This page contains historical information for an array of rare fashion periodicals held by the FIT Special Collections & College Archives. Here you will find research conducted by SPARC intern Claire Kalikman, providing insights on some of our oldest and most frequently requested titles in the collection. Periodicals are an important part of fashion history research, the purpose of this page is to provide researchers and students with more context when utilizing rare fashion periodicals. The titles here reflect just a small portion of our overall holdings. To see a full list of SPARC periodicals see our Periodicals Index.
Apparel Arts is the original name of the magazine now known as GQ. It was an American men's fashion magazine for the clothing trade, aimed primarily at wholesale buyers and retail sellers. Initially it had a very limited print run and was aimed solely at industry insiders to enable them to give advice to their customers.
The popularity of the magazine among retail customers, who often took the magazine from the retailers, spurred the creation of Esquire magazine in 1933.
Apparel Arts continued until 1957 when it was transformed into a quarterly magazine for men, which was published for many years by Esquire Inc. Apparel was dropped from the logo in 1958 with the spring issue after nine issues, and the name Gentlemen's Quarterly was established. The magazine rebranded with the name GQ in 1967.
The magazine was created by Ernest Hoschedé. It consisted of 32 pages and featured illustrations by many top artists such as Edmond de Goncourt, Ludovic Halévy, Henri Meilhac, Jules Claretie, Arsène Houssaye and Théodore de Bainville. The magazine was pivotal in showcasing fashion as art by using artistic references to connote cultural and social superiority in clothing. In 1883, the name of the magazine changed from L’Art de la Mode to L’Art et la Mode.
More information may be found in Paris Fashion: A Cultural History by Valerie Steele.
Comments from Lubna Contractor’s Annotated bibliography:
In French, 10”x 14” monthly magazine. Color plates of women’s daywear and accessories. Poetry, articles, full-page color illustrations of women; illustrators are not credited. The 1880 issue has a few full-page photographs of women in bustled gowns. Designers are accredited.
October 1922- Contains black-and-white illustrations of couture dresses, hats, gowns by Chanel, Worth and other French couturiers. Good for 1920s womenswear illustrations. Library has large collections of magazines from the 1920s. Good for couture illustrations.
Der Bazar was a Berlin-based magazine, whose full title was Der Bazar. Berliner Illustrierte Damen-Zeitung. The editor was Louis Schafer and it ran from 1855-1937. It influenced the creation of Harper’s Bazar (later, Harper’s Bazaar) in 1867. It is a rare example of a German fashion magazine. It was made in an oversize newspaper style composed of a mix of the latest women’s fashion and styles, features on prominent artists, entertainers, and society people, as well as fiction and advertisements.
It was eventually translated into Russian as well.
La Belle Assemblée or Bell's Court and Fashionable Magazine, based in London, was one of the most important women's magazines of its time. It was founded by John Bell (1745-1831), a major figure in the London printing and book trade who was also founder or part-owner of several other periodicals including The Morning Post, The World of Fashion and Bell's Weekly Messenger. La Belle Assemblée was aimed at fashionable society though only a small part of the magazine was actually devoted to fashion. Its first fashion plates from February 1806 were not coloured, but from November 1806 they were. The fashion plates illustrated outfits worn by society ladies as well as the latest fashions. It employed the top English artists including the portrait painter, Arthur William Devis and John and William Hopwood, but many of the plates were anonymous and many were copies of French ones. From 1810-1820 the fashion section was edited by Mrs. Mary Ann Bell (probably a relation of John Bell), a leading dressmaker with several successful shops who introduced plates advertising her own costumes. The magazine went through various owners before merging with The Lady's Magazine and Museum of Belles Lettres in 1837 to become The Court Magazine and Monthly Critic and Lady's Magazine and Museum of the Belles Lettres, music, fine arts, drama, fashions, &c (1838-1847), which appended French editions of Le Follet with its fashion plates.
The New Monthly Belle Assemblée based in London was a magazine of literature and fashion published by Joseph Rogerson and later Rogerson and Tuxford. This appears to be a separate periodical from the original La Belle Assemblée of 1806-1868, emerging when the first changed its name to The Court Magazine and Belle Assemblée. Its early plates were inferior copies of those from French magazines, often several months out of date, but from 1854 it began to import superior French plates by Héloise Leloir.
