Passage to vacuum1990S buried it early yet

"I did things of quality but very few great things", loose, in a blend of false modesty and genuine humility. Advertising flamboyant so as to embody the excesses of the 1980s show pub, designer of the ceremonies of the bicentennial of 1989, poster artist, Pygmalion... Jean-Paul Goude will yet everything or almost. On the evening of the appointment, in the bar of the Hyatt Vendôme, sieved lights and jazzy music, it appears, unchanged for almost seventy years, in which eventually become the "Goude logo": face both marked and juvenile, shoes and socks, sarouel, seafaring striped red and white, like Cocteau suggestive sailors.

And yet, to achieve this simplicity, to work! Its the oldest photos reveal muscular, applied, open arms and great legs in the Nina Tikanova dance studio. Dance is her passion, drawing, practiced at night with abandon to the Decorative Arts, a simple form of distraction. This son of a dancer from Broadway and an engineer at IBM like the elegance of the pages of some Americans, the style and fashion magazines warnings. Good pick: found insufficient as a classical dancer, Goude turns to the artistic direction.

Beauty blacks and beurs

This could be a drama, it will be his chance. Spring showcases designer and artistic director of "Esquire" for nearly ten years, he formed his eye in the United States and uses his talent to literally "sculpting" of co-leader. It will thus be one of the first to impose beauties blacks and beurs, drawing on his childhood memories in his fantasies. Under his rule, the androgynous silhouette of Grace Jones on stage becomes a terrifying male-female automaton, Farida, the first dummy beur, defies all norms of traditional beauty.

Arrived in advertising almost by accident, through campaigns Lee Cooper, Orangina and Kodak, Goude is injected his intimate, baroque and androgynous, theatrical and colourful universe that has shaped New York experience, while he claims loudly "artisan". The success was immediate. In a few days, it discovers, through him, Antoine de Caunes in new face of the Galeries Lafayette. Previously, it will be locked Vanessa Paradis in a cage Golden for "Coco" Chanel, invented the asexual trio of the Kodakettes. And staged improbable Dervishes for EDF.

"Passage to vacuum"

1990S buried it early yet. The fault the bicentenary. Jean-Paul Goude celebrates in its own way on July 14, 1989, in a multi-ethnic parade, packed with ideas, energy, film and historical references. It is suddenly brought to the Pinnacle by newspapers around the world. But there never to rebound. "The success of the bicentennial me was literally grayed (...), gave in 2005 in his book"All Goude"." I finished by luxuriate me in this General flattery, I me in am even loaded, until the soufflé falls. (...) There was a vacuum passage. One year after the film "Coco" (...), I had more desire nothing. I had become unavoidable and untouchable, inevitable and unusable.

Ironically, after three years of filming a feature not leading, Jean-Paul Goude recessional in 2000, through the campaigns of the Galeries Lafayette, themselves for a second wind. A bucking the trend of the current, porno-chic, it explores, declined through Laetitia Casta, all facets of its partially unveiled in previous campaigns, intimate theatre: Visual color shock, characters from comic books to the extreme, stylized exacerbated femininity but also troubling androgyny and baroque theatricality. Creations, according to Ipsos, appearing regularly at the top of the favourite posters of the French.

A selection of its spots

the best-known pub

on lesechos.fr/videoslesechos.fr/videos