Guy Bourdin (December 2, 1928 in Paris – March 29, 1991 in Paris),
was a French fashion photographer.
Guy was born December 2, 1928, at 7 Rue Popincourt, Paris. He was abandoned by his mother the following year, and was adopted by Maurice Désiré Bourdin, who brought him up with the help of his mother Marguerite Legay.
During his military service in Dakar (1948–1949), he received his first photography training as a cadet in the French Air Force.
In 1950 he returned to Paris, where he met Man Ray, and became his protégé. Bourdin made his first exhibition of drawings and paintings at Galerie, Rue de la Bourgogne, Paris. His first photographic exhibition was in 1953.
Bourdin exhibited under the pseudonym Edwin Hallan in his early career.
His first fashion shots were published in the February issue of Vogue Paris in 1955. He continued to work for the magazine until 1987.
Bourdin married Solange Marie Louise Gèze in 1961, who gave birth to his only child, Samuel in 1967. His wife died of a heart condition in Normandy in 1971.
An editor of Vogue magazine introduced Bourdin to shoe designer Charles Jourdan, who became his patron, and Bourdin shot Jourdan's ad campaigns between 1967 and 1981. His quirky anthropomorphic compositions, intricate mise en scene ads were greatly recognized and always greatly anticipated by the media.
In 1985, Bourdin turned down the Grand Prix National de la Photographie, awarded by the French Ministry of Culture, but his name is retained on the list of award winners.
Bourdin was one of the best known photographers of fashion and advertising of the second half of the 20th century. He shared Helmut Newton's taste for controversy and stylization, but Bourdin's formal daring and the narrative power of his images exceeded the bounds of conventional advertising photography. Shattering expectations and questioning boundaries, he set the stage for a new kind of fashion photography.
Bourdin worked for Vogue and Harper's Bazaar, and shot ad campaigns for Chanel, Issey Miyake, Emanuel Ungaro, Gianni Versace, Loewe, Pentax and Bloomingdales.
Since his death, Guy Bourdin has been hailed as one of the greatest fashion photographers of all time, and his son Samuel Bourdin released a book with the finest prints of his father's work, called "Exhibit A" in 2001
(co-edited with Fernando Delgado). His first retrospective exhibition was held at the Victoria & Albert Museum in London 2003, and then toured the National gallery of Victoria inMelbourne, and Jeu de Paume in Paris.
Bourdin was the first photographer to create a complex narrative, then snatch a moment — sensual, provocative, shocking, exotic, surrealistic, sometimes sinister — and simply associate it with a fashion item. The narratives were strange and mysterious, sometimes full of violence, sexuality, and surrealism. Bourdin was influenced by his mentor Man Ray, photographer Edward Weston, the surrealist painters Magritte and Balthus, and film maker Luis Buñuel. Even though much less well known to the public than his colleague Helmut Newton (also working for Vogue), Bourdin possibly has been more influential on the younger generations of fashion photographers.
Guy Bourdin was a short man with a whiny voice, and had a reputation of being incredibly demanding. Dark rumors surrounded him: his mother abandoning him as an infant, the suicides of his wife and two of his girlfriends, and the cruelty in which he treated his models.
Bourdin was not a natural self-promoter, and did not collect his work or make any attempt to preserve them; in fact he refused several offers of exhibitions, rejected ideas for books, and wanted his work destroyed after his death (but since he didn’t keep so much of his work for himself, fortunately most of it was saved). The first major book devoted to his work was Exhibit A (mentioned above), released ten years after his death.
Madonna's 2003 music video for Hollywood was greatly influenced by the photography of Bourdin, so much so that a lawsuit was brought on against her by Bourdin's son for copyright infringement.
A documentary program, Dreamgirls: The photographs of Guy Bourdin, was shown for the BBC in 1991. Fashion photographers like Helmut Newton and Jean-Baptiste Mondino talked about how Bourdin managed to shoot fashion photography in his own unique way .
Contemporary photographers such as Mert Alas and Marcus Piggott, Jean Baptiste Mondino, Nick Knight and David LaChapelle have admitted to being great admirers of his work.
Lady Gaga totally ripped him off, (i mean paid homage) on her PAPARAZZI video.
Guy Bourdin (1928-1991) was an obsessed man. And that is to put it slightly. Working for Vogue, he made his heavily made-up models twist to uncomfortable positions in surreal, absurd, gloomy images. He loved red-haired women - who reminded him of his long-lost mother. His estranged wife committed suicide by hanging herself.
Guy Bourdin's reputation was that of a difficult and demanding person, and one of his former models admits that it took a bit masochistic character to be able to work for him.
Hermit-like Bourdin was more into tragedies than happy endings, which could often well be detected from his photographs; even those seemingly most filled with sunshine always had a slightly macabre tone, combining death and glamour. It has been said of Guy Bourdin that he was a complex personality and a gloomy genius who had just chosen a ladies' magazine as his way of expression.
This is what David Bowie's got to say about Bourdin:
"Since the advent of AIDS and the new morality, and, of course his death, his dark sexy fatal style had fallen out of Vogue. An uncompromising photographer, he had found a twisty avenue through desire and death. A white female leg sticking gloomily out of a bath of black liquid enamel. Two glued up babes covered in tiny pearls. The glue prevented their skins from breathing and they pass out. 'Oh it would be beautiful,' he is to have said, 'to photograph them dead in bed.' He was a French Guy. He had known Man Ray. Loved Lewis Carroll. His first gig was doing hats for Vogue. He'd place dead flies or bees on the faces of the models, or, female head wears hat crushed between three skinned calves heads, tongues lolling.What was this? Fine Arts? The surrealists might even think his work passé. Well, it was the `50s, that's what it was.
in an interview in 1977, bourdin stated that he refused to have photos taken of himself.
The tight-collar `50s seen through unspeakable hostility. He wanted but he couldn't paint. So he threw globs of revengeful hatred at his nubile subjects. He would systematically pull the phone cord out of the wall. He was never to be disturbed. Disturbed. Never. Everything and everyone died around him. One shoot focusing upon a woman lying in bed was said to be a reconstruction of his estranged wife's death. Another picture has a woman in a phone booth making some frantic call. Her hand is pressed whitely against the glass. Behind her and outside are two female bodies partially covered by the autumn leaves. His dream, so he told friends, was to do shoots in the morgue, with the stiffs as mannequins. I don't know. I just read this stuff. Now his spirit was being resurrected. We're mystified by blood. It's our enemy now. We don't understand it. Can't live with it. Can't, well... y'know?"nothing is on official record since his son controls bourdin's estate, but at the time of her death is was reported that his wife committed suicide by hanging herself in bourdin's photo studio.
in an interview in 1977, bourdin stated that he refused to have photos taken of himself.
he said each photograph robbed a bit of one's soul. models were accepting of this practice since they had decided to give their souls away.
it is rumored that guy bourdin committed suicide on march 29th, 1991, in the same studio his wife had hung herself in 1971.
it is rumored that guy bourdin committed suicide on march 29th, 1991, in the same studio his wife had hung herself in 1971.
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