This sense of being a "singing doll" for Gainsbourg reached a peak when he later wrote "Les Sucettes" ("Lollipops") for Gall.

Sylvie Simmons wrote that the song is about "the ironies and incongruities inherent in baby pop"—that "the songs young people turn to for help in their first attempts at discovering what life and love are about are sung by people too young and inexperienced themselves to be of much assistance, and condemned by their celebrity to be unlikely to soon find out.

Gall performed "Poupée de cire, poupée de son" sixteenth on the evening, following Denmark's "For din skyld" by Birgit Brüel and preceding Finland's "Aurinko laskee länteen" by Viktor Klimenko.

The French public retrospectively reproached Gall and Gainsbourg for having represented [and won for] Luxembourg and not for their own country.

It was reportedly plagiarized to have the first 18 bars of the song stolen, which is identical to "Il faut attendre l'amour", composed by Zarko Roje, which was presented at the Opatija 64 festival.

Written by Julien Salvia and Ludovic-Alexandre Vidal, and performed by Laura Thorn, this version strikes a defiant tone of self-empowerment responding to the lack of agency conveyed in the original.

[10] Self–referentiality, puns, word play, and double meanings are integral to Gainsbourg's style of lyric writing.

She felt she was used by Gainsbourg throughout this period, most notably after the song "Les Sucettes", which was literally about lollipops, but with multiple double entendres referring to oral sex.

was catchy, and on the surface pretty annoying – perfect Eurovision fodder, in other words – but closer examination revealed perspicacious lyrics about the ironies and incongruities inherent in baby–pop.

"[3]In typical Gainsbourg fashion, the song is first of all self–referential in that it is written for a baby–pop performer to sing about herself—complete with reference to Gall singing beneath her "sun of blond hair" and double meanings clearly tying the song to Gall's own life situation: Singing songs created by adults and carrying themes purposefully introduced by those controlling adults which the young performer only partially understands.

[citation needed] In writing "Poupée," Gainsbourg is purposefully exploiting the very dynamic that is the subject of the song.

It was this extra dimension, in part, that made the song interesting and attractive to audiences,[citation needed] helping catapult it to the top of the Eurovision contest.

[14] Poupée de son is a long–standing expression in French meaning "doll stuffed with straw or bran".

The double meanings of the two terms cire and son come in because of the subject matter of the lyrics, which contain many references to singing and recording.

As Sylvie Simmons summarized the theme of this song: "The songs young people turn to for help in their first attempts at discovering what life and love are about, are sung by people too young and inexperienced to be of much help and condemned by their celebrity to be unlikely to soon find out.

So the entire phrase as found in the lyrics – "Je vois la vie en rose bonbon" — can be translated as something like, "I see life through pink candy–coloured glasses".

It was released on 13 November 1998 on EMI as the third single and as well as the twelfth track from her debut studio album, La Vie en lilali (1998).

It is a Eurodance song that was written by Serge Gainsbourg and produced by Phil Sterman and Lov Cook.