The magazine featured poems, stories, essays, and translations.
Its full title was New Monthly Belle Assemblée : a magazine of literature and fashion / under the immediate patronage of her Royal Highness, the Duchess of Kent
Conseiller des Dames was a Parisian monthly women’s magazine (1850-1863) edited by Z. Bourey. It catered to a bourgeois, female audience. The magazine featured literature, fashion, and home economics.
It cost ten francs to purchase in Paris, twelve francs in the province. The administrative office was located at 169 rue Montmartre in Paris.
The Court Magazine and Monthly Critic was published in London. It contained poems, short stories, color-engraved plates of day and evening dresses, childrenswear, prints and patterns. The plates had detailed descriptions of ball, opera, morning, carriage, bridesmaid, bride, and dinner dresses. Each issue began with an engraved portrait of a high-society woman and a two- page memoir on her family background.
The magazine merged with The Lady's Magazine and Museum of Belles Lettres in 1837 to become The Court Magazine and Monthly Critic and Lady's Magazine and Museum of the Belles Lettres, music, fine arts, drama, fashions, &c (1838-1847).
The Delineator was an American women's magazine aimed at housewives based in New York City. It was founded by Butterick Publishing Company. The was published monthly and edited for many years by Marie Mattingly Meloney who used the professional name Mrs. William Brown Meloney. The magazine’s original name was The Metropolitan Monthly, until it changed in 1875. It absorbed the magazine The Designer in November 1926.
The magazine published Butterick sewing patterns and in-depth reports on the latest fashions. It also included photos and drawings of embroidery and needlework and articles on home decor. It published short stories by famed author L. Frank Baum. The Butterick Company also produced catalogues of fashion patterns each quarter in the 1920s and early 1930s.
Butterick Company also produced catalogues of fashion patterns each quarter in the 1920s and early 1930s.
The Englishwoman’s Domestic Magazine was aimed at a middle-class audience. The magazine published articles on middle-class domestic issues, fashion, and fiction. There was a developed correspondence section. Between 1859-1861, Beeton’s wife, “Mrs. Beeton,” wrote a supplement that she later developed into the Book of Household Management.
The magazine was considered an essential tool for any Victorian woman looking to fit into society and keep up with the times, especially in terms of fashion. The magazine was a way for readers to write in and explain their own lives and problem remedies. It could be used as an encyclopedia, a correspondence between readers, and a place for women to share their thoughts on everyday issues. Corsetry was an especially debated topic in the pages of the magazine.
Beeton later published other journals, some specifically on Victorian fashion, including Le Moniteur de la Mode and The Queen, which both appeared in 1861. They emphasized what was already featured in the EDM.
Le Follet was a magazine from Paris that was published weekly between 1829 and 1875. At one point it merged with Le Courrier de la Mode. It was known for its beautifully illustrated fashion plates.
Le Follet was marketed not just in France, but also internationally, with many British and American subscribers. Its main rival was La Mode illustrée (1860-1937), Le Follet was particularly internationally successful, with many foreign subscribers in Great Britain and the United States. Le Follet was one of the oldest, most long-lasting and most internationally famous Parisian fashion plate magazines.
Adèle Anais Toudouze and Laure Noël, two of the three Colin sisters, were among the many illustrious fashion plate illustrators who published for the magazine. Le Follet’s plates were republished in The Lady's Magazine from the 1830s, the first British magazine to import French plates, before legitimate foreign editions were produced in Germany, Italy and England from the 1840s, marking the beginning of the general ousting of English plates by French.
The magazine appears to have begun in approximately 1830, though the copies in FIT’s collection are undated. The publication took a pause in 1870 due to the Paris Commune and reappeared in 1871.
Heloise Colin Leloir was a prominent printmaker whose work was also included in La France Elegante.
Frank Leslie’s Ladies’ Gazette of Fashion and Fancy Needlework, was a fashion-focused magazine founded by Frank Leslie active from 1840-1858. It featured 50-60 color English and French fashion engravings in each issue. It was a monthly 10” x 14” magazine published in New York.
