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George BARBIER & Raoul DUFY & André-Edouard MARTY & Jean-Emile LABOUREUR…

[Dirigée par ] Lucien VOGEL

Gazette du bon ton - Art, mode et frivolités. Collection complète

Émile Lévy, Librairie Centrale des Beaux-Arts, Paris 1912-1915 [puis] 1920-1925, 20,5x25cm pour les volumes reliés & 20,5x26cm pour les volumes en feuilles, 15 fascicules reliés en 3 volumes puis 55 fascicules en feuilles.

Gazette du Bon Ton – Art, Mode et Frivolités. Complete collection
Émile Lévy , Librairie Centrale des Beaux-Arts ◇ Paris 1912-1915 [and] 1920-1925 ◇ 20,5 x 25 cm for the bound volumes & 20,5 x 26 cm for the loose leaves volumes ◇ 15 booklets in 3 bound volumes and 55 loose leaves booklets

Exceptional complete set of this “very rare collection, the most important and most interesting for contempo­rary fashion” (Carteret) with addition­al plates. 727 color plates (721 listed in Colas), in 70 issues over 7 years (69 and one double-issue). 3 bound volumes (15 issues, paper wrappers preserved) fol­lowed by 55 volumes issued in original printed paper wrappers, housed in 11 slipcases.
Launched in November 1912 under the direction of Lucien Vogel, Gazette du Bon Ton was published until December 1925, and suspended from 1915 to 1920 due to the First World war. It remains the main witness to French way of life and good taste during the early years of the 20th century and the Roaring Twenties. Our set is complete with the 721 plates described in Colas, plus 6 unpublished and unnumbered plates, i. e. 544 single plates, 148 croquis, 17 double plates, one triple plate, 17 unnumbered plates (Colas mentions only 11) and numerous colored woodcuts in the text. The most famous illustrators contributed to the magazine: George Barbier, Raoul Dufy, Pierre Brissaud, André Édouard Marty, Umberto Brunelleschi, Jean-Émile La­boureur, etc.
Right from the start, this luxurious pub­lication “was intended for bibliophiles and fashionable society,” (Françoise Tétart-Vittu, “La Gazette du Bon Ton”, in Dictionnaire de la mode, 2016) and printed on fine vergé paper using a type cut specially created for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior.
Fashion
The prints were made using pochoirs, hand-colored, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff – the sister of Jean, creator of Babar – to set up Gazette du Bon ton, subtitled at the time: “Art, fashion, frivolities.” Georges Charensol explained the proj­ect of the editor-in-chief: “'In 1910, there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists... I was assured of success, because when it comes to fashion, no country on earth can compete with France.” (“Un grand éditeur d'art. Lucien Vogel” in Les Nouvelles Littéraires, n° 133, May 1925). The magazine was im­mediately successful, not only in France but also in the United States and Latin America.
Fashion
At first, Vogel put together a team of seven artists: André-Édouard Mar­ty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the Beaux-Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Maggie Salcedo. These artists, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. They also created the advertising illustrations for the Gazette. The plates feature and cele­brate dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. Fashion houses provided exclusive couture de­signs for each issue. Nonetheless, some of the illustrations are not based on real designs, but simply on the illustrator's conception of current fashion trends.
The Gazette du bon ton was an import­ant step in the history of fashion. Com­bining aesthetic demands and a har­monious publication setting, it brought together – for the first time – the great talents of the artistic, literary, and fash­ion worlds. It conveyed, through this alchemy, a completely new image of women: slender, independent and dar­ing, furthered by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, to name a few...
Taken over in 1920 by Condé Montrose Nast, Gazette du bon ton was an im­portant influence on Vogue magazine, a “little dying paper” Nast had also bought a few years earlier.
Carteret IV, 180. – Colas, no. 1202.

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