GEFFROY, George CORIANDRE
Le Génie de la montagne in La Gazette du bon ton n°3, 1924-25 - 7ème année
Lucien Vogel éditeur|Paris 1924-1925|18 x 24.50 cm|deux doubles feuillets
Original extract from La Gazette du bon ton, illustrated with eight color drawings by Geffroy. Accompanied by a double sheet of text concerning winter fashion from different designers (Lanvin, Poiret, Vionnet and Worth).
The famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by major couturiers. From their publication, these luxurious publications "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used a typeface specially created for the magazine by Georges Peignot, the Cochin font, later adopted in 1946 by Christian Dior. The prints were created using the metal stencil technique, enhanced with colors and some highlighted with gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already contributed to the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, Babar's father) La Gazette du bon ton whose subtitle was then "Art, modes et frivolités." Georges Charensol reports the words of the editor-in-chief: "In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I was therefore thinking of creating a luxury magazine with truly modern artists [...] I was certain of success because in fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts including George Barbier, Bernard Boutet de Monvel, and Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven designers of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations featured no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton represents a decisive step in fashion history. Combining aesthetic excellence and visual unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and established, through this alchemy, a completely new image of woman—slender, independent and bold—also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "small dying journal" that Nast had bought several years earlier: Vogue magazine.
Very handsome copy.
The famous fashion magazine founded in 1912 by Lucien Vogel, La Gazette du bon ton was published until 1925 with an interruption during the War from 1915 to 1920, due to the mobilization of its editor-in-chief. It consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing models by major couturiers. From their publication, these luxurious publications "addressed bibliophiles and worldly aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they used a typeface specially created for the magazine by Georges Peignot, the Cochin font, later adopted in 1946 by Christian Dior. The prints were created using the metal stencil technique, enhanced with colors and some highlighted with gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already contributed to the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, Babar's father) La Gazette du bon ton whose subtitle was then "Art, modes et frivolités." Georges Charensol reports the words of the editor-in-chief: "In 1910, he observed, there existed no fashion journal that was truly artistic and representative of the spirit of its time. I was therefore thinking of creating a luxury magazine with truly modern artists [...] I was certain of success because in fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine's success was immediate, not only in France, but also in the United States and South America.
Originally, Vogel assembled a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the École des beaux-arts including George Barbier, Bernard Boutet de Monvel, and Charles Martin. Other talents quickly joined the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven designers of the period: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive models for each issue. Nevertheless, some of the illustrations featured no real model, but only the illustrator's idea of contemporary fashion.
La Gazette du bon ton represents a decisive step in fashion history. Combining aesthetic excellence and visual unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and established, through this alchemy, a completely new image of woman—slender, independent and bold—also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "small dying journal" that Nast had bought several years earlier: Vogue magazine.
Very handsome copy.
€25