After the closure of the haute couture business the company has continued to produce fragrances under the Jean Patou brand. Patou also produced fragrances for Lacoste, when Patou acquired the license in the 1960s, [6] and Yohji Yamamoto in the 1990s. [7]

I am wearing what appears to be the reformulation of the orignal which my mother used to wear. I never wore that one but smelled it enough times on her to have become familiar with it myself. The original was lauded as a fragrance of "a thousand flowers" but while it was not multi floral it was a floral perfume made up of the most fragrant flowers known to man - rose, gardenia, tuberose, jasmine, and ylang ylang. The base was musky and balsamic, woodsy, green and aromatic. There was a sophistication and Chanel No. 5 type of air to the original, a musky floral for the grand dames of high society. The new formula is a whisper of the original, not bad, but definitely on a leash, sweeter and yet mature enough for me to wear. Zanon, Johanna " A Dress Named Desire: Contribution to the Titrology of Fashion during the Interwar Years", in Livraisons d'Histoire de l'Architecture 27 (2014), pp. 129–152. So Dior brings out a fragrance that actually already exists. By the way, I made the direct comparison on my skin, can not only write this from the memory of Allure.Joy? For Dior's latest creation, it smells quite flowery. The opening is pleasantly citric and fresh with bergamot and mandarin, whereby the bergamot takes over the main part here. Quite fast the whole matter mutes itself a little and a clean rose appears. Jasmine and musk add a dash of fluffy creaminess. All in all, the fragrance does not develop excessive sweetness, but it remains rather bland and somewhat boring. Patchouli, sandalwood and cedar show their presence with extreme restraint. The shelf life is, like the Sillage, quite manageable. Jean Patou as a company suffered from going through the years of economic recession, but it had a contradictory approach: when things got tough, luxury was boosted. Even when the company was in difficulties, and so was its clientele, Patou's approach was always to surprise the market with seemingly nonsensical products. That was the case of Joy, the quintessence of rarity and supreme opulence. When in 1929, Jean Patou smelled the unreleased sample of what was to be Joy, he loved it, but the perfumer told him it would be impossible to release it in the marker, for the essences that had been used were too expensive, and impossible to use commercially due to the prohibitive price. Jean Patou took this answer and turned this perfume into a marketing strategy, announcing Joy as "The World's Costliest Perfume." It was a success! I also love vintage fashion and also love wearing fragrances that aren't on trend but possibly ready for a wider audience.

An extremely opulent and carnal interpretation on one specific subcategory of chypre, namely Mitsouko along with a strand of variants, e.g. Miss Dior Vintage, Nina Ricci Temps Vintage, YSL Y and Rive Gauche, Rochas Madame Vintage, Hermes Parfum d'Hermes and Caleche, and even Amouage Ubar. Maybe it's clearer to express in a tree form like: It is suitable for everyday use, citric-floral-creamy, fine and delicate, not too sweet. A soft musk base keeps very quiet, but still on the skin for some time! A very pleasant perfume of the day. I guess you can't go wrong with that scent. But I dare doubt whether the price/performance ratio is right. I will always have a soft spot for Joy, but 1000 is easily my favorite. Previous posters are calling it a gender bender, and of course, to each their own! Their experiences may be different from mine. But to me, I find 1000 to be unabashedly feminine. I would love to acquire the vintage perfume in the green flacon, but fear if I don't act soon, it will only be a matter of time before it becomes out of reach. Some people say that JOY does not actually have a separate type of EAU DE JOY. If there is, it is likely to be a light version that the company has reconfigured for customer needs. An ounce of Joy had a retail price of 40 dollars, the most expensive perfume at the time. As told by Emmanuelle Polle, "What the clients would soon learn was that this ounce of perfume was produced through the extraction of some 10,600 jasmine flowers and 28 dozen roses. It was a gargantuan perfume, requiring huge quantities of fresh flowers. The couturier-perfumer was not one for artifice, be it in the way silk was worked or the walk of a model on the runway, or the ingredients of a perfume. The same line of conduct prevailed in his perfumes and his fashions: the quest for naturalness and the very best raw materials."Joy" was voted "Scent of the Century" by the public at the Fragrance Foundation FiFi Awards in 2000, beating its rival " Chanel No. 5". [7] There can be many interpretations of an idea. For a milestone as Joy, one opinion can never reveal all it's mysteries, just as one opinion can never touch on all the complexities of one person. It was a floral but compared to the powerful bright floral scents of the 80’s it was so subtle, it was almost invisible. Unable to find any ‘joy’ wearing this perfume for my personal pleasure, I decided to purposefully try and gauge the male reaction to it.

The original bottle, designed by French architect and artisan Louis Süe, was designed to have a simple, classical feel. [6] Awards [ edit ] Patou was born in Paris, France in 1880. Patou's family's business was tanning and furs. [1] Patou worked with his uncle in Normandy, then moved to Paris in 1910, intent on becoming a couturier.Designer Parfums appoints its first in-house perfumer". cosmeticsbusiness.com. 21 November 2011. Archived from the original on 10 May 2012 . Retrieved 14 September 2012.

After that initial moment of perfect florality, Joy reveals other sides. There is more to Joy than rose and jasmine, but those two flowers remain on center stage. Other floral notes play supporting roles, perhaps some ylang ylang, perhaps some tuberose. There is a very restrained civet note and a smooth sandalwood base. Of course, there are many more perfumes from the house of Jean Patou that are wonderful, and you can even take a look at our article Best In Show Jean Patou Fragrances. Let's not forget 1000 (1972), Sublime (1992), and Patou For Ever, created by Jean Kerleo. But Joy is, or should be, considered an indelible cultural heritage of perfume history and French culture. Jean Patou is a prestigious, historic luxury brand. "The costliest perfume in the world": Jean Patou himself already did the work for you! (ie. brand equity, market positioning). For the informed, Jean Patou stands up there with Chanel. Christian Dior was there too. Around when 'Christian Dior' rebranded to 'Dior', it adopted a mass marketing strategy. All good, but that left a gap in the LVMH prestige brand offerings. (Which seems to be partially filled by brand Exclusifs now.) Joy is a bona fide classic scent that evokes old-style feminine glamour. Infamously, it was once the most expensive perfume in the world - shortly after the Great Depression, which somehow didn't hamper its success. A bouquet in a bottle, Joy beautifully showcases all aspects of its rich florals. It is green yet carnal, waxy yet powdery, sweet yet soapy, fruity yet creamy - I could go on. Multifaceted and complex, it is cohesive and well-composed. While it is often dismissed as an "old lady scent" today, most of the best perfumes are, in fact, old lady scents! Joy is an aptly-named, opulent, luscious floral. I have a very old miniature EDT without a barcode.By the way, my Sira des Indes (which I like) are all P&G. I have never run across a Designer Parfums bottle.