Tina Berning has a very original approach to fashion illustration, both in terms of technique and results; however there is a faint echo of another illustrator in her work – Constantin Guys, who drew in the nineteenth century. The use of monochromatic wash, the interaction between the subject and the viewer, the careful observation of the subject allied with an off-kilter individualism are truly special within her work. Also, although in other ways her work is very unlike that of contemporary fashion artist Hippolyte Romain, Berning likewise fills the page with fashion ‘types’, recording their expressions and the look of that moment.
Berning has a layered approach to much of her work, surprising the viewer with an abstract panel, or a pattern seemingly unrelated to the main image. There is a wonderfully disconcerting quality to the final image, and her work with photographs takes this to another level. In this way she is able to create a multi-layered fantasy that draws the observer into the world of her imagination. Berning is both communicator and creator, showing us her particular vision of the clothing. Like Diana Vreeland, she forces us to believe that this is the real thing – her strength of vision convinces us that the hair was this wild, that the bow was this big… It is not a question of ‘artistic licence’ – a much-abused term loved by those who cannot draw well – but a characteristic of her work that the drawing must tell the tale she wants us to see. The results are superbly worked and are often portraits in their own right as much as they are fashion illustrations.
Alongside all of this is the ability to draw almost anything she is commissioned to draw, from a series of women about the house for an architectural publication through to Soviet leaders. The hallmark of the great fashion illustrator is, as always, this basic essential, to be able to draw anything the client commissions, but also to have a specialist understanding of fashion as an extra fillip to the portfolio. Berning’s work displays a range of techniques, a range of subjects and a range of moods; her portfolio offers a challenge to all those wishing to enter this world of illustration simply to draw fashion. Her mantra – ‘a drawing a day keeps the doctor away’ – demonstrates her work ethic: keep drawing. It also implies that one should keep drawing all kinds of subjects. From The New York Times to a vast range of European publications, her individual and exciting work is in demand, proving that such dedicated practice yields results.
Twiggy, A Guide to Looking and Feeling Fabulous Over Forty, Penguin Books, 2008.
Contrasting the boldness of the fashion with soft rounds of colour, Berning shows us the bow-tied blouse, longer-line waistcoat and box-pleated skirt in a modern yet romantic image.
Suzy Menkes, The New York Times, 2007.
This portrait of fashion writer extraordinaire Suzy Menkes, complete with her famous hairstyle, conveys her personality exactly. The blurred depiction of the fashion imparts a timeless quality to the image.
Where and when were you born and where do you live now?
Born in Braunschweig (or ‘Brunswick’, a town near Hannover) in 1969, I grew up in West Germany and moved to Berlin ten years ago. My sister and father now live next door and Berlin has become my hometown.
Any particular childhood influences?
I grew up with the FAZ magazine, the weekly supplement of my father’s newspaper (the Frankfurter Allgemeine Zeitung). My sisters and I fought about who would get it first to cut out the beautiful photos. I was the youngest so I had to settle for with the remains – the illustrations – and they were wonderful. Heinz Edelmann, famous for his art direction on Yellow Submarine, contributed at least twice a month; Hans Hillmann, Paola Paglia, Brad Holland, just to name a few, were also regular contributors. I did not know that these pictures were called illustrations but I knew that this was what I wanted to do always.
What is your earliest drawing memory?
As a small child I would draw on everything as soon as I got hold of a pencil. This was especially true of our walls, so my mother painted a whole wall with chalkboard paint, on which I was supposed to draw – and I did. Now my daughter starts drawing on everything as soon as she gets hold of a pencil – especially the walls…
What was your first professional work?
The first illustrations I sold were drawings for bakery paper bags. One of these bags, originally produced in 1992, is still being produced – a copyright disaster for me!
Do you have a preferred medium?
Venetian glass quilts and ink.
Do you work in silence or with background music / radio?
There is a magic music choice that has been following me for a long time, that will always help me get into the mood and concentrate. It’s like a mantra. When I am doing all-day stuff I listen to the radio (the news channel).
What would be your ideal commission?
Any commission that shows respect for the artist’s work as well as the artist’s respect for the content is a good commission. Combined with a challenging subject, it is ideal.
Are you a slow and careful or quick and speedy draughtsman?
I take my time in thinking about things, preparing and planning. The execution is mostly fast. When it is not fast, I am stuck and then it can take a long time…
Do you keep a sketchbook?
Together with friends I have a sketch blog (Bilderklub.de) that we have been filling for the last seven years, sometimes a lot, sometimes less. The times I do it daily are definitely the best periods creativity-wise. A sketchbook, or anything that keeps you evoking and following your inspiration day by day, is essential for sustaining creative work.
How would you describe your work?
Drawing is learning to look properly and I try my best to look properly, mostly at human beings.
Do you research your subjects? How do you research?
For research, the internet is of course always an option – especially random abstract searches that can lead to very interesting results. But of course I can’t work without my collection of fleamarket treasures: photobooks like Women in Paris from 1965, or a compendium of collector cards of film stars from the 40s – and the list grows, from Sunday to Sunday.
How does your personal work relate to your professional output?
Doing both illustration and exhibition work, I love to switch between commissioned and non-commissioned art. I am very thankful for the fact that I am confronted, through my illustration work, with mostly time-relevant subjects and these flow automatically into my personal work.
Anything else you wish to tell the reader?
I always love to share my grandmother’s credo, which she had in old-fashioned handwritten type in a little frame on her wall: Liebe lacht doch. Love laughs nonetheless.
Vanessa & Johnny, Süddeutsche Zeitung, 2011.
A famous couple who are always wonderfully dressed but not necessarily fashionable, Johnny Depp and Vanessa Paradis are shown here complementing each other’s style perfectly.
Rustic, ‘Fashiontrends’, Branche und Business Fachverlag, 2010.
The dark herringbone tweed and furry winter scarf are accented by rich onyx green and ruby red, demonstrating the styling that strong fashion illustration requires.
Darlinghurst Strasse, Riot Magazine, 2006.
By combining the architectural curves of a Balenciaga cape with the graphic pleats of a Pierrot ruff, linked by Harlequin diamonds, Berning brings commedia dell’arte to fashion.
Romantic, ‘Fashiontrends’, Branche und Business Fachverlag, 2010.
The exquisite detailed drawing of the floral decoration and the delicate handling of the ruffled and bloused dress here is contrasted by the throw-away nonchalance of the background drawing.
Androgyn, ‘Fashiontrends’, Branche und Business Fachverlag, 2010.
An aviatrix flying through a night sky: her dark leather cap and jacket are played off against the strong colours of the make-up and background.
Konfektion, ‘Fashiontrends’, Branche und Business Fachverlag, 2010.
The painterly space here contrasts with the intricate work on the clothing and allows breathing space. Within this space an ethereal bird seems poised for flight.