During the 1950s, the French photographer launched his career in fashion with assignments for Vogue Paris. He promptly changed the identity of fashion photography with the flawless, exotic and Surrealist-like images he created, bringing death, violence and fetichism into the pages of the French glossy magazine. Having always desired to become a painter, Guy Bourdin was among the first to imagine fashion photographies that contained fascinating narratives, dramatic effects with intense color saturation, hyper-realism and cropped compositions while he established the idea that the product is secondary to the image. A fan of Alfred Hitchcock’s ‘Macguffin’ technique - an inanimate object catalyzing the plot - the photographer constructed ‘crime scenes’, getting rid of all usual standards of beauty and morals while his images demanded cerebral responses. When such photographers as David Bailey, in the 1960s, produced fantasy images of the girl-next-door, Guy Bourdin captured the atmosphere of the 1970s with sharp humor, erotism and outrageous femininity. Collaborating with Issey Miyake, Chanel or Emmanuel Ungaro, it was his work for the shoe label, Charles Jourdan, that brought him the attention of a wider public. With the campaign, Guy Bourdin dared to barley show the product and turned the shoe into a trivial element of a theatrical mise-en-scène that enhanced sex and bad taste. A protégé of Man Ray in his young years, Guy Bourdin borrowed to his mentor his appetite for shock and questioning and influenced contemporary artists and photographers such as David La Chapelle and Jean-Baptiste Mondino.