Mr. Leslie was born in England and came to the United States to work on P.T. Barnum’s short-lived magazine. After its failure, Mr. Leslie began to publish his own work. Frank Leslie’s Illustrated Weekly was Mr. Leslie’s most popular publication, but he also published The New York Journal soon followed, with Frank Leslie’s Illustrated Newspaper (Leslie’s Weekly), The Boy’s and Girl’s Weekly, The Budget of Fun and many others.
In 1871, Leslie’s wife, Miriam Florence Squier Leslie, took over as editor of Ladies’ Gazette after its previous editor fell ill. She started out in an interim role, but took it over when the previous editor passed away. Upon Frank Leslie’s death, Miriam Leslie took over the whole publishing enterprise, and brought it from a state of $300,000 in debt to a profitable business. When she died in 1914, her fortune was willed to support women’s suffrage causes.
Galerie des Modes et Costumes Français is a series of fashion and costume plates that was distributed in Paris from 1778 to 1787, during the time of King Louis XVI of France and Marie Antoinette. The first collected volume was produced in 1779. It had a title page with an allegorical illustration and the full title of the collection: Gallerie des modes et des costumes français dessinés d'après nature, Gravés par le plus Célèbres Artistes en ce genre, et colorés avec le plus grand soin par Madame Le Beau. Ouvrage commence en l'année 1778. A Paris, chez le Srs Esnauts et Rapilly rue St. Jacques à la Ville de coutances. Avec priv. Du Roi (Gallery of French fashions and costumes, drawn from life, engraved by the most celebrated artists in this medium, and hand-colored with the greatest care by Madame Le Beau;publication begun in 1778. Paris, Messrs. Esnauts and Rapilly, rue Satin-Jacques, at the sign of the City of Countances. Licensed by the King). Importantly, this complete title indicates that the engravings of the Galerie (or Gallerie, according to eighteenth-century spelling) were created "d'après nature," ("after nature"), meaning that they were intended to represent what was actually worn in the streets of Paris during the latter part of the eighteenth century. Using the everyday observations of prominent contemporary artists, the engravings of the Galerie thus responded to a growing demand for fashion news as well as a general gap in the market of French prints. The title also indicates that the publication had the approval of the court.
Although they vary in their presentation, the majority of images included in this series are tableaux vivants, in which Parisians from social classes flaunt their quotidian fashions. These plates were completed by a group of prominent, eighteenth-century designers and engravers and are accompanied by descriptive text. Designers who worked on the magazine included Pierre Thomas Le Clerc (or Leclére), Claude Louis Desrais, François Louis Joseph Watteau (the grandnephew of Antoine Watteau), Augustin de Saint-Aubin, and Jean-Baptiste Martin. Claude-Ferdinand Gaillard, Jean-Baptiste Patas, Pierre Andrien Le Beau, Nicolas Dupin, his son Jean Pierre Julien, Etienne Claude Voysard, Jean Alexandre Aveline, Pélissier, Jacques Le Roy, J.P. Vossinik (or Wossinik), and Jean-François Janinet appear to have been the enlisted engravers.
The series is widely recognized for its high aesthetic value as well as its innovation within the overarching field of the fashion plate. René Colas, who compiled the major reference work Bibliographie générale du costume et de la mode (1933), calls it "the most beautiful collection in existence on the fashions of the eighteenth century." The plates are exceedingly rare and FIT is one of the few collections in the world to hold them.
April Calahan wrote on FIT’s Material Mode blog:
First issued during the reign of Marie Antoinette, the fashion and costume plate series Galerie des Modes et Costumes Français has been called “the most beautiful collection in existence on the fashions of the eighteenth century.”
Beginning around 1778, the Parisian print merchants Esnault & Rapilly began issuing this series of engravings at irregular intervals in cahiers—or sets—of six that could be purchased in their shop or received as a subscription. The series was touted to be “designs from nature,” real-life ensembles worn by French elegantes in Paris or the Royal Palace at Versailles. The plates were issued hand-colored as well as uncolored so as to be tinted by the home hobbyist. Over the course of Galerie des Modes et Costumes Français’ nine year run, four artists were responsible for the majority of the plates, Claude-Louis Desrais, who designed the first 68 plates in the series, followed by Pierre-Thomas Leclère and François-Louis-Joseph Watteau. In the final year of the series, Augustin de Saint-Aubin contributed eighteen plates depicting formal court styles.
