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The Met’s Camp:Notes on Fashion

May 19, 2019
camp

The aesthetic of “Camp” comes from the French “Se Camper” or “to flaunt”. The first use of the word and aesthetic was introduced 1671 during the play ” The Impostures of Scapin”. In this comedy a servant it told to “camp it up” and ‘strut around like a drama queen”. “Se camper” not only alludes to being overly dramatic or extravagant but also to a pose that derives from  a man standing with his hand on his hip. This type of pose originally represented power and relaxation, until the Renaissance where it also became associated with homosexuality. Through the 1700 the word camp became used in the crossdressing community, mainly as a code word of a sort to describe noblemen who dressed as women, and later on in the 1800’s -1900’s to describe men in England who became famous for dressing as women. Although arrested or worse, many men who were “camp” did go out in public dressed as women. Two in particular Fredrik Park and Ernest Boulton created a small touring theatrical company  in the1800’s and played the characters Franny and Stella. Click on picture to enlarge.

Author Oscar Wilde was also connected to the camp community. This affiliation was used against him when he tried to file a lawsuit against the father of his lover, Lord Alfred . Throughout his life his relationship with Lord Alfred Douglas is well documented and so were his instructions to actors in his plays to wear symbolisms of camp culture. Both were used as evidence in the trial against him for “gross indecency” in the 1800’s. He was sentence to two years of hard labor in prison. The popularity of the trial and his sentence made Wilde a martyr and cemented the overlapping of camp culture with homosexuality.

 

Isherwoodian Camp:

In 1954 author Christopher Isherwood wrote “The World in the Evening”. Which basaclly broke down camp into high camp and low camp. High camp being one of a man who partakes in sophisticated activites and low camp being a boy in a feather boa. To him high camp was seriousness, expressed in fun, artifice and elegance.

camp

Jean Paul Gaultier

 

Sontagian Camp:

In the Fall of 1964 Susan Sontag wrote “Notes on Camp” in the Partisan Review. She was the first to approach camp and study it as a subject in society that leveled the playing field and offered indifference between high art, pop culture and cultural hierarchies. Her notes pushed camp into mainstream society. In her notes on camp she mentions the following items, which could all be found at the Met.

 

She also wrote the differences on naïve camp and delibrate camp, which in part agrees with Isherwoodian camp. Naïve camp is being unintentional while deliberate camp is being calculated and manufacturesd. The fashion showed in this section are examples of niave and delibrate camp next to one another.

 

 

Camp Eye: During this part of the exhibition, camp is featured in a louder and bolder light as it became more acceptable in society. The fashion showcased here are categorized under 18 statements that talk about key aspects of camp, or what camp means to the designers showcased. I won’t list all the statements, but I found this one by Susan Sontang to be the most direct. “Camp is not a natural mode of sensibility, if there be any such. Indeed the essence of Camp is its love of the unnatural: of artifice and exaggeration.”

 

 

 

Because of its ability to shock, Camp makes its way into times of divide whether in society or politics. Camp is different things to different people, whether they identify it as gay, a way to be extravagant or a way to showcase what’s happening around them. Camp: Notes on Fashion is open until September 8th at the Metropolitan Museum of Art.-T.S.

 

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Must See’s and Things to Do During Christmas in NYC

December 3, 2018
Must See's During Christmas in NYC

Lets not kid ourselves NYC will always be a Christmas/December destination. There are already so many tourists that visit NYC during the rest of the year, and not surprisingly that number jumps during the holidays. Although it is worth it to see the beautifully decorated stores, attractions and experience a New York City Christmas. Here’s a list of things to do and places to see this holiday season in NYC. (Locals pack your patience, visit early or at the end of the season, or avoid midtown like the plague!)

 

Uptown

  • Central Park Ice Skating at Wollman Rink– I haven’t done this yet but it is said to be less crowded than Rockefeller Center with a gorgeous view of the surrounding park. It’s on my to-do list.

 

 

 

  • The Nutcrakcer Ballet at Lincoln Center- This is also on my to-do list! If you’re into ballet, why not see a top ballet company preform a Christmas classic.

