Rachel Bergeret, visual artist, began her career as a fashion designer in 2003.

She created her heroine in 2009 based on her first designer silhouettes. A graceful, ultra-feminised and deceptively ingenuous muse: La Midinette. An icon of the Paris of yesteryear whose origins lie in the early demands of female workers in the haute couture ateliers.

Brought up in Parisian luxury, Rachel Bergeret uses painting as her main means of expression in this turbulent capital. Her work maintains a paradox between her admiration for beautiful things and a certain derision for consumer society.

It is the polymorphous three-dimensional aspect that first appeals to the viewer. The eye is then taken aback by the accumulation of precious details composed of layers of resin and gold leaf.

Her quaint, frivolous muse forms the backdrop to her pictorial compositions, adorned with all manner of recycled luxury packaging with wonder. Like a storyteller, she likes to give a second life to these noble packaging materials to tell her own story of haute couture and its prestigious catwalks.

The rigour of her ensemble forms a visual signature unique to the artist that makes her work so unique.

Rachel Bergeret likes to connote a certain naivety in her paintings, a form of utopianism from her inner world that she cultivates as an about-face to reality.

Mystical, poetic, frivolous, provocative, ironic, ingenuous, artificial, surrealist, her work is inspired by great signatures. The wavy hair of the Pre-Raphaelites, the opulence of Gustav Klimt, the audacity of Toulouse Lautrec and the modernity of Edmond Kiraz have all been rooted in her childhood imagination.

It takes a second reading beyond the aesthetic abundance to understand the real nature of her discourse and her lifelong quest:

The freedom of being:
The artist questions her visitor on the role of today's woman: what is her place and her action in a world where values are bought? Is her apparent fragility sometimes just a screen for her desire to be and to exist?
These questions, which run like a thread through her works, echo the debates on the current quest for parity, a paradox for this Parisian woman who still silently dreams of Prince Charming; concerns that are suggested rather than imposed on us, in the light of the clear evolution in the way we look at the condition of living women.