Paul Nadar, Sarah Bernhardt dans Pierrot assassin, 1883, Courtesy of: BNF, département des Estampes et de la photographie Paris, France. © BnFWhite was Sarah Bernhardt’s signature colour, on stage and off. At the Petit Palais, the visitor is greeted by the actress’s favourite portrait, painted by her friend and lover Georges Clarin, depicting her in a white satin déshabillé. It was shown at the Salon of 1876 and featured prominently in Bernhardt’s home for the rest of her life.
Otto, Sarah Bernhardt au chapeau chauve-souris, 1899 or 1900. Courtesy of: BNF, département des Arts du spectacle. © BnF Mélandri, Sarah Bernhardt dormant dans son cercueil, 1880. Courtesy of: Ville de Paris / Bibliothèque Marguerite DurandBernhardt’s taste for the exotic, florid, bizarre and even morbid – a pet monkey named Darwin, lion and leopard cubs, Japanese Edo tigers in lacquered wood, human skulls, bat accessories, etc. – fired the public’s imagination. One eerie photo shows her napping in a white satin-lined coffin .
Jupe portée par Sarah Bernhardt Frou Frou. Courtesy of: Bibliothèque nationale de France, département des arts du spectacle © BnFBernhardt’s maximalist costumes and décor sparked trends all on their own. “In the days before couture, everything she wore on stage set a fashion agenda,” said Cantarutti. A Napoleon costume by the dressmaker Jacques Doucet could be ordered in children’s sizes. Over at the Ritz Paris, a strawberries and cream dessert was named after the actress, too.
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