 

  • Metropolitan Museum of Art : Medieval Hall- I love visiting this part of the museum especially during Christmas. A tree is put up surrounded by a manger, angels and medieval decorations. On display until January.

 

Midtown

  • Rockefeller Center-This is a must for tourists! It is really a sight to see that gigantic tree lit up. Ice skating here will be crowded if you go mid December and the more people on the ice the more choppy it is.  I did this once with family members from out-of-town at the end of the season and it was not crowded but the ice was extremely rough. Its beautiful, but the rough ice and crowds should be something to consider.

 

  • The Christmas Spectacular and The Rockettes– I also suggest seeing the Rockettes perform, it is a great show and a classic. The last time I saw it I enjoyed the new segments added, particularly the homage to the city of New York.

 

  • The Winter Village at Bryant Park/ New York Public Library on 5th- These should be seen together, I suggest visiting the shops at Bryant Park and entering the library after. The front entrance is decorated and has a beautifully decorated Christmas Tree.

 

  • Store Windows on 5th Ave -After you’ve seen Bryant Park and the library walk out onto Fifth  Ave and walk north towards all the holiday windows. Don’t miss Saks, Bergdorf Goodman and Tiffany & Co. Not on 5th but must see’s are Macy’s windows on 34th which has Santa Land inside. Bloomingdale’s also has gorgeous holiday windows on 1000 third ave and 59th st.

 

  • Grand Central Holiday Fair Market – Stay warm in this indoor holiday market located in Grand Central Station. I like to grab something to eat from the adjacent food vendors.

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Downtown

  • Wall Street Christmas Tree- Visit the Christmas tree on Wall Street. The surrounding buildings are decorated and are lit up at night. Don’t forget to pass Trinity Church which is also decorated and Zuccotti Park which has small Christmas trees that are lit in the evening.

 

  • Flat Iron District-Visit the tree at Madison Square Park. A tree lighting ceremony will take place Dec 6th from 3:30-5:30pm.

 

  • Ice Skate at the Standard The hotel in the Meatpacking district opens its skating rink to guests and the general public from December 20th to the end of March.

 

  • Union Square Holiday Market-Visit the market which runs until December 24th. Buy from local vendors and eateries, visit the kids art studio and heat up in the warming station and lounge.

 

Other Boroughs

  • Holiday Train Show– The New York Botanical Garden host the Holiday Train Show. It showcases miniature New York City landmarks all made of natural materials.

 

  • Vintage Subway Museum– Open year round, explore what subway cars used to look like in the main branch of the museum in downtown Brooklyn. If you plan to stay in Manhattan, visit the smaller museum at the Grand Central Gallery Annex and Store.

 

  • Astoria Holiday Market– A Holiday market in Astoria Queens that sells vintage goods and food. Open December 9th and 16th at the Bohemian Hall.

 

  • Winter Fest at the Brooklyn Museum– The Brooklyn Botanical Garden teams up with the Brooklyn Museum to create an indoor winter wonderland. Activities include live performances, food, a tree maze, Santaland and an array of activates for the whole family.

 

  • Dyker Heights Lights- Houses in Brooklyn are decorated with spectacular light shows. Great Christmas Light Fight anyone? Located on Dyker Heights Blvd from 83rd st-86th.

 

There are so many more things to do! Did I miss a must for you? Are you planning to visit NYC this Christmas season? Let me know in the comments an on social media!-T.S.

 

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Heavenly Bodies: Fashion and the Catholic Imagination Part 2

July 29, 2018
heavenly bodies part 2

Currently on display at the Met Museum on Fifth and the Cloisters in the fashion exhibition Heavenly Bodies: Fashion and the Catholic Imagination. Read part one here, the premise of this exhibition is fashions relationship with the Catholic religion and religions in general. Many of the designers showcased grew up in the Catholic church or still practice a belief. Items like Papal robes and other catholic dress were on loan to the museum. While the designer pieces were set among artifacts found in Medieval time periods or set in the Cloisters, a regal feeling building. To get a total understanding of how the exhibition flows, its best to visit both locations. Can’t make it? Keep reading, and don’t forget to read part one. Click images to enlarge.

