP is more perfum-y (i.e. no hard edges). EDT is sharper. There is bergamot at the top, and a lot of oakMOSS (this is the bit that is missing from the notes' list) in the base. As it mellows down it is still a green Chypre, but with the occasional whiff of something floral (but not something so specific so as to say that it is this flower or that). The EDT has more or less a similar structure, but it is intensely green with a lot of Galbanum in its heart. Personally I prefer the EDT iteration, because it makes it an ideal green cologne. One of very few perfumes that I will truly miss, once the back-up bottles have run out.

1.2 Edt Spray vintage bottle. For my 16th birthday I was picked up from high school in a 1972 white Rolls Royce Silver Cloud. That year Patou sent 1K bottles out to the paris elite in 1972 RR. So Patous 1000 and I have been destined to meet as a vintage enthuisiast. This is 70s richness in the olive green velvet furnature, burgundy curtains trimmed with deep burnished gold and your pet ocelot lounging on the back of the sofa waiting for you to relax with a dry martini from the drink cart. Ahhh those were the days. Patous 1000 is called 1000 because it took 1000 tries to get this formula to work. Its an analog fragrance marvelously displaying real Osmanthus, Mysore sandalwood, indonesian patchouli, oakmoss, vetiver, bulgarian rose, jasmine from grasse, rose de mai and a musky base to keep things soft and warm. A green chypre floral with a dry, woody undertone reminding one of their mothers leather handbag aroma and luxe rich times of days gone by. Luxury with soul. Thats 1000. If money had an aroma..it be this classic from Patou.