Yvonne was a three-act musical comedy, adapted by Percy Greenbank from an Austrian musical of the same name. It opened at London's Daly's Theatre on 22nd May 1926. Greenbank provided the book and lyrics, with music by Jean Gilbert and Vernon Duke and additional numbers by the show's conductor Arthur Wood. Ivy Tresmand took the leading role of Yvonne, a professor's daughter who, for reasons of musical comedy logic, adopts the identity of a music hall star.

In the programme for Yvonne, de Veulle's surname appears as de Veuille. Born in 1889 and raised in Jersey, de Veulle was a costume and fashion designer who studied at the Kensington School of Art and worked in New York and Paris before relocating to London in 1914 at the start of World War I. He worked with the Mayfair costumier Elspeth Phelps who designed gowns for society clients and costumes for the stage that were made in her salon. An advertisement in a 1916 edition of Vogue noted theatre costume: 'designed and executed by Elspeth Phelps and Reggie de Veulle' including: 'Miss Violet Lorraine’s dresses at the Alhambra (in The Bing Boys Are Here, April 1916), Mlle Delysia & Miss Dorothy Minto at the Ambassadors (in Pell Mell, June 1916), Miss Shirley Kellogg at the Empire (in Razzle Dazzle, June 1916), Miss Peggy Kurton, Miss Adah Fair, Mrs Cicely Richards at the Gaiety (in Theodore & Co. September), Miss Madge Lessing, Mrs. Cecil Raleigh, Miss Heather Thatcher at the Garrick (in The Girl at Ciro’s), Miss Regine Flory at the Palace Theatre (in Vanity Fair November 1916), Mr. Leo White & Miss Billie Carleton at the Vaudeville (in Tabs), and all the gowns in the parade at the Hippodrome.

A drugs' scandal involving de Veulle and the death of the musical comedy star Billie Carleton in November 1918 presumably accounted for the hietus in de Veulle's career after 1919 but before working on Yvonne, Phelps and de Veulle worked together on the extremely popular show Katja the Dancer that opened at London's Gaiety Theatre in February 1925 and transferred to Daly's Theatre in September. With fabric swatches attached to several of the designs for Yvonne, and those for the Act 2 showgirls carefully embellished with minute crystal chips, they show de Veulle's attention to the detail he wanted in the costumes. They are also designs influenced by the latest styles of fashionable 1920s' dress including the tubular bodice and drop waist of the Act 3 costumes based on a natural female shape without the corsets that underpinned women's dress in the first decades of the 20th century.