Born in 1882, Barbier lived in Paris from 1908 and continued his love of classical antiquity whilst exploring the collections in the Louvre, his fascination with the ancient artefacts, especially the figures depicted on Greek vases, greatly influenced his fashion work and depiction of females and the human body.

Incantation Incantation illustration from a 1922 edition of ‘Gazette du Bon Ton’ (‘Journal of Good Taste’) a fashion, lifestyle and beauty magazine founded by fellow Knight of the Bracelet member Lucien Vogel
Image via http://houseofretro.com/wp-content/uploads/2013/03/GeorgeB34a.jpg

A fan designed by Georges Barbier in 1911, currently on display at the V&A Image via http://josephjgabriele.com/ngg_tag/fan/#gallery/fan/1156 A fan designed by Georges Barbier in 1911, currently on display at the V&A Image via http://josephjgabriele.com/ngg_tag/fan/#gallery/fan/1156

In Paris he put on his first show in 1911 which was a great success and also led to Barbier creating and leading a group with others from Ecole des Beaux Arts that was affectionately nicknamed 'The Knights of the Bracelet' by Vogue. Other members of Knights of the Bracelet included leading fashion illustrators and artists such as Georges Lepape and Paul Irebe who led the way in producing bold fashion illustrations that were unlike any that had been seen before. The bold stylised designs helped create the emerging Art Deco atheistic and presented fashion in a new and exciting way.

‘L’Automne’ Illustration from a 1925 edition of Barbier’s luxury magazine ‘Falbalas et Fanfreluches’ Image via https://parisianfields.files.wordpress.com/2013/10/f6778.jpg ‘L’Automne’ Illustration from a 1925 edition of Barbier’s luxury magazine ‘Falbalas et Fanfreluches’
Image via https://parisianfields.files.wordpress.com/2013/10/f6778.jpg

L’Amour est aveugle 'L’Amour est aveugle' ('Love is blind') illustration from 1920 Image via http://artophile.com/Artwork/PublicDisplay_George_Barbier_LAmour_Est_Aveugle_1036_35.htm

After World War 1 Barbier became editor and journalist for some Parisian magazines (such as 'La Vie Parisienne'), illustrated for many fashion magazines, books and journals whilst also founding his own luxury magazines (such as Falbalas et Fanfrelyches). These magazines enabled Barbier to experiment with colours influenced by Ballet Russes, use stencils for publication of his colour-plates and continue his unique illustration style.

An illustration by Barbier used by Cartier in 1914 for an exhibition card and later for advertising, this was the first time that Cartier used the iconic panther motif in their brand. Image via http://www.anothermag.com/fashion-beauty/3985/the-enduring-appeal-of-the-cartier-panther An illustration by Barbier used by Cartier in 1914 for an exhibition card and later for advertising, this was the first time that Cartier used the iconic panther motif in their brand.
Image via http://www.anothermag.com/fashion-beauty/3985/the-enduring-appeal-of-the-cartier-panther

‘Voici mes ailes!’ ('Here are my wings!')an illustration from a 1922 edition of Barbier’s luxury magazine ‘Falbalas et Fanfrelyches’ Image via http://houseofretro.com/index.php/2013/03/19/george-barbier-the-master-of-art-deco/ ‘Voici mes ailes!’ ('Here are my wings!')an illustration from a 1922 edition of Barbier’s luxury magazine ‘Falbalas et Fanfrelyches’
Image via http://houseofretro.com/index.php/2013/03/19/george-barbier-the-master-of-art-deco/

A cover from a 1925 edition of Barbier’s luxury magazine ‘Falbalas et Fanfrelyches’ Image via http://houseofretro.com/index.php/2013/03/19/george-barbier-the-master-of-art-deco/ A cover from a 1925 edition of Barbier’s luxury magazine ‘Falbalas et Fanfrelyches’
Image via http://houseofretro.com/index.php/2013/03/19/george-barbier-the-master-of-art-deco/

The stunning and iconic figures that Barbier depicted epitomised the 1920s fashion ideal and his reputation soon reached across the pond where he began to produce advertising artwork for brands such as Cartier and Elizabeth Arden. Alongside his artwork he also produced essays on fashion, designed theatre costumes, jewellery and fans. On his early death at the age of 50 in 1932 he had become one of the most well known and highly regarded artists of the Art Deco era.

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