Jean Patou Joy Eau de Parfum Spray for Her 30 ml

Product Information

It’s turned to have more sentimental value than any economic significance. LVMH bought the house for the fashion, not the fragrance. Like all houses that no longer have the original designer at the helm, they drop their first name, which is why it’s now only Patou. The base is still floral, but softer, it reminds me a lot of the smell of white lilies. I don't think it's powdery, it has nothing to do with Chanel No. 5, despite it being just as classy. Incidentally, I was with a friend who couldn't smell it, but said she experienced a powerful fecal note. After that it did settle down into a lovely mix of rose, musk and vanilla. Sweet as the finale is, I can't envision tolerating the first two stages to make this a keeper. It is possible that I applied too much, so I will give it one more chance with a smaller application. This was my second attempt, but I like to give any fragrance three tries. The polarized experience reflects the characteristics of JOY itself - it has a dual character, or it is straight and rude, or it is beautiful and grand.

I bought a sample of this during the winter thinking the fruity notes would cheer me up on gloomy days. But I totally hated it. There was a note, maybe musk, maybe patchouli, not sure that was very irritating. I was disappointed because it sounded very exotic & unique and because I know that Patou's scents are generally very high quality.Designers for the House of Patou have included Marc Bohan (1954–1956), Karl Lagerfeld (1960–1963) and Jean Paul Gaultier (1971–1973). Christian Lacroix joined the label in 1981. The last fashion collection produced by the House of Patou label was in 1987 when the haute couture business closed definitively following Lacroix's departure to open his own house. In 1984, Jean Kerléo was responsible for the reformulation and reissue of twelve of Patou's fragrances from 1925 to 1964 in a series called "Ma Collection", including the first fragrances created for the house in 1925, the trio "Amour-Amour", "Que sais-je?" and "Adieu Sagesse". "Ma Collection" was sold in flacons modelled after the originals by Louis Süe. [9] Glamorous, seductive, confident, secretive and classy is the kind of woman I'd envision wearing this fragrance. I am a fan of mostly clean citrus floral fragrances, and when a friend gifted this to me I read the notes here and was convinced it would be a disaster on me. I mean, bananas in a perfume would be a notion difficult to conceptualize for most women who haven't worn Enjoy yet.

I have decided to love it for its uniqueness! Because it is unlikely that I will cross the path of another woman wearing it.

Fast forward, to a year after I stopped smoking, and all the pretty, elegant bits where overwhelmed by the musky note, and I couldn't give it away fast enough. I was going to give the sample spray away to a friend that I figured might like it. But two weeks ago when I still had not gotten rid of it I decided to spray it on my wrist again to see what note it could possibly be that bugged me so much. But this time there was no annoying note. I was ecstatic! I finally get to "enjoy" this scent, no pun intended. I can't believe I'm saying this, but, I love the banana note. I absolutely abhor banana candy, so this is so unusual for me to find this scent so pleasant. I don't think I've ever smelled a perfume where this fruit has been integrated so well with the other ingredients, or not smelled artificial. It smells very natural, but not like a really ripe banana, as has been stated previously. It does smell like a slightly green banana that has just a tinge of sweetness. What a wonderful, wafting, bouquet of rose, and then jasmine, filled my nose. How much more complex and delightful the older formula smells when compared to the newer one available currently. It's absolutely stunning, and thankfully not too much of the civet comes through once it's out of the bottle, at least with my chemistry. I see why my grandmother loved it: it's honey-sweet, luxurious, elegant as anything one could imagine, and femininely floral. Joy was different from the previous Patou perfumes. First of all, unlike all the precious releases from the house, this bottle was very simple, austere and geometric, much in sync with the Art Deco style, and following the footsteps of the hit of Chanel Nº5. Second, the composition was for all women, more universal and not directed at a specific skin color or a particular event. It was a simple name, but very meaningful for everyone, everywhere. Joy was also jumping in the floral rose-jasmine trend initiated with Chanel Nº5, but whereas Chanel's take depended on artificiality and illusions, Patou's approach was mainly about naturalness and tradition.