Christian Berard, The Multi-Talented Fashion Illustator
Christian Berard is a painter, fashion and book illustrator, muralist, interior designer, and costume and set designer. He created numerous illustrations for Vogue and other magazines, including covers, and designed sets and costumes for Ballet Russes. Perhaps his most famous commissions were the costumes and sets for Jean Cocteau’s 1946 film “La Belle et La Bête”. His work has even inspired the collections of designers such as Christian Dior, Elsa Schiaparelli and Nina Ricci.
Christian Berard, Classically Trained
Christian Bérard was born in Paris in 1902, the son of André Bérard, the official architect of the city of Paris. His mother died of tuberculosis when he was young, and his father married his secretary. Not friendly to children either. As a child, he drew sketches of ballet and circus performances he went to with his parents and copied the drawings from his mother’s fashion magazines
His painting style and medium have changed considerably, from whimsical sketches to thick oil portraits. As such, he has undertaken a wide range of projects including silk scarves, rug designs, murals and screens for Ascher Silks London, as well as illustrations for Vogue, Harper’s Bazaar, Art et Style, Formes et Colours and Style en France, Critics dismissed his fine art. But it was made with great skill and flair. While painting, all his jokes and stupidity flew out the window, and he worked attentively and conscientiously.
Almost every description of Berard one can find includes a description of his appearance. A handsome bearded man who looks glamorous in a tuxedo and is known for being dishevelled. He was so dishevelled that his biography was named Clochard Magnifique, or “The Magnificent Tramp.”
In the early 1930s, Berard turned his hand to interior design, working with renowned French designer Jean-Michel Frank (1895-1941) on screen, woodwork and painting projects for carpets.
Then by the late 1930s, he created a revolutionary style of set design that is still in use today. His stage is not a realistic room set, but more of a scene suggestion. He takes away as many elements as possible, leaving only the essentials. His colours are muted and let the costumes and movements shine.
Bérard believes that the function of stage sets is to serve and enhance the production, not to distract. Therefore, he is always doing subtraction, leaving only those elements that he deems essential.
Aside from the judicious use of dark reds, he avoided bright colours, believing that lighter, muted tones were better suited for performance.
Bérard was also responsible for the set design for Jean Cocteau’s La Belle et le Bête. He created the sets for Théâtre de la Mode, a travelling exhibition of post-war dolls promoting French haute couture. He vacations with Coco Chanel (the brand is one of the exhibition’s sponsors), fascinates writer Colette, collaborates with Elsa Schiaparelli, advises Christian Dior
In Berard’s work, the sea is synonymous with Western and European civilization. Not only do his paintings reference art history, but he returns to time and again to the (romanticized) ideas of classical culture.
Died On Stage And Widely Collected
His death inspired composer Francis Poulenc (1899-1963) to dedicate his Stabat Mater (1950) to Bérard and Cocteau to Orphée (1950) An influential and eccentric artist.
Perhaps Bérard’s most memorable work is his glamorous sets and costumes for Cocteau’s film masterpiece, La Belle et la Bête (1946).
By the 1960s, Bellard’s work was largely forgotten, and art gallery and collector Alexandre Iolas (1908-1987) was one of the few who still supported his work.
Perhaps Berard’s most memorable work is his glamorous sets and costumes for Cocteau’s film masterpiece La Belle et la Bête (1946).
By the 1960s, Bellard’s work was largely forgotten, and the gallery and collector Alexandre Iolas (1908-1987) was one of the few who still supported his work.
Nobody Puts “Bebe” In The Corner
Bérard’s work is an escape into other worlds, many of which are Edenic. There’s sometimes a feverish, hallucinogenic quality to the artist’s work; other times it’s more psychological. Certainly, he struggled with his demons, but in the end, it’s the vulnerability and the generality of Bérard’s vision, as well as his collaborative way of working, that are relevant, and important, today.
CITATION:
- Borrelli-Persson, L. (2022) Christian Bérard helped shape fashion history—the artist finally gets his due in a new exhibition in Monaco, Vogue.
- Jones, G. (2020) Christian Bérard, the multi-talented fashion illustrator, Blue17 vintage clothing.
- Weaver, B. (2022) Nobody puts “Bébé” in the corner, THE LONDON LIST.
- Neo, M. G. (2016) Fashion Fridays ~ Christian Bérard (1902–1949) — illustrators’ lounge, Illustrators’ Lounge. Illustrators’ Lounge.
- Traill, H. (2021) Christian Bérard, Gray M.C.A.
- Weaver, B. (2019) Bébé, THE LONDON LIST.
IMAGE CITATION:
- Christian Berard. (1948). Christian Berard.Autoportrait. [Photograph]
- Christian Berard. (1937). Cover Art By Berard. [Photograph]
- Hoyningen-Huene. (1932). Christian Berard, 1932. [Photograph]
- Christian Berard. (1928). Christian Berard, Jean Cocteau, 1928 Oil on Canvas, 26” X 21”, Museum Of Modern Art, New York. [Photograph]
