Kovács Ferenc et al.: Fardagály és kámvás rokolya. Divat és illem a 19. században (Budapest, 2010)
A 19. századi divatlapok és divatképek
Л 19. SZÁZADI DIVATLAPOK ES DIVATKÉPEK АЛЗjHJí)] XÖíf í)DJXrAÍPEl Május hóban. Aller« Kiss Divatkép, Családi Kör, 1869 Fashion Plate. Családi Kör, 1869 lőtt. A lap kiadása 1848 júliusától Budapesti Divatlap címmel folytatódott, majd az évvégén megszűnt. A Regélő 1842. évi 1200. lapján arról ad jelentést, hogy Frankenburg Adolf „példátlanul olcsó olvasmányt” fog kiadni Magyar Életképek címmel. Frankenburg Adolf a helytartótanács hivatalnoka 1842-ben valóban irodalmi divatlap engedélyezéséért fordult a hatóságokhoz. Mivel az engedély késett, 1843-ban a Magyar Életképeket nem periodikának tűnő fűzetek formájában kezdte megjelentetni. 1844-ben, már az engedély birtokában előbb kéthetenként, majd hetilapként folytatta lapja kiadását Életképek címmel. A legnagyobb írókat gyűjtötte folyóirata köré, akiknek tisztességes honoráriumot juttatott. Munkatársai közé tartozott Nagy Ignác, Garayjános, Pákh Albert, Erdélyi János, Bérczy Károly, Jókai és Petőfi is. A közönségnek tetszett a lap, tor, Lázár Petrichevich Horváth, wanted to persuade the Hungarian aristocracy to support and become patrons ofliterature. Thenameoftheperiodical originates from Széchenyi, who wanted to change the name of the Hungarian Capital to this instead of Pest, which he thought sounded ugly. The Honderű was first published as a weekly periodical in 1843, with a high quality finish and including fashion plates. Its plates - all original and expensive French fashion drawings - were far superior in quality to the illustrations of the other Hungarian fashion periodicals. It was initially successful, the first editions being published in numbers of 1500. Its success was partly due to its low price. The editor's primary source of income was by no means the paper, and he could afford to offer the high quality finish at a relatively low price. The first two years of publication included the writings ofthe best authors and poets of the day, including Vörösmarthy and Petőfi. However, from 1845 the popularity and quality of the Honderű both diminished. (This is when the attacks on the person and poetry of Petőfi begin to appear in the paper.) Even though its Parisian plates were the most beautiful and its finish the most illustrious, women - who by that time were filled with the thoughts and ideas of reform - did not support it. The editor announced its closure in the April 2,1848 issue. Following the fall of the revolution, Ignác Nagy started up a daily paper in 1849 entitled the Hölgyfutár (Ladies’ Courier). It was modelled on the German Damen-Courier and its goal was “the entertainment ofthe female public”. It drew its themes from the fields ofliterature, social life and art. It published one fashion plate every month, including several that presented Hungarian fashions. The paper survived several changes of editor and was in existence for 15 years. It appeared for the final time on November 6,1864. From January 1, 1857, the Hölgyfutár met with a strong competitor in the form ofa “ladies onlypaper”. The Nővilág (Woman’s World) “for Hungarian ladies”, was edited by János Vajda and was initially published weekly, then from February 1,1861, twice weekly. The publisher, Heckenast, intended it as a new, cheap fashion periodical. In the introductory issue Vajda began a series of articles entitled "On Beauty for the Beautiful". In this he discusses the role and importance of ideal beauty and encourages women to go out and get to know all the beautiful things that exist around them in Hungary. He propagates Hungarian national pride, ladylike morality, education and culture. Vajda also encouraged female writers, giving them priority before men in the “Home Economy”, “Ladies’ Art School” and “Family Life” columns. He asks for articles about practical life “in as simple a style as possible with strictly objective content and without and introductory mincing of words”.
