His association with the celebrated performer led to a flood of commissions, and the partnership also benefited his artistic development. To produce his iconic images of Bernhardt, Mucha carefully studied her performances and noted “the particular magic of her movements.” The costumes he designed for her were meant to enhance her gestures. As Bernhardt sat, stood, or turned, the diaphanous fabric of her dress would swirl around her. These flowing movements later found their way into his commercial and decorative work.

The Parisian printer Ferdinand Champenois recognized the commercial possibilities of Mucha’s style, and offered the artist an exclusive commercial contract. Mucha went on to design posters for brands such as JOB cigarette papers (1896), Chocolat Idéal (1897), and Moët & Chandon (1899). All of these advertisements included a version of the so-called “Mucha Woman,” now using all of her ethereal charms to communicate the desirability of a product, rather than the strength of a performance. He also embarked on a wholly new endeavor: the creation of purely decorative panels for domestic use. Mucha’s delightful aesthetic perfectly lent itself to panel series such as “The Times of Day” (1899) or “The Flowers” (1898), which feature women embodying the titular themes set against detailed botanical backdrops.