The Height of Fashion
Part and parcel of Gazette du Bon Ton was to appeal to wealthy, fashionable French - mostly Parisian - women (and those who would emulate them). To that end, Vogel played up the poshness and exclusivity of his magazine as much as he could.
The luxury magazine philosophy began with the physical aspects of Gazette du Bon Ton. Vogel insisted on the highest quality paper available, and painstakingly crafted the visual layout of the magazine (prior, magazines mostly used newspaper-style formats for text layouts). His decision to go full-color - only realistically possible in 1912 through the labor-intensive pochoir stencil process - cemented Gazette du Bon Ton as the pinnacle of what a magazine could physically achieve at the time. These choices priced du Bon Ton higher than all but the social elite could afford to spend on a magazine ($4 US per issue, at a time when a 1lb loaf of bread was under $.10).
Adding to the air of exclusivity, Vogel elected to work only with a short list of fashion designers. This esteemed group included Georges Dœuillet (creator of the cocktail dress), Gustave Beer, Jeanne Lanvin, Paul Poiret (whose work with George Lepape inspired du Bon Ton), Camille Roger, Madeleine Vionnet, and the House of Worth (one of the longest-standing fashion houses in Paris). As can be seen in the prints of their designs, these fashion houses were pushing the boundaries of haute couture in ways that would impact design for decades to come. Notably, Gazette du Bon Ton never featured designs from Coco Chanel, despite her prominence in Paris fashion in the early 1920s.