Born in Thorigny-sur-Marne on 22 September 1956, Philippe Berthet
learned about drawing cartoons in Brussels from 1974 onwards, by
attending courses held by Eddy Paape at Saint-Gilles Academy and
by Claude Renard at the Saint-Luc Institute.
Adopting the provisional pseudonym of "Philibert" for his first test pieces in "Le 9e rêve" in 1979, an anthology of the best works of the members of Atelier R, he then worked with his friend and fellow student, Antonio Cossu, on the magazine Aïe!, then on Spatial.
He was taken on by the magazine Spirou in 1981 for "Couleur café" (based on a script by Antoine Andrieu), followed by "Hiver 51" and "été 60" (scripts by Andréas), the "Privé d'Hollywood" trilogy, based on the detective stories by François Rivière and José-Louis Bocquet, "L'oeil du chasseur" with Philippe Foerster, "La Dame, le cygne et l'ombre" with Dominique David.
In 1991, he illustrated a script by Tome ("Sur la route de Selma") for the prestigious Aire Libre collection and two years later, he presented "Halona", his first complete work as an author.
At the same time Berthet was working with his friend Cossu on producing the four volumes of "Marchand d'idées" at Glénat, a peculiar mix of two different styles, the combination of which formed a totally original one.
In 1994, his clear linear drawing using well thought out framing and lighting, was used for Yann's script for the series "Pin-up" at Dargaud, a fictionalised account of the world of Betty Page, the queen of erotic photos in the 1940s and 50s. Deliciously retro, this series was initially intended to be a tribute to Milton Caniff and his comic strip "Male Call", intended to entertain the GIs at war.
Berthet, a researcher and perfectionsist who was always concerned with opening up new paths, also illustrated a western for Delcourt in 1996, designed by his friend Foerster ("Chiens de prairie").
The "Privé d'Hollywood" trilogy and some short stories devoted to this character were the subject of a selection in the Repérages Dupuis collection in 1999.