The Gazette featured the work of many leading artists, including fashion illustrators George Barbier and Georges Lepape and painters Raoul Dufy and Thayht. These artists were often commissioned to create pochoir plates for cutting edge Parisian fashion houses, such as Worth, Lanvin, and Poiret, and the plates would eventually show up in the Gazette.

The manual labor involved in the pochoir technique was both its glory and its demise. Mechanized techniques such as lithography and serigraphy, which increased reproduction capabilities, eventually replaced the laborious process. Today these prints, especially those in which costumes are contrasted against a detailed interior background scene, are among the most collectible fashion prints. They often involve a fluid female form in front of a more structured decorative element, such as a woman burning a piece of paper with a candle in front of an intricate stretch of wallpaper.

Because the interest in pochoir prints is a fairly recent phenomenon, it's not hard to find them in good condition. "They were almost too avant-garde coming out of World War I," explains Lyons, "so interest didn't really pick up until interest in modernism began to grow." Which means that most prints were kept in portfolios or magazines until recently, sparing them the trimming, staining, and gluing to cardboard that many earlier prints received -- another benefit of their "dare to be different" vibe.