Many of these original eighteenth century plates were destroyed during the course of the French Revolution, as owning objects associated with the decadence of the Ancien Régime implied political sympathies that put one’s life at risk. By the early twentieth century, the Galerie des Modes et Costumes Français plates had become exceedingly rare and a complete set was not known to exist. Sometime around 1910, Paul Cornu, a historian and librarian at the Musée des Arts Décoratifs, undertook the task of tracking down as many of the plates as possible, and in 1912 reissued a selection of 325 of the plates in a folio format that mimicked that of the original. Short passages of text sourced from eighteenth century periodicals and literature accompany each image, providing a context that supercedes the depiction of extravagant and whimsical fashions and provides a detailed, nuanced account of the luxurious lifestyle enjoyed by the aristocracy and wealthiest members of the bourgeoisie just before the tides would turn with the outbreak of the Revolution in 1789.
Gazette du Bon Ton was a short-lived but highly influential magazine published in France from 1912-1925. The editor was Lucien Vogel and it was distributed by Condé Nast. Paul Poiret also contributed to its founding. The American title was Gazette du Bon Genre. Both names translate to “Journal of Good Taste.” The journal featured reflections on the latest trends in fashion, lifestyle, and beauty and catered to an elite audience. It competed with Les Modes and L’Art et la Mode in France, Vogue and Harper’s Bazaar in the US, which were larger and more widely available. Gazette du Bon Ton was only available to subscribers, who paid 100 francs per year (approximately $425 today).
The magazine was of high quality, from its fine paper to its illustrations. The Gazette focused on establishing fashion as an art alongside painting, sculpture, and drawing. It also featured essays on fashion. But the focus was fashion plates: each issue contained ten full-page plates, seven illustrating couture designs and three the creation of the illustrators.
The magazine signed exclusive contracts with seven top couture houses in Paris: Cheruit, Doeuillet, Doucet, Paquin, Poiret, Redfern, and Worth. It reproduced their designs in pochoir. After World War I, other design firms also had their designs reproduced in the magazine.
It employed many of the most famous Art Deco artists and illustrators of the day, including Etienne Drian, Georges Barbier, Erté (Romain de Tirtoff), Paul Iribe, Pierre Brissaud, André Edouard Marty, Thayaht (Ernesto Michahelles), Georges Lepape, Edouard Garcia Benito, Soeurs David (David Sisters), Pierre Mourgue, Robert Bonfils, Bernard Boutet de Monvel, Maurice Leroy, and Zyg Brunner. These artists, rather than simply drawing models in outfits, depicted them in various dramatic and narrative situations.
La Gazette Rose, also known as La Gazette Rose Illustrée was a Parisian fashion magazine. FIT has a collection from 1872-1879. In 1894, it combined with Le Moniteur de la Mode, which FIT also has in its collections. The magazine featured full-page color fashion plates.
Jules David was a frequent illustrator for the magazine. Other plates are signed ‘Bonnard’ and ‘Vve. Gauthier Coloriste.’ The plates were subsequently issued in many other European magazines.
Godey’s Lady’s Book, or Godey’s Magazine and Lady’s Book, as it was sometimes known, was a magazine for women published from 1830-1898. It was a 7”x 10” hardcover; monthly magazine published in Philadelphia and edited by Sarah Hale and Lydie H. Sigourney. Mostly literary in content, each monthly issue has one color lithograph of women’s fashions, adapted from Parisian fashion plates contains poems and short stories; one of the most popular women’s magazines of the mid-nineteenth century, useful for images of fashion endorsed by conservative editors as suitable for middle-class American women. It was the most circulated magazine before the Civil War and during its peak, with 150,000 copies. The magazine was published by Louis A. Godey in Philadelphia. It was the most expensive magazine of its time, at $3 per year. The magazine featured high-quality fashion plates, sewing patterns, sheet music, and short stories. Edgar Allen Poe published one of his earliest works in the magazine.
