Birkin was born to David Birkin and Judy Campbell, an actress in Noel Coward musicals. Her great aunt was Freda Dudley Ward, a mistress of Edward VIII while he was Prince of Wales.
Birkin emerged in the swinging '60s in London, starring as one of the models in the controversial film Blowup in 1966.
In 1968, Birkin went to France to audition for the lead female role in Slogan. Though she did not speak French, she got the role.
In 1969, she and Serge Gainsbourg released the song "Je t'aime... moi non plus" ("I love you... me neither"), written by Gainsbourg and featuring both of them singing, which caused a scandal for its sexual explicitness. Arguably due in part to the publicity it got from being banned by radio stations in Italy, Sweden, Spain, and the UK, it was a commercial success all over Europe. The song's fame is a result of its salacious lyrics (sung in French) against a background of female moaning and groaning, culminating in an orgasm at the song's conclusion (which some claim to be the result of Jane and Serge actually engaging in sex during the recording of the song).
Birkin took a short break from her acting career in 1971-72, but returned as Brigitte Bardot's lover in Don Juan (or if Don Juan were a woman) in 1973.
In 1975, she appeared in Gainsbourg's first film, also titled Je t'aime... moi non plus, which created quite a stir for its frank examination of sexual ambiguity. For this performance she was nominated for a Best Actress César Award.
Birkin has starred in the Agatha Christie films Death on the Nile and Evil Under the Sun, and recorded several albums, including Baby Alone in Babylone, Amours des Feintes, Lolita Go Home and Rendez-vous. She has obtained in the category Female Artist of the year in France the Victoires de la Musique award in 1992 .
She starred in two films by Jacques Doillon — as Anne in La fille prodigue (1981) and as Alma in La pirate (1984, nominated for a César Award). This work led to an invitation from Patrice Chéreau to star on stage in La Fausse suivante by Marivaux at Nanterre. After this, she also began to appear frequently on stage in plays and concerts (in France, Japan, the UK and then the US).
Jacques Rivette collaborated with her for Love on the Ground (1983) and La belle noiseuse (1991, Nominated Césars best supporting actress). Additionally, she appeared in Merchant Ivory's A Soldier's Daughter Never Cries (1998, also used her song "Di Doo Dah") and Merci Docteur Rey (2002), while Le Divorce's end title song featured her singing "L'Anamour", composed by Serge Gainsbourg.
In 2006, she played Elektra, directed by Philippe Calvario in France.
Jane Birkin's humanitarian interests led her to work with Amnesty International, on immigrant welfare and AIDS issues. Birkin has also visited Bosnia, Rwanda. and Palestinian Territories, often working with children. She has been awarded an OBE for her services to acting, as well as the Ordre National du Mérite in France.
She made musical collaborations and duets with artists such as Feist, Beth Gibbons from Portishead, Bryan Ferry, Brian Molko from Placebo, Franz Ferdinand, Manu Chao, Brett Anderson from Suede, Mickey (3d), Françoise Hardy, Cali, The Divine Comedy, The Magic Numbers, Paolo Conte, Beck, Rufus Wainwright, Yann Tiersen, Alain Souchon, Les Negresses Vertes, Johnny Marr from The Smiths, Zazie, MC Solaar, Yosui Inoue, Étienne Daho, Alain Chamfort, Jimmy Rowles, Goran Bregović, Sonny Landreth, The Soundtrack of Our Lives and many others.
Birkin recorded the song "Beauty" on French producer Hector Zazou's 2003 album Strong Currents.
She is noted as being the inspiration for fashion house Hermès' popular Birkin Bag after the actress was seen struggling with several bags while boarding an aeroplane.
Her image features on the cover art of Have You Fed the Fish? by singer-songwriter Badly Drawn Boy (which features her daughter Charlotte Gainsbourg on backing vocals).
Despite decades of residence in France and the ability to speak French fluently, Birkin still retains a strong English accent and makes grammatical mistakes when speaking French.
Personal Life :
She was married from 1965 until 1968 to John Barry, an English composer who wrote the musical score to the James Bond movies. Their daughter, the photographer Kate Barry, was born in 1968.