 

Items From the Vatican.

These items were not allowed to be photographed. Only the artifact in the entrance was allowed to be photographed. Inside this portion of the exhibition were papal dress worn by Vatican Popes including crosses made of precious stones and gold, crowns, zucchetto skullcaps and various robes among other items.

Heavenly bodies

Chasuble Designed by Henri Matisse-1950

 

 

Treasures For Heaven I

Medieval churches held many treasures within them and like those found in the Cloisters, they inspired designers. Pieces that inspired them include alter frontals, stained glass, rosaries and more. This section included a piece by Alexander McQueen, which consisted of a S/S 1999 Ensemble made of plywood, leather, wood and lace. This piece was apart of the ‘No. 13″ collection where he explored the tension between man and machine. Pictures were not allowed.

 

Earthly Hierarchy

In this portion of the exhibition religious dress and color schemes are examined. It showcases the different religious dress within one religion, usually expressing a hierarchy and religious differences in dress between different religions. Focusing mainly on the Roman Catholic church where colors black, violet, white and scarlet are heavily used. They also highlight hue changes for specific occasions within Catholic proceedings.

 

 

The Habit

This religious dress worn by females usually consists of a tunic, a scapular or apron, a veil and a sash at the waist.

 

 

 

The Dominican Habit

Perhaps the most widely recognized Habit thanks to Hollywood is the Dominican Habit. Its black and white contrast has a  stronger visual appeal for designers, as opposed to the simple brown and plain white of other habits.

heavenly bodies part 2

Thom Browne A/W 2011-12

 

The Soutane

The  everyday dress of the secular clergy is the Soutane. Created in the late 12th century this garment usually has a white clerical collar, a floor length, long sleeves and 33 buttons. Daily dress is normally a black soutane with a sash and skullcap.

 

 

 

Ecclesiastical Fashion Show

The liturgical processions of the Roman Catholic Church have similarities to a fashion show. Both follow an orderly arrangement, involve active and passive participants and involve music. The following designs were put in a fashion show like order and were placed near the rolling film “Roma” by Federico Fellini in which there is an “ecclesiastical fashion show” scene.

 

 

 

 

Celestial Hierarchy I

Inspired by saints, angels and the hierarchy of the Roman Catholic Church. Angels, which usually are depicted as guides and messengers for humans, inspired many fashion designers.

 

 

The Dressed Madonna

Many designers created and continue to create garments for Madonna and Child sculptures. Featured here are vestments created by Ricardo Tisci and Yves Saint Laurent.

 

 

 

Celestial Hierarchy II

The designers showcased here were inspired by early Italian Renaissance paintings that were based on religious themes. Particularly inspiring were saints, angels, The Virgin and the work of painter Fra Angelico, who specified in frescos following this theme.

 

 

Mosaics I

Inspired by Byzantine art that showcases figures such as Christ, The Virgin Mary and more. Dolce and Gabbana were inspired by fresco paintings found in the Moreale Cathedral in Sicily.

 

 

Mosaics II 

The Gianni Versace dresses showcased here were inspired by mosaics of Ravenna’s Byzantine monuments. The mesh like material and cross take inspiration from elements Gianni saw in the Met when he visited “The Glory of Byzantium” exhibit in 1997.

 

 

Heavenly Bodies: Fashion and the Catholic Imagination will be on display at the Met on Fifth and the Cloisters until October 8th 2018. I hope you can check it out, and see how fashion is inspired by everything, even religion. Have you been able to visit the exhibit? What were your favorite parts? -T.S.

Fashion exhibit The Metropolitan Museum of Art

The Met’s Heavenly Bodies: Fashion and the Catholic Imagination Exhibition

July 8, 2018

It’s always said that there are certain things you shouldn’t talk about. Politics, money, family, and religion to name a few. Perhaps because these are highly personal decisions, that when revealed can draw a striking line between people. Although opinions always differ by who is viewing that topic and who interprets it. That is exactly what the exhibition Heavenly Bodies is, an interpretation on religion through the translation of fashion.  It is also an exclusive view into Papal dress and ceremonial items with the blessing of the Vatican. Many of the designers that contributed pieces to the exhibition, were raised in the Roman Catholic church or similar religions. Of which they used the physical symbolism, garments, and the religious orders to inspire their work.