Sarah Josepha Hale, the author of “Mary Had a Little Lamb,” was the editor from 1837 - 1877. She only published original American manuscripts. The authors were both men and women, but three special issues were published with work written only by women. In 1852 she started a section called “Employment for Women” that discussed women in the workforce, a radical move at the time. She also was a strong supporter of education for women, as well as helping to get Thanksgiving established as a national holiday.
The magazine refused to take a position on the Civil War and never even mentioned it. They lost one-third of their subscribers during the wartime years. The magazine was sold in 1877 to John Hill Seyes Haulenbeek and the name changed to Godey’s Magazine to try to attract a wider audience, a shift which also included publishing more literature and less fashion. Nevertheless, it ceased publication in 1896.
Le Goût du Jour was a luxury magazine composed of fashion plates made in pochoir. The magazine published every two weeks, the 5th and 25th of each month. The editor was François Bernouard.
Graham’s Lady’s Magazine was a magazine published by George Rex Graham from 1840-1856. It was a 6”x l0 ” monthly magazine with four color engraved fashion plates in each monthly issue based in Philadelphia. It catered to both men and women, publishing fashion plates, short stories, critical reviews, and music.
The journal was founded after the merger of Burton's Gentleman's Magazine and Atkinson's Casket in 1840. It was alternatively referred to as Graham's Lady's and Gentleman's Magazine (1841–1842, and July 1843 – June 1844), Graham's Magazine of Literature and Art (January 1844 – June 1844), Graham's American Monthly Magazine of Literature and Art (July 1848 – June 1856), and Graham's Illustrated Magazine of Literature, Romance, Art, and Fashion (July 1856 – 1858).
Edgar Allen Poe was the editor of Graham’s in 1841 for a year and published his own stories there.
Graham also worked on Peterson’s Magazine with Charles Jacobs Peterson.
Possibly also called Les Idées Nouvelles de la Mode or even Les Idées Nouvelles de la Mode et les Arts (The New Ideas of Fashion), with the subtitle « Robes, manteaux, blouse, chapeaux, lingerie, fanfreluches, originalités » (Dresses, Coats, Blouses, Hats, Lingerie, Fanfreluches, originals). The magazine started in January 1922. It showed the trends from the grand couture houses and designers of the 1920s. Germaine .P. Joumard directed the magazine, as well as Très Parisien from 1920-1935. The covers and fashion plates are often signed “Joujou,” a diminutive of his name, or other artists including Germaine Paule, Dory, Thylo, and Colette.
The fashion plates were gouache on translucent paper then laminated on cardboard, the same procedure that was used at Très Parisien. The texts by Renée Bonheur and Fany Grèges mention the collections of Madeleine et Madeleine, Jenny, Drecoll, Poiret, Redfern, Patou, Beer, Doucet, Lelong, Suzanne Talbot, Rodier and more.
The magazine was also called L’Illustrateur des Dames : Journal des soirées de famille, which would indicate that it was aimed at families and focused on the domestic sphere. It was a weekly magazine.
Journal des dames et des modes, was a French fashion magazine, published between 1797 and 1839. It was the second oldest fashion magazine published in France, replacing its predecessor the Cabinet des Modes (1785-1793) after the fall of Robespierre. During most of its existence, it had near monopoly in the fashion world as the channel of French fashion in France as well as internationally, particularly during the Napoleonic age. The magazine included fashion plates, textual descriptions of the clothes, articles about the lifestyles of society’s elite, poetry, theater reviews, musical scores, and later in its run, serialized fiction.
The magazine was edited by college professor Pierre de La Messangère for 32 of its 40 years.
Napoleon was actually a supporter of the magazine, which he called “Le Moniteur official de la mode” (the official monitor of fashion). The leader saw fashion as an important industry for France.
From the 1820s, the dominance of the magazine was broken with an increasing number of rivals such as the Petit courrier des dames (1821-1868), Le Follet (1829-1892), La Mode (1829-1855) and Le Journal des demoiselles (1833-1922), and Journal des dames et des modes finally discontinued in 1839. Many of the fashion plates from these magazines are also held in FIT’s collections.
This publication should not be confused with another magazine with the same name, Journal des dames et des modes, was published in 1912–14.
Journal des Demoiselles was a long-running Parisian magazine (1833-1896) for girls aged 14-18 from well-off families. The magazine combined written columns, fashion plates, and sewing patterns. It had four different editions that appeared on different schedules. The magazine absorbed the journal Petit courrier des dames ou Nouveau journal des modes, des théâtres, de la littérature et des arts in 1869.
