La Gazette du Bon Ton, Art, Modes & Frivolités.
Paris: Librairie Centrale des Beaux-Arts, 1912-1915 and 1920-1925. A full run, 70 numbers in 69 volumes, 4to (251 x 200 mm). Abundantly illustrated with 567 pochoir plates, 25 double page plates, and 153 croquis plates by George Barbier, Umberto Brunelleschi Raul Dufy, Paul Iribe George Brissaud, George Lepape, Leon Bakst, and others. Color in-text illustrations and advertising, including supplements. All in original wrappers, upper covers lettered in black with colored floral centerpieces, many lower covers with colored advertising. Condition: slight rubbing and restoration to lower lettering of number 1, chipping to other wrappers, intermittent light soiling, thumbsoiling, some plates trimmed. rare full series in original wrappers of this monumental parisian fashion periodical. La Gazette du Bon Ton was produced in agreement with the leading fashion houses of the day (Cheruit, Doeuillet, Doucet, Paquin, Poiret, Redfern, and Worth). Under the direction of editor Lucien Vogel, fashion design and professional artistic illustration merged seamlessly. It is the pochoirs of the fashions in La Gazette du Bon Ton that have come to define the age of Parisian elegance. One of the only fashion journals to re-emerge after WWI, one can trace the roots and the full fruition of the art-deco epoch throughout the years of La Gazette du Bon Ton. Where artists had previously painted fashion designer’s clothes on mannequins, or on models over white backgrounds, the artists here created true dramatic situations played out during fantastic evening parties, the shooting field and ski slopes, by the sea, and in the dressing chamber. For the text, columns were devoted to reviews of theater, the arts, all aspects of high society, and of course gossip. Disrupted by WWI, the series continued in 1920 in further collaboration with houses such as Lanvin, Cartier and Vionnet. Vogel, though his association with Condé Nast, went on to become art director of French Vogue, an early testament to the influence of La Gazette du Bon Ton. The periodical’s final issue, entitled "La Pavillon de Elegance," was devoted to the 1925 Paris "L'esposition des artes décoratifs & industriers modernes," a seminal event in the development of Art-Deco as an international style.
La Gazette du Bon Ton, Art, Modes & Frivolités.
Paris: Librairie Centrale des Beaux-Arts, 1912-1915 and 1920-1925. A full run, 70 numbers in 69 volumes, 4to (251 x 200 mm). Abundantly illustrated with 567 pochoir plates, 25 double page plates, and 153 croquis plates by George Barbier, Umberto Brunelleschi Raul Dufy, Paul Iribe George Brissaud, George Lepape, Leon Bakst, and others. Color in-text illustrations and advertising, including supplements. All in original wrappers, upper covers lettered in black with colored floral centerpieces, many lower covers with colored advertising. Condition: slight rubbing and restoration to lower lettering of number 1, chipping to other wrappers, intermittent light soiling, thumbsoiling, some plates trimmed. rare full series in original wrappers of this monumental parisian fashion periodical. La Gazette du Bon Ton was produced in agreement with the leading fashion houses of the day (Cheruit, Doeuillet, Doucet, Paquin, Poiret, Redfern, and Worth). Under the direction of editor Lucien Vogel, fashion design and professional artistic illustration merged seamlessly. It is the pochoirs of the fashions in La Gazette du Bon Ton that have come to define the age of Parisian elegance. One of the only fashion journals to re-emerge after WWI, one can trace the roots and the full fruition of the art-deco epoch throughout the years of La Gazette du Bon Ton. Where artists had previously painted fashion designer’s clothes on mannequins, or on models over white backgrounds, the artists here created true dramatic situations played out during fantastic evening parties, the shooting field and ski slopes, by the sea, and in the dressing chamber. For the text, columns were devoted to reviews of theater, the arts, all aspects of high society, and of course gossip. Disrupted by WWI, the series continued in 1920 in further collaboration with houses such as Lanvin, Cartier and Vionnet. Vogel, though his association with Condé Nast, went on to become art director of French Vogue, an early testament to the influence of La Gazette du Bon Ton. The periodical’s final issue, entitled "La Pavillon de Elegance," was devoted to the 1925 Paris "L'esposition des artes décoratifs & industriers modernes," a seminal event in the development of Art-Deco as an international style.
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