The series was inspired by fashion engravings from Godey's Lady's Book (1830-1898) and Peterson's Magazine (1842-1898).
Godey's ruled the women's magazine world in America until the debut of its rival, Peterson's Magazine. Both monthly magazines were based in Philadelphia and contained a mix of original fiction, non-fiction, reviews, advice and DIY features that were heavy on the domestic arts. Each issue also included numerous engravings, some printed with spot color; others in black and white.
The magazines had as many as 150,000 subscribers in their heyday and employed hundreds of women to paint the main fashion engraving, which folded open. The illustrations echoed European women's magazines to the point that Peterson's dubbed its as “Les Modes Parisiennes.”
The engravings were also referred to as plates, which gave birth to the term “fashion plate.”
The colors used were based on detailed descriptions of the dresses found at the back of each issue. While the engravers and printers – Illman Brothers, Chr. Kimmel, Capewell & Kimmel - are credited, the painters remain anonymous. In the collages, I try to preserve all the painted sections as a tribute to the work of all those women, who were cranking it out.
Plates in good condition are quite collectible and the magazines – once looked down upon as frivolous – have gained a new respectability for their literary quality (Sarah Josepha Hale – Godey's editor from 1837-77 published original American works only), frequent focus on social issues and their portrayal of the lives of women (Hale published three issues of Godey's that included work by women only).
The Grand Tour refers to the requisite tour of the continent that was initially taken by wealthy young men during the 18th century to polish their education. Eventually, young women – chaperoned, of course – began their own treks to the major sites and cities of Europe, which frequently took months.