 

The exhibition spans the Met on Fifth and the Met Cloisters. The Met on Fifth hosts the papal portion of the exhibition and designer items spread out among the Anna Wintour Costume Center, The Medieval and Byzantine Art Wing and the Robert Lehman Wing, while the Cloisters hosts designer items showcased near artworks, architecture or similar pieces that directly inspired them. Some corresponding categories were split between both museums, so to understand the order you should visit both. The Cloisters was a perfect place to hold this exhibition as the building itself is reminiscent of a medieval castle or antique church. I talk about the Cloisters and how you can visit all three Met Museums in this post! (Click images to enlarge, press esc to go back)

 

The Cloisters part of the exhibition:

 

The Dressed Madonna II

This  Viktor & Rolf dress references  the Madonna and Child symbolism popular in the Middle Ages in Western Europe. To translate this symbol the designers created the ” Russian Doll Collection”, in which they took inspiration from the Madonna nesting a child in her lap as well as the traditional Russian Nesting Doll.

 

Holy Sacraments I

The designers in this portion of the exhibit were inspired by the act of Baptism. Karl Lagerfeld by the dresses worn by girls in France and Cristobal Balenciaga by the figures of the Virgin he saw in church processions.

 

 

 

 

Holy Sacraments  II

This Marc Bohan dress was part of his debut collection for Dior. It is named the ” Hymenee” after the Hellenistic god of marriage. Although there are also inspirations from the nun and monk habit.

 

 

 

 

Cult of the Virgin 

The dresses displayed here are from the Jean Paul Gaultier S/S 2007 Haute Couture collection ” Les Vierges” ( The Virgins). Inspired by the Blessed Virgin Mary. Each detail of the dress representing Mary, the blue, halo, veil and heart all an iconography depicting stages of her life.

 

 

 

 

Religious Orders

 

I couldn’t get close to all of these pieces, which included designers Rick Owens, Madame Gres, Valentina, Geoffrey Beene, Claire McCardell, and Pierpaolo Piccioli. These designers were largely inspired by simplicity and specifically for these pieces, the monastery.

 

The Crusades II

Craig Greene is continually inspired by Christian figures such as King Arthur. He mixes religious and military inspirations, practically the Orthodox Church with Islamic carpets for these pieces. Mixing both military and different religions.

 

Sacred/Secular

Inspired by the tapestry “The Unicorn in Captivity”. A piece of art that has been interpreted by Christianity and Secular groups to represent different meanings. This Thom Browne wedding dress mixes both meanings, Christ (Christian meaning) and a happy groom bonded by marriage (secular meaning).

 

Mary Mother of God

Inspiration for these pieces come from Mary, Mother of God. Chanel was inspired by stain glass windows found in a church in Germany. The windows depict Mary in a blue gown with wheat. Grain is a representation of the nourishment Mary gave and God’s bounty.

 

 

 

The Annunciation

Inspired by the Annunciation Triptych a Netherlandish painting. Mainly the subjects of the red robe of the virgin and the wings of an angel. The volume of both of these subjects is depicted by the feather outlines of the dress. It was also inspired by the painting Hans Memling’s Virgin and Child Enthroned with Two Angels.

 

 

 

 

 

Gothic Art and Fashion:

This part of the exhibition held designs by Alexander McQueen that were not allowed to be photographed. Alexander McQueen was inspired by religion, specifically the religions found in Netherland inspired paintings. On display in this section of the exhibition are pieces from his A/W 2010/11 collection that was showed after his death in Feb of 2010. Specific inspiration came from altar pieces and religious paintings and McQueen’s constant pursue of translating death and the after-life.

 

 

 

 

 

The Garden of Eden

These pieces were inspired by paintings that depicted Adam and Eve and the garden in which they resided.

 

 

The Crusades I

Inspired by armored giant of the d’Aluye family in France who crusaded across Europe preaching the gospel. This practice lasted three generations.

