Pascal Bordet, costume designer Jean-Claude Briali: between classicism and fantasy “he created disobedience”

Costume designer Pascal Bordet left Nevers on Friday, September 7, after the top of her contract with Jean-Luc Revol, director of La Maison, director of Goldoni’s play The Chevalier and the Girl. “He’s a uncommon director as a result of he loves costumes very a lot. We fairly often agree, with the identical references. He provided me this job two years in the past, and regardless of a troublesome 12 months with recollects, cloth breaks, workshop issues… every time I needed to recuperate, inside funds and deadlines, I did not quit, I acquired my groups collectively collectively. We accompanied one another. And in troublesome instances, he’s extraordinarily dependable,” explains the one who, throughout these months of labor, discovered what she favored to expertise with the artist Jean-Claude Briali.

Son “mentor”

Fifteen years after the loss of life of her “mentor”, Pascal Bordet fought with the help of Dominique Besnear to write down this e book. Amy Briali, Prince of the Dandy. “My mission is to ensure we do not neglect about it. The e book is a medium, it permits us to not neglect, as a result of we’re nothing with out those that created us. “We have been loopy about work” So, after the primary half, dedicated to the prolific profession of the eternally elegant Guillaume Even, Pascal Bordet opens his coronary heart vast to recollect his girlfriend.

He had another person’s style, which could be very shocking for such a outstanding character. He served others, extolled them…

“He had a style for others, which could be very shocking for such an impressive character. He served others, exalted them… This generosity is a really uncommon factor. The peculiarity of Jean-Claude is that he, the place he comes from, with a really strict navy father, retained a style for the classics, for traditions and for his good upbringing, and he created a mode of disobedience. Classicism and “immense” fantasy, each combined collectively, gave a structured insanity, very unexpectedly in every thing in his life, in his performances, his characters, his festivals, his homes, his restaurant … And I additionally acquired a really strict upbringing with overflowing creativeness and a sort of insanity. We shared this contradiction by permitting it,” emphasizes the costume designer (additionally a painter and watercolorist, writer and illustrator), who was nominated for the Molière Prize eleven instances and acquired this award twice in 1999 and 2002.


Pascal Bordet remembers that first assembly, when she informed him within the 80s that she wish to work with him. “I met a person who went the identical method as me, he made himself, he selected his personal future. He adored me as a result of we have been each workaholics and within the metropolis. He was a good friend. I used to be free because the wind and cherished the life he provided me. We cherished our friendship. This was the identical till the very finish, as within the case of Michel Bouquet. They’re among the many individuals who constructed me ​​outdoors of labor. He was extraordinarily pleasant, on the similar time an authoritarian and directive particular person.


She provides: “I see the montage I did in Nevers. I rediscovered Jean-Claude’s training, precision, excessive requirements, aesthetic analysis. It is a part of Jean-Claude, it is a legacy. He provided works, and I provided my work, samples, whether or not he validated or not, and regardless of his loopy schedule, he got here to fittings, was within the dressing room, backstage, was the chief of the troupe. Very choosy about particulars. He taught me nice disobedience.”

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Sylvie Anibal

Train L’Ami Brialy, prince of the dandy, Pascal Bordet (Hugo Publishing), 160 pages (€19.95).

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