“A nostalgic chant that slowly rises, then swells, spreading like a rumbling storm that suddenly breaks”. 1922 was the year of jazz and American music hall. It was also the year of avant-garde extravagance, of Futurism and Dada, of experimental music where “noise replaces sound […] and harmony gives way to dissonance”.

“Fashion philosophy of 1922” responded to the new dance craze with a new wave of feathers, sleek outlines, Andalucian-style chignons and shawls, and the triumphant “chimeric crinolines” Mistinguett introduced to the Faubourg Saint-Honoré.

Memories of war were imperceptibly fading. The Louvre reopened its galleries of paintings, and the great Spring expositions returned. Vermeer and the Dutch school caused a sensation at the Jeu de Paume, and people flocked to see Fragonard at the Musée des Arts Décoratifs. Charity evenings organized by society figures became sumptuous balls; the king and queen of Portugal were received in extravagant pomp at the Duc de Doudeauville’s mansion on the rue de Varenne. The Duchesse d’Uzès announced a new nuit persane (Persian night) at Bagatelle, to which twentieth century Shéhérazades came wearing Rubinstein tunics. Les Forces éternelles, penned by the Comtesse de Noailles, was published, and Marcel Proust pressed on with the publication of Remembrance of Things Past, where “the truth of Nature” would unfold, beyond mere appearences, in the truth of one’s own sensibility.

The Almanach published by Devambez in 1922 continued to embody the editorial elegance and refinement that characterized the first edition; once again it was a limited edition designed with the utmost attention to detail. Each title and address was illustrated by Édouard Halouze, reflecting his consummate skill in black and white drawing and the art of silhouettes.

Almanach du Masque d’Or, 1922, second year, Devambez, Au Masque d’Or, Paris, 1922