Jeanne-Justine Fouqueau de Pussy, otherwise known as J.J., was the founder, editor-in-chief and main columnist from 1833-1853. She was a self-supporting divorced woman who lived alone, yet in her column she portrayed herself as an ingenue who lived at home with her parents. She corresponded with an imaginary reader about the latest fashion trends. The columns promoted a respectable femininity and an explicit aim to prepare young ladies for marriage. Despite this conservative aim, it was uncommon at the time for journals to be run by women.
In 1863, the Thiéry family launched an edition of the magazine for children, which remained under the family’s control for many years.
Le Magasin des Demoiselles was a Parisian magazine in existence from 1845-1870. It was notable for producing the first publication by Berlioz of the account of his trip to Russia of 1847, which appeared in Paris in the journal Magasin des Demoiselles between November 1855 and April 1856. Adele-Anaïs Colin Toudouze was a frequent illustrator for the magazine.
Along with L’art et la Mode, La Mode Artistique was pivotal in showcasing fashion as art by using artistic references to connote cultural and social superiority in clothing.
La Mode Artistique was published by Goubaud from 1895. Many of the plates were unsigned but some bear the signature of Drian.
The French publication Les Modes was the premiere fashion magazine of the early twentieth century, celebrating fashion as a “Decorative Art as Applied to Women.” Each issue featured the glitterati of French society–actresses and society mavens alike modeled the latest Parisian fashions throughout its pages. The magazine epitomizes Art Deco style.
Les Modes targeted the same audience as La Gazette du Bon Ton.
Le Moniteur de la Mode was a Parisian weekly fashion magazine by Samuel Beeton, the same man behind The Queen and The Englishwoman’s Domestic Magazine. The History of Fashion Journalism by Kate Nelson Best notes that “by 1887, Le Moniteur de la Mode described itself as being for the mistress of the house as much as for the ‘femme élégante.’”
Jules David illustrated all the fashion plates from the magazine’s beginning in 1843 until the illustrator’s death in 1892, about 2600 plates in total. He innovated in the fashion plate genre by making them appear as a conversation piece, showing his figures in natural interiors and landscapes. His illustrations were widely reproduced in France, Europe, and America.
At some point around the turn of the 20th century, the magazine became known as Le Bon Ton and Le Moniteur de La Mode United. Le Bon Ton was started in 1834, but this does not appear to be the same magazine as Gazette du Bon Ton, a different magazine in FIT’s collections. It appears that there was a copyright dispute over the term “Bon Ton” between 1914 and 1916.
Monsieur was a men’s fashion magazine created in December 1919 in Paris by Jacques Hébertot and Paul Poiret (who also contributed to the founding of Gazette du Bon Ton and Les Choses de Paul Poiret). It marketed itself as a luxury magazine and was published monthly.
It was one of the rare French men’s fashion magazines of the early 20th century, alongside Nos Élégances, La Mode Masculine, L'Homme Élégant, Adam, La revue de l'homme, Jean-Claude and l'Homme.
The magazine was known for its pochoir prints. It featured top illustrators including Guy Arnoux, Bernard Boutet de Monvel, Horace Vernet, André Dignimont, Maurice Taquoy, Pierre Brissaud, Pierre Mourgue, Eric de Coulon, Jacques François, Eduardo Garcia Benito, A. de Roux, Peltier, Cad, Ray Bret-Koch, Reigo Monteiros, Georges Braun, Zyg Brunner, Giron, Yves Quedero, Bouchaud, A. Haguet, Maurice Van Moppes, Yves Gueden.
The magazine also highlighted top writers, dandys, and ‘men of letters.’
After publishing 58 issues, the magazine ceased publication in 1924. However, it reappeared for a short while in the 1960s. It again came back in 1995 under François-Jean Daehn and still exists today.
Peterson’s Magazine was active from 1842-1898. Its original name was Peterson’s Ladies’ National Magazine. The magazine was started by Charles Jacobs Peterson and George Rex Graham, who were partners in the Saturday Evening Post. It was launched to compete with Godey’s Lady’s Book. Peterson’s was sold for $2 a year, as compared with Godey’s $3 per year.
