DRAEGER, A FAMILY (AND ENTREPRENEUR) STORY

Founded in 1886, Draeger has survived the 20th century, its two wars and its technical progress to become an essential publishing house, always at the forefront of innovation. From its beginnings to today, a look back at a unique family and entrepreneurial saga, built around sharing and the desire to sublimate emotions.

The Draeger story begins with Charles Draeger. Born in 1844, he learned the printing trade from a young age alongside his father Nicolas, who had worked for the Banque de France for a long time. He developed a passion for the trade and quickly became an expert color typographer, which led to him joining the Lahure printing house in the 1860s. This company played an important role in the life of Charles Draeger and his couple, since his wife, Amélie Bagdassard, also joined it. The same goes for their three children, Georges, Maurice and Robert, who grew up surrounded by presses and trained in different specialties. The Draeger couple then had the idea of ​​setting up a family business: after finding a workshop, they began the Draeger & Lesieur adventure on August 13, 1886. The Draeger family then put all their efforts into developing the printing company and helping it make a name for itself.

At Draeger, the emphasis was on specialization and the development of techniques, and workers tried all the modern processes of the time, such as three-color printing and halftone printing. The 1889 International Exhibition contributed to the company's reputation and to developing its clientele: the family then considered expanding the company as orders were so abundant. In February 1889, they acquired a property in Montrouge, surrounded by market gardens and open-air cafés. A few weeks later, Charles Draeger died suddenly — his widow Amélie then took over the company and changed its name so that it belonged entirely to her sons: this is how Draeger Frères was born.

The year 1900 was a fruitful one for Draeger Frères: the company presented its brochures during the Universal Exhibition, while the emerging department stores, fashion houses, and automobile manufacturers all called on the printing company to produce their prestigious and precise work. A turning point occurred for the company, which devoted itself more to creation: the land acquired in Montrouge was then transformed to accommodate a factory and a living space. The company took advantage of this to equip itself with cutting-edge machines and specialize in various techniques. During the First World War, the printing company adapted by manufacturing shell casings or printing newsletters for soldiers... The three brothers never stopped innovating, whether by traveling to the United States (Georges notably made a study trip across the Atlantic in 1919) or by installing a photo studio within the printing company to experiment ever more.

From major luxury houses to artists, Draeger's collaborations have left their mark. Among the most memorable: the one with the Nicolas brand, which resulted in original and artistic creations in praise of wine. The writing of certain advertising catalogues by the writers Colette and Jean Cocteau. In the 1920s, the greatest contemporary artists such as Braque, Picasso, Latour and Cassandre collaborated with Draeger and contributed to his fame. In 1929, Draeger shared his exclusive spiral binding with the Hermès house to design a diary that would become cult. Not to mention Peugeot, Ford, Chrysler, Lancôme, Coty and Guerlain, also called on Draeger's services to design and produce memorable advertisements...

Charles, Jacques and Marguerite, Georges Draeger's three children, grew up in the Montrouge workshops and developed a special bond with the family business. Charles and Jacques Draeger decided to continue their parents' work and were faced with a number of difficulties: during the Second World War, they struggled with shortages; in the 1960s, they faced the development of technical progress that popularized printing techniques and made them accessible to all. In the meantime, the brothers understood that innovation also involved diversifying their activities: as a result, they acquired Éditions Yvon in 1956 and thus entered the world of stationery.

A new page in the history of Draeger was written with the three children of Jacques Draeger: Claude and Alain were born in 1936 and 1937 respectively, Guy in 1947. Like their elders, they worked in the printing workshops and trained in the trade to learn how to retouch plates, adjust a print, apply a binding, etc. Claude Draeger distinguished himself in particular with the publication of large-format artist books. The most memorable? The "Dalí de Draeger", an extraordinary work entirely designed with Salvador Dalí, which had a print run of over 250,000 copies.

Since 1956 and the acquisition of the Yvon brand, the company has focused on the card business, offering thousands of postcard references. In the meantime, greeting cards have become popular and Draeger stands out by paying particular attention to the choice of paper, their text and finishes. Bold creations with an undeniable extra soul, to cultivate unique connections, tell a precious moment, catch up or simply say thank you.

Claude and Alain Draeger are well aware of the technological and social upheavals that are taking place, and have the difficult task of deciding on the future of the company. Should it reduce its activities, develop it, or sell it? In 1971, the Gaillard Motel group acquired Draeger Frères, while the Draeger family kept the Yvon editions. The company was then managed by Alain Draeger, who focused on creative and quality productions. At the same time, Claude Draeger founded the Anthèse publishing house, which his son Nicolas took over in 2002. As for the Yvon editions, they became Draeger La Carterie in 2018 and it is Olivier, Alain Draeger's son, who has been responsible for its development since 2006. The family saga is definitely not over...