Gazette du Bon Ton : Marketed towards the Paris elite, Gazette du Bon Ton better known than the Journal and longer lived than Journal des Dames et des Modes was arguably the most influential fashion magazine of its time, virtually defining many of the new trends in fashion during the dynamic period from 1912-1925. The beautiful color plates anticipate the popular art deco movement of the mid 1920šs and were executed by some of the most prominent French artists of the early part of the century including Bakst, George Barbier, Pierre Brissaud, Brunelleschi, Georges Lepape, Andre Marty, and others. The extremely rich and vivid colors were achieved through fine pochoir hand coloring.
These periodicals, each of which was published in the first quarter of the 20th century, exemplified Art Deco as a new and respected art, fashion and design style..
Another great fashion magazine emergent in 1912 was the Gazette du Bon Ton Lucien Vogel, Directeur better known than the Journal and longer lived. Barbier contributed drawings to the Gazette from 1912-1925 when the Gazette was bought out by Vogue and Barbier's contract shifted to that magazine. The Gazette suspended publication from 1915-1920.
Barbier's illustrations for the Gazette were sometimes his own designs, but as often as not he drew models of gowns by Paquin, Beer, and Worth.
The Gazette, like the Journal, consisted of urbane articles, copiously illustrated with vignettes, on theatre, travel, and other topics of interest to the leisured wealthy, but with clothing and personal adornment always as the paramount subject. The real heart of each monthly issue, however, was the plates.
And the plates were more frequently by Barbier than any other artist. To a great extent, Barbier's style of rendering was the style of rendering used in the Journal and Gazette.
It seems to owe its outlines to the style of Aubrey Beardsley and its color to Leon Bakst. The color sense shown in Barbier's own fashion designs is more bold than those drawings made from pre-existing models, where he was forced to confine his color to the background treatment. With dull-colored couturier dresses, this sometimes has the unfortunate effect of rendering the background more attractive than the gown, something that rarely occurs with Barbier's own designs.