Although its audience was women, the magazine was run by men. There were frequent contributions by female authors, including Emily H. May and Ann S. Stephens, who created the dime novel genre. Peterson’s magazine combined fashion plates with short fiction stories and novels, as well as patterns for embroidery and crochet and musical compositions. The magazine was popular due to its steel plate engravings, which were of a high quality, but still inexpensive to purchase.
In 1898 it was sold to Frank A. Munsey and was combined with Argosy magazine. Peterson’s had been one of the oldest magazines in the nation. The name Peterson’s Magazine would not appear again. Argosy magazine would remain active until 1978.
Petit Courrier des Dames, Journal des Modes, was one of the many ladies’ magazines founded in Paris after the Napoleonic Wars. It was in existence from 1822-1865. It was also called Petit Courrier des Dames, ou Nouveau Journal des Modes. Its audience was women. An edition was produced every five days. Based in Paris, the magazine also had offices in Brussels, Amsterdam, and London.
The magazine included one or two high-quality fashion plates that showed the latest trends in Paris, in a part called ‘Modes de Paris.’ The names and addresses of the Parisian dressmakers, hair salons, florists, and jewellers were included along with the images.
The London publishers were Samuel and Joseph Fuller, two brothers who were engravers, printsellers, fancy stationers and suppliers of art materials from their 'Temple of Fancy' at 34 Rathbone Place, London (1809-1862). Its plates were also imported for Townsend's Monthly Selection of Parisian Costumes (London, 1825-1888), making them the first French plates to be found in Britain, and in the 1860s for The Queen.
In 1868 the magazine was absorbed by Le Journal des Demoiselles.
Le Salon de la Mode, a weekly French fashion magazine, included hand-colored plates as well as other black-and-white illustrations of the latest styles from Paris. It appeared during the Victorian era, though exact dates could not be determined. Countess de Vérissey was the editor-in-chief. The magazine had a mid-range price point. It was called a family journal. In addition to informing readers of the current trends in clothing and accessories, Le Salon de la Mode contained theater listings, "useful recipes," suggested menus, family activities, and other recommendations for women of the day.
A magazine possibly connected to Les Idées Nouvelles. It was active from 1920-1936. The editor was G.P. Joumard. It possibly branched out into a publication about hats after its initial publication ended. The magazine was designed to appeal to Parisian women, full of Haute Couture high fashion plates and articles on the collections, designers, and patterns.
Many of the works of the fashion designers of the day were featured, including Jane Regny, Vera Borea, Jacques Heim, Revillon, Philippe et Gaston, Louis O'Rossen, Elsa Schiaparelli, Charles Worth, Madeleine Cheruit, Premet, Lataur, Weil, Jean Patou, Simone Gray and Lucile Paray.
The prints are an example of pochoir illustrations. More information on this type of illustration can be found in Cassidy Zachary’s and April Calahan’s book Fashion and the Art of Pochoir.
The Queen is an ancestor of Harper’s Bazaar. The magazine was established in 1861 as a British Society publication by Samuel Beeton (who was also behind Le Moniteur de la Mode and The Englishwoman’s Domestic Magazine). In 1958, it was sold to Jocelyn Stevens, who called it simply Queen and used it to showcase the Chelsea Set, the younger side of the British establishment. In 1968, Jocelyn Stevens sold the magazine to Harper’s Bazaаr UK. From 1970, it was known as Harper’s & Queen, until the title ‘Queen’ was dropped and it assumed its title today: Harper’s Bazaar.
The Queen was subtitled “The Ladies Newspaper” and defined its readership as the “Upper Ten Thousand.” The Queen included news of the court, society, and Parisian fashion. In the popular column “Causerie de Paris” (Gossip from Paris), it described clothes at the Parisian Opera and other fashionable locales. There was also a feature called “The Tourist” that described the proper attire to wear to places from Biarritz to England.
The History of Fashion Journalism by Kate Nelson Best notes that “The Queen included a regular and lengthy feature on ‘The Housekeeper’ as well as political news and lengthy discussions about employment and women’s education.” She further describes how the idea of ‘The Lady’ was important to the identity of The Queen.
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