Berger’s Jewish family was granted unrestricted residence and freedom in religion under the rule of Emperor Franz Joseph I.

Due to a previous illness, Berger suffered from partial hearing loss, which was said to have heightened or enhanced her sense of touch.

[7] Along with Anni Albers and Gunta Stölzl, Berger pushed back against the understanding of textiles as a feminine craft and utilized rhetoric used in photography and painting to describe her work.

[6] During her time in Dessau, she also wrote a treatise on fabrics and the methodology of textile production, which stayed with Walter Gropius and was never published.

[7][3] It was a short-lived position, however, as she was replaced in 1932 by Lilly Reich, the partner of new Bauhaus director Ludwig Mies van der Rohe.

[9] Not allowed to work in Germany under Nazi rule because of her Jewish roots, Berger closed her company down in 1936.

[10] She fled to London in 1937, where she was able to support herself with sporadic design contracts,[8] including work with Helios Ltd and Marianne Straub.

"[8] Over the course of several years, Berger's attempts to emigrate to United States to work with her fiancé Ludwig Hilberseimer and other Bauhaus professors failed.

She wrote to Naum Gabo, Walter Gropius, and other friends trying to gain a teaching visa in 1937 but never acquired one.

[8] Against the pleas of close friends, Berger returned to her homeland of Zmajevac in 1938 to help her family with her mother's poor health.

[3] After several years spent with family, in April 1944 Berger was deported alongside her brother, half-brother, and his wife to a detention camp in Mohács.