Muse of Gainsbourg :
She had a very passionate and creative relationship with her mentor Serge Gainsbourg — they met on the set of Slogan and married in 1968. They separated in 1980. Their daughter is actress Charlotte Gainsbourg.
In 1982 she gave birth to her third daughter, Lou Doillon, from her relationship with the director Jacques Doillon.
Le velours des vierges
Jane Birkin Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Aux satins innocents
Ces jeunes sirènes émergent
D'un océan de sang
Regarde-les s'approcher
Comme légions d'amazones
Venues braver les cyclones
Leur arc et leurs yeux bandés
S'aventurant dans des zones
Inexplorées
Toi qui rêves au velours des vierges
Aux satins innocents
Ces jeunes sirènes émergent
D'un océan de sang
Vois-tu là -bas leurs chevaux
Courir un vent de folie
La hargne de ces furies
Leur passant par les naseaux
Ils se jettent à l'assaut
Se ruant à l'agonie
Au grand galop
Toi qui rêves au velours des vierges
Aux satins innocents
Ces jeunes sirènes émergent
D'un océan de sang
Cohortes en rangs serrés
S'éloignent les filles d'Eve
A la lueur de ton glaive
Va-t'en compter les blessés
Là -bas l'un s'est relevé
Et te supplie dans ton rêve
De l'achever
Toi qui rêves au velours des vierges
Aux satins innocents
Tes romans-fleuves ont des berges
The song Le velours des vierges by Jane Birkin is a poetic piece that describes the strength and power of women. The singer addresses someone who dreams of the innocence and purity of young women, but instead of portraying them as passive and weak, the song shows them as fierce and fearless warriors. The first stanza talks about young sirens emerging from an ocean of blood, indicating that they have overcome difficulties and challenges to get to where they are now. The next stanza compares them to Amazon legions, who brave cyclones and venture into unexplored zones. The use of archery here also symbolizes skill and precision, something that is traditionally associated with men.
The second verse again portrays young women as powerful and wild, riding horses with the same hargne or ferocity as furies. They charge towards their goal with reckless abandon, even if it means risking their lives. The final stanza talks about a battle where the girls of Eve, or all women, come together in close ranks to fight for their cause. The singer tells the addressee to go count the wounded and dying, indicating that there will be casualties in the fight for equality and freedom. The stanza ends with a plea from one of the warriors, who asks to be put out of their misery.
Overall, Le velours des vierges is a powerful feminist statement that emphasizes the strength and courage of women. The song praises women for their fearlessness, skill, and determination, highlighting the important role they play in society. It challenges traditional gender roles and stereotypes, portraying women as active agents rather than passive objects of desire.
Line by Line Meaning
Toi qui rêves au velours des vierges
You, who dreams of virgin velvet
Aux satins innocents
And innocent satins
Ces jeunes sirènes émergent
These young sirens emerge
D'un océan de sang
From an ocean of blood
Regarde-les s'approcher
Look at them approaching
Comme légions d'amazones
Like legions of Amazons
Venues braver les cyclones
Who came to brave the cyclones
Jeunes et brillants archers
Young and brilliant archers
Leur arc et leurs yeux bandés
Their bows and blindfolded eyes
S'aventurant dans des zones
Venturing into areas
Inexplorées
Unexplored
Vois-tu là -bas leurs chevaux
Do you see their horses over there,
Courir un vent de folie
Running with a mad wind
La hargne de ces furies
The fury of these furies
Leur passant par les naseaux
Passing through their nostrils
Ils se jettent à l'assaut
They throw themselves into battle
Se ruant à l'agonie
Rushing into agony
Au grand galop
At full gallop
Cohortes en rangs serrés
Cohorts in tight ranks
S'éloignent les filles d'Eve
The daughters of Eve are moving away
A la lueur de ton glaive
In the light of your sword
Va-t'en compter les blessés
Go and count the wounded
Là -bas l'un s'est relevé
Over there, one has stood up
Et te supplie dans ton rêve
And begs you in your dreams
De l'achever
To put him out of his misery
Tes romans-fleuves ont des berges
Your river novels have banks
Contributed by Adam S. Suggest a correction in the comments below.