Our review of the documentary Andrée Putman, design student at Arte

REVIEW – This documentary dissects the strange cocktail of classicism and avant-garde that made this intuitive self-taught glory hidden inside a woman of the world. A film not to be missed this Sunday January 15th at 5:50pm on Arte and arte.tv.

Andrée Putman, his squished silhouette, his slick thinness, his stylish guts for a better film noir profile, his husky voice of a Gitanes smoker, his signature phrasing, a bit slow, with chosen words and certainty mixed with freshness. A living paradox between the typical high bourgeoisie, such as its banker family and renowned scholar from Lyon, and the revolutionaries of form and utility that experienced the rich Palace watch in 1978, with Yves Saint Laurent still handsome, Karl Lagerfeld still brown, Sonia Rykiel as the eternal red hair, young Michel Berger, unchanged Kenzo, Helmut Berger is so magnetic. In short, a figure from the 1980s whose life and work are closely intertwined. And her signature evokes a hieratic woman, straight like “I”, like a bathroom with a strict black and white checkerboard.

Look directly under the axis

This is a very beautiful documentary dedicated to him by Saléha Gherdane, Andrée Putman, great design lady, a real lesson in art and life designed for Arte, delivered by the voice of his daughter Olivia who now runs his studio (her son, gallery owner Cyrille Putman, only appears in the end credits). There is neither criticism nor dissonance in the didactic portrait of an icon whose attire, intensely blue eyes, gaze directly under the keys, seems to preclude any contradiction. Andrée Putman (1925-2013) became more beautiful with age, with the wrinkles of a true warrior, the nose of a Roman emperor, his chiseled like a figure look, a decisive balancing act (he was in a bad bicycle accident at age 20).

obsession with perfection

Is he a star designer and a perpetual child like Philippe Starck, twenty years old
four years younger than him; stylists and hotties like Vincent Darré, who flaunt
“Beautiful!” on Mobilier national until January 29; design historians such as Anne Bony; galleries like Ralph Pucci: everyone pays respect to the strange cocktail of classicism and avant-garde that made this intuitive self-taught glory hidden inside a woman of the world.

Through precise and vivid constructions, the film chronicles the arrival of a pianist’s daughter who is brought up in the romantic beauty of the Cistercian abbey of Fontenay, the family’s extraordinary property and ideas of grandeur. Then the bride with the sage look of the 1960s, the little cardigan with buttons and styles, who looks back on her time, sees the forgotten in art history and revives the masters of art. -Stevens, Jean-Michel Frank, Eileen Gray, Mariano Fortuny. Who participated, at the age of 43, in the popular adventure Prisunic. Yang faces marital difficulties with his curiosity, his born courage, his extraordinary creativity, both pragmatic and theatrical. Yang created the first loft single-handedly, a new concept of open space, at Saint-Germain-des-Prés in 1978, and rediscovered himself at the age of 55 between an obsession with perfection and a desire for simplification.

“Beautiful at an ugly price”

How Andrée Christine Aynard, born in 1925 at 6e arrondissement of Paris, retaining her married name after separating from her husband, collector Jacques Putman, retaining their joint artist, forgoing Christine’s more feminine first name, synthesizing and becoming a lioness design capable of seducing MI Priest, Monaco’s fortune, in a flash.

Andrée Putman doesn’t know how to draw, but understands everything about space, encapsulates his former collaborator and architect, American Elliott Barnes. Using the Prisunic motto, “beautiful at an ugly price”Andrée Putman uses simple materials to give style another meaning: black-and-white tile in his iconic bathroom at the Morgans Hotel in New York (it took infinite calculations to cut nothing), a major order in 1984 from his friends from the Club. 54 , the bluish gray from Concorde that he made as a design trophy in 1993, the embossed kraft paper that holds the minimalist towels… All of that has entered our vocabulary.

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