Rentrons, la fraîcheur tombe... Robes du soir de Doeuillet (pl.60, La Gazette du Bon ton, 1914 n°6)

Original double color print heightened with palladium, printed on laid paper, signed at upper left of the plate.
The plate is very slightly damaged at the central fold.
Original engraving created for the illustration of 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 flowering 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 consists of 69 issues printed in only 2000 copies and is illustrated notably with 573 color plates and 148 sketches representing designs by great couturiers. From their publication, these luxurious publications "were addressed to bibliophiles and sophisticated aesthetes" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionnaire de la mode, 2016). Printed on fine laid paper, they use a typeface specially created for the magazine by Georges Peignot, the Cochin typeface, adopted in 1946 by Christian Dior. The prints are created using the metal stencil technique, heightened in colors and some highlighted with gold or palladium.
The adventure began in 1912 when Lucien Vogel, man of the world 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: "En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France." ["In 1910, he observed, there was no fashion journal that was 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, n°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 therefore 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, 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, unknown for the most part when Lucien Vogel called upon them, would later become emblematic and sought-after artistic figures. It was these same illustrators who created the drawings for the Gazette's advertisements.
The plates highlight and sublimate the dresses of seven creators of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provided exclusive designs for each issue. Nevertheless, some of the illustrations do not feature any real design, but only the idea that the illustrator had of contemporary fashion.
La Gazette du bon ton was a decisive step in fashion history. Combining aesthetic demands and artistic unity, it brought together for the first time the great talents of 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, La Gazette du bon ton would largely inspire the new composition and aesthetic choices of the "petit journal mourant" that Nast had purchased a few years earlier: Vogue magazine.