 

 

Treasures For Heaven II

This part of the exhibition focused on the objects or treasures churches held. Such as  carved wood, silver, gold reliquaries, and ceremonial vessels. Pieces made by medieval artists found within these treasures and more inspired these designers.

I’ll have a separate post on the items found at the Met on Fifth included in this exhibition. Heavenly Bodies: Fashion and the Catholic Imagination will be open until October 8th.- T. S.

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How to visit all three NYC Met Museums within 2-3 Days

June 11, 2018
the met

Last week I did something I do quite often, visit the Met Museum every year to view their largest Costume Institute exhibition. Before they open this exhibition the museum host the MET Gala. Yes that Gala in which you ask yourself why are these celebrities dressing up or dressing weirdly? I’ll break it down a bit for people who are not in the fashion, media, art..etc world. Every year the Metropolitan Museum of Art features a few exhibitions, and one very large one. Anna Wintour from Vogue, board members and the Met Museum decide on a theme or designer to focus on or honor with the exhibition. In the past they have focused on Asia and Asian inspired fashion with China Through the Looking Glass or one of their most visited exhibitions Savage Beauty on Alexander McQueen after his death.  To attend this event, celebrities have to be invited by Anna Wintour and the team, of which they decide who sits where and they also depict the dress code, usually in connection to the theme of the exhibition. This years exhibition Heavenly Bodies: Fashion and the Catholic Imagination, inspired many celebrities to dress in Pope like attire. Some celebrities embrace the theme while others don’t, I personally love those that do. In order to attend this gala, celebrities pay around $30,000 per ticket which benefits the Costume Institute. This year the exhibition spans two locations of the Met Museum. The largest part of the  exhibition taking place at The Met on 5th ave and the second at The Met Cloisters in upper Manhattan. I was determined to visit them both and because I thought The Met Bruer had part of the exhibition I ended up visiting all three within two days. How can you do this? I’ll give you my tips below.

 

There are a few ways you can accomplish this and I am going to suggest one way for New Yorkers and one way for tourists. I think of it this way because normally New Yorkers will know which subways to take and how to find these subways quickly. Where as if you are a visitor you will probably need some time to figure out which subway to take, where you have to catch it, where you have to get off and where to go once off etc. If you are savy with directions or have a great app to help you it can speed up the process. I just suggest taking this into consideration and the fact that NYC blocks are a mile long and you’ll be looking up at buildings and not walking as fast. Now if you feel you want to do this in a different manner, go right ahead but after some thought and doing this myself these are my suggestions. With one Met Museum ticket you can visit all three locations within three consecutive days, thanks to its ticket policy. One ticket gets you into all three! So this means you only have to pay to get into one museum no matter which, and transportation. Take advantage of this and make sure to KEEP THE RECEIPT as each museum will ask for the receipt when you mention this policy!

 

Tourist: Your first stop should be the Met Breuer, the smallest of the three. This museum holds modern art including Picasso’s. The museum is small with only a few floors, with one currently closed for construction. It also has many large sculptures as opposed to alot of paintings, which in my opinion made the process of reading about and viewing the piece faster. It only took me an hour an a half to complete the museum, but you might be going a bit slower than I did so I’d say give yourself 2-3 hours here. It probably won’t take you longer than that because like I said, its small. If your hungry check out the café which has a patio area on the basement level of the museum.

 

Your next stop should be the Met on Fifth. The Met on Fifth is only seven blocks away from the Met Breuer, save yourself money and walk there! If its good whether, you won’t regret it, as the architecture of the upper east side is beautiful and the townhouse lined streets are peaceful. I love walking to the Met because of this simple fact, its like getting a quick peaceful break before you cross into the bustle of Museum Mile on fifth. The Met on Fifth is the largest of the museums and it is going to take you the rest of the day to get through it. Some of my favorite parts of the museum include the Costume Institute if there’s a fashion exhibition, the Egyptian Art wing, the Charles Engelhard Court in the American wing, the Medieval Art wing and the rooftop. The rooftop is open May-October and sometimes holds exhibitions while the views of the city are incredible.

 

By the time you are done with the Met on Fifth you’ll probably be too tired or it will be too late to attempt to go uptown as the MET closes at 5:30pm (Sun-Thurs) and the Met Cloisters at 5:15pm. You might feel like you didn’t see everything at the Met on Fifth and want to come back the second day. You are going to want to leave the Met Cloisters for the third day, as it takes a while to get up there and because it deserves a slow stroll through the grounds. The Met Cloisters is located inside Fort Tyron park in upper Manhattan, literally almost at the very end of Manhattan. From the Met on Fifth to the Cloisters the subway ride will take around an hour, and from the subway to the museum you are walking uphill. Give yourself time to walk slowly and take in the views of the flowers and nature of the park. I’m assuming you can take a taxi up but why would you, when you’ll miss the views and the nature. NOTE: Once you get off the train follow the signs that say Cloisters to find the elevator inside the subway station that will take you up to the entry of the park. If you attempt to walk from the subway, it will take long and it might be confusing. The park also has many hills and steps and you will be EXHAUSTED by the time you get there. I’ve walked there both ways and highly suggest finding that elevator!  Take your time in this museum, its small but gorgeous as it is filled with medieval art and the gardens and the architecture of the building are impeccably detailed.

 

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Local: YOU GOT THIS! I did it!

Now you may like the suggestions I made for tourists, and by all means follow them. But as a person who enters NYC via midtown I prefer going all the way up to the Met Cloisters first and coming back down to the Met Breuer in one day. Now the Met Cloisters connects via the A subway which runs on the west side of Manhattan, but the Met Breuer is on the east side. You would need to transfer to the C or B subway at some point or get off near Central Park and cross. It doesn’t take long if you walk NYC pace! I still enjoyed the park and I made it to the Met Breuer with hours to spare. From the east side of the park to the Met Breuer its only one block away. I did it this way and felt I saw everything both museums had to offer and got to stop and admire sections of the park I hadn’t before. I visited the Met on Fifth on a separate day, I suggest doing the same due to how big it is. Since I know my way around the museum on fifth, I knew exactly what I wanted to see. What I didn’t know and what you might not have realized is the ticket price for local NEW YORKERS is pay as you wish. College students of the NY, NJ and CT area can also pay as they wish. For non-New Yorkers it cost $25 to enter the museum, but like I mentioned above keep that ticket and receipt because it gets you into all three museums. This policy is fairly new, and a lot of people think it’s still pay as you wish for everyone, it is NOT. But it is well worth it if you visit all the museums!

 

Don’t miss the Picasso’s and Degas’s at the Met Breuer! They have the famous The Little Fourteen Year Old Dancer sculpture by Degas along with other modern art. The museum is the smallest of the three, with many sculptures and a floor currently under construction. You might be finished with more than enough time to visit the Met on Fifth! Take your time at the Cloisters, its like stepping out of New York and into a European medieval castle. The museum itself is small, but you are going to want to take in the details and beauty of the architecture, art and grounds. While Fort Tyron park is beautiful on its own. When at the Met on Fifth make sure to visit the Egyptian and Medieval sections and the rooftop, you wont’ regret that rooftop!

 

 

 

 

In whatever manner you visit the MET Museums I highly suggest you take advantage of the ticket policy. Locals who are just looking for something to do on a weekend or looking for ways to educate their kids are going to enjoy these museums. While tourists visiting for the first time are not going to want to miss the MET, it is a MUST. I hope this post encourages you to visit at least the MET on FIFTH, as I’ve been visiting this museum since I was a little girl and it is still one of my favorite places on earth.

 

Trains: A,B,C

Time: 2-3 Days

Cost: $25 per ticket + subway ride $2.75 per ride + if you are coming from outside NYC.

 

I will have a separate post on the Heavenly Bodies : Fashion and the Catholic Imagination. Have you ever visited all three museums as a local or tourists? Let me know in the comments and on social media!- T.S.

 

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The Met Museums Irving Penn Exhibit

July 31, 2017
Irving Penn met museum

In the world of fashion photography certain names are known for their iconic work. Present day photographers like Annie Leibovitz and Patrick Demarchelier are known as “Vogue “ photographers. Known for their ability to capture a model or celeb in artful and transcendent picture. Irving Penn knew how to capture the iconic supermodels of the time in bold fashions and celebs like Audrey Hephburn in a clean and humanizing manor. Although he was known for his portiats of famous people he also enjoyed still life photography. A global photographer, he introduced different cultures to anyone who viewed his work. As a celebration of his centerian birthday the Irving Penn Foundation has gifted many of the prints showcased in the exhibition to the Met. The following are prints of Penns work covering fashion models, Vogue Covers, artist, designers and  actors and more.

 

Early street photography

Pens first camera was a twin-lens-reflex 2 &1/4 inch square format Rolleiflex. He used it while working as an assistant for Harper’s Bazaar graphic designer and art director,  Alexey Brodovitch. Penns work included photographs of shops, hand written ads and street signs in NY and Philly. His photography documented the time period of depression the U.S. was in. His techniques consisted of focusing and extreme cropping each picture. He also used this technique while on a trip to the southern U.S. in 1941 and again on a photo and painting trip in  Mexico.

irving penn, met museum

Rolleiflex 3.5 E3 Twin- Lens Reflex Camera with 75mm Carl Zeiss Planar Lens, 1961-64. Penn bought his very first Rolleiflex in 1938. This one he bought in 1964 and used it for portraits.Modified to Penn’s desire.

 

Still Life

Still life photography was his  favorite topic to photograph. The subject required discipline and creativity at its most challenging point for Penn. In still life photography he had to compose an image that could tell a story. He would often use traces of human interaction like a a lipstick stain on a glass to help interpret the story. The purpose was to make the viewer of this photography focus on the signs of life and the possible story behind the pictures.

Irving Penn

After- Dinner Games, New York 1947

Existential Portraits 1947-48

After serving in WWII Penn once again worked for Vogue. Art director Alexander Lieberman gave him the job of taking self portraits. The goal was to introduce culture to the pages of Vogue and broaden Penn’s career. Vogue picked the clients that would be photographed while Penn controlled the set. This job was a first for him as he never photographed famous people. His technique included positioning them at an angled corner. His sets had an unfinished feel to them which conveyed the feeling of deception that he believed self portraits could have.

Irving Penn Met museum

Truman Capote, New York, 1948

Vogue Covers 1934-2004

In total Penn photographed 165 Vogue covers, eclipsing any other photographer to date. He photographed many Vogue models and even married one. Lisa Fonssagrives was the equivalent of a super model in her time. She was also the highest paid model of that time period and her ability to pose effortlessly caught Penn attention and admiration. After they married they continued their work relationship as Vogue model and photographer. Their collaborations produced some of the most famous Vogue covers in fashion publication history. The extravagant changes in fashion during the 40’s and 50’s allowed Penn to create stare worthy photographs. Wide brimmed hats, cinched waist and billowy skirts created dramatic silluhotues for photography.

Irving Penn

Vogue Covers

 

 

Vogue Years 1947-51

After conquering portraits Penn’s mentor Lieberman wanted him to get a full education on what it meant to be a fashion photographer.  In Lieberman’s eyes he was still rough around the edges. Lieberman sent him to Paris to watch all the couture fashion shows to familiarize himself with the fashion scene. The massive thrall of fashion photographers vying for perfect shots in between editors and the rest of the fashion pros was overwhelming for Penn. He preferred a quiet and private studio, so one was appointed for him while in Paris. There the collections and models were brought to him to shoot, leading to his meeting with wife Lisa. In his Paris studio he shot the latest fashions by designers such as Balenciaga.

Irving Penn met museum

Women in Chicken Hat 1949-Wife Lisa Fonssagrives-Penn

Irving penn, the met museum

Dior dress 1949

Print Making

Penn liked to see what his worked looked like in different forms of prints. The first process included taking one photograph and printing it via a gelatin silver print in 1949.  Forty years later he printed the same picture on the newest gelatin silver print. He then printed the pictures in the 1960’s through the method of contact printing. Contact printing was considered an antique