"Neuf heures...il faut que je rentre dîner" Costumes veston, de Larsen (pl.57, La Gazette du Bon ton, 1922 n°8)

Original colour print, printed on laid paper, signed bottom left on the plate.
La Gazette du bon ton, one of the most beautiful and influential fashion magazines of the 20th century, celebrating the talent of French creators and artists in the full bloom of art deco.
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 consisted of 69 issues printed in only 2000 copies and was illustrated notably with 573 colour plates and 148 sketches representing models by great couturiers. Upon 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 character, adopted in 1946 by Christian Dior. The prints were created using the metal stencil technique, heightened in colours and some underlined with gold or palladium.
The adventure began in 1912 when Lucien Vogel, a man of society and fashion - he had already participated in the magazine Femina - decided to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar) the 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 truly artistic and representative of the spirit of its time. I was therefore thinking of making a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can rival France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no.133, May 1925). The success of the magazine was immediate, not only in France, but also in the United States and South America.
Originally, Vogel thus 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 who were George Barbier, Bernard Boutet de Monvel, or Charles Martin. Other talents quickly came to join 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 subsequently become emblematic and sought-after artistic figures. These same illustrators created the drawings for the Gazette's advertisements.
The plates highlighted and sublimated the dresses of seven creators of the time: 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 idea that the illustrator had of the fashion of the day.
La Gazette du bon ton was a decisive step in fashion history. Combining aesthetic requirements and plastic unity, it brought together for the first time the great talents from the worlds of arts, letters and fashion and imposed, through this alchemy, a completely new image of woman, slender, independent and audacious, also carried by the new generation of couturiers Coco Chanel, Jean Patou, Marcel Rochas...
Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "little dying journal" that Nast had bought a few years earlier: Vogue magazine.