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Georges DOEUILLET

Georges MARTY André-Edouard

La Mare aux biches (pl.IX, La Gazette du Bon ton, Septembre 1913 n°11)

Lucien Vogel éditeur, Paris 1913, 18x24cm, une feuille.

Original print in color, drawn on laid paper, signed lower right of the board.
Original etching done for the illustration of The Gazette of Good Tone, one of the most beautiful and influential fashion magazines of the twentieth century, celebrating the talent of French artists and the burgeoning artists of Art Deco.
Famous fashion magazine founded in 1912 by Lucien Vogel, The Good News Gazette appeared until 1925 with an interruption during the War of 1915 to 1920, because of the mobilization of its editor-in-chief. It consists of 69 deliveries of only 2000 copies and is illustrated in particular 573 color plates and 148 sketches representing models of great designers. As soon as they are published, these luxurious publications "are aimed at bibliophiles and aesthetic society people" (Françoise Tétart-Vittu "La Gazette du bon ton" in Dictionary of Fashion , 2016). Printed on beautiful laid paper, they use a typographic font specially created for the review by Georges Peignot, the character Cochin, taken over in 1946 by Christian Dior. The prints are made using the technique of metal stencil, enhanced in color and some underlined with gold or palladium.
The adventure begins in 1912 when Lucien Vogel, man of the world and fashion - he has already participated in the magazine Femina - decides to found with his wife Cosette de Brunhoff (sister of Jean, the father of Babar ) the Gazette du bon your subtitle is then "Art, fashions and frivolities". Georges Charensol reports the editor's comments: " In 1910, he observes, there was no truly artistic fashion journal representing the spirit of its time. So I was thinking of doing a luxury magazine with truly modern artists [...] I was certain of success because for fashion no country can compete with France. ("A great art editor Lucien Vogel" in Les Nouvelles littéraires , No. 133, May 1925). The success of the journal is immediate, not only in France, but also in the United States and South America.
Originally, Vogel brought together a group of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt; and finally his friends from the School of Fine Arts, George Barbier, Bernard Boutet Monvel, or Charles Martin. Other talents are quickly joining the team: Guy Arnoux, Léon Bakst, Benito, Boutet Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Edward Halouze, Alexander Iacovleff, Jean Emile Laboureur, Charles Loupot, Charles Martin, Maggie Salcedo. These artists, unknown for the most part when Lucien Vogel appeals to them, will later become emblematic and sought-after artistic figures. It is these same illustrators who make the drawings of Gazette advertisements.
The boards highlight and sublimate the dresses of seven designers of the time: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The couturiers provide exclusive models for each issue. Nevertheless, some of the illustrations do not include any real model, but only the idea that the illustrator is fashionable of the day.
The Gazette du bon ton is a milestone in the history of fashion. Combining the aesthetic requirement and the plastic unity, it brings together for the first time the great talents of the world of arts, letters and fashion and imposes, by this alchemy, a brand new image of the woman, slender, independent and bold, also worn by the new generation of couturier Coco Chanel, Jean Patou, Marcel Rochas ...
Resumed in 1920 by Conde Montrose Nast, the Gazette du bon ton will largely inspire the new composition and aesthetic choices of the "little dying newspaper" that Nast had bought a few years ago: Vogue magazine.

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