his team of Clodettes was not the original project

THE tributes to Claude François continue to increase. After several testimonies from his son and various professionals, it is National Library of France (BNF) which is refining its collection on the artist. To do this, the designer Michel Bourdais donated certain products of his work with the French singer for this project. He took the opportunity to talk about his collaboration with Claude François.

Michel Bourdais, now 80 years old, spoke about his relationship with the late Claude François to the newspaper The Parisian. Indeed, at the time, he had produced a portrait of the interpreter. Therefore, his artistic cooperation with the singer was important. And the least we can say is that his testimony on the Clodettes is very surprising. Here are the details.

Claude François wanted to make his entire audience dance

During his interview by The Parisian, Michel Bourdais explains how he worked with the French singer. He acknowledges the will of the interpreter. His ambition was: “to make the whole of France dance to his choreographies”. Indeed, we remember his limitless energy which aimed to get all his fans moving. But indeed, at the start of his career, Claude François was alone on the scene.

Subsequently, the designer explains the French singer’s request. He wanted to create choreography that would be learned by him, but also by his audience. The idea was that everyone dances the same way for each music. Michel Bourdais therefore specifies that Claude François wanted: “a kind of comic book”. Which seems like a very complex solution. Therefore, the donor continues his testimony with his response to the artist: “I asked him, ‘Why don’t you get some dancers on stage?'”. But it doesn’t stop there.

Clodettes, yes, but not just anyone

We know it, Claude François was attracted to women. This is what Michel Bourdais explains in the interview. “He was exhausted, but he immediately told me: ‘Ah yes, but with hot girls’”” he specifies. The Clodettes project was then launched. Research into the dancers begins. First there is Solange Fitoussi, hired in 1966, then Siska. A memory for the designer: “At the beginning, there were only two Clodettes on stage. They increased to four for her Olympia, with Pat and Cindy”.

But Claude François had a very precise idea of ​​the physique of his team of Clodettes. Indeed, Michel Bourdais adds: “Claude wanted two white women and two black women”. After this work for better stage performances, it was time for the singer and his troupe to learn the choreographies. Rhythmic performances that we can see and rewatch on the Internet for our greatest pleasure.

News Editor

Physical well-being, mental well-being, sexology, feminism, education, psychology, politics… Discover with Léna a caring and rejuvenating universe through her shares on AuFéminin. Aware of the importance of maintaining a balance…