<p> The creation of national identity through the printed publication was historically important in developing French economic and cultural dominance. Luxury periodical publications such as <i>Gazette du Bon Ton</i> followed in the footsteps of historic predecessors in promoting French fashion and standards of taste to elite audiences at home and abroad, and editors such as Lucien Vogel, who positioned <i>Gazette du Bon Ton</i> alongside the exquisitely produced, influential fine art, decorative art, and design guides of the time, became powerful voices reporting on fashion and appropriate social etiquette during a time of profound social change. </p><p> The separation and cataloguing of individual pochoir from <i>Gazette du Bon Ton</i> has, over time, shifted the publication from rare book libraries to print, photography, and drawing collections and the classification of <i>Gazette du Bon Ton</i> pochoir as ephemera. This shift has limited our understanding of the complete publication. Prior research of <i> Gazette du Bon Ton</i> has focused primarily on the visual merits of fashion pochoir. This thesis attempts to redress that imbalance by analyzing the material components of <i>Gazette du Bon Ton</i> and reconsidering the vision of powerful editors such as Lucien Vogel in directing social narratives reflective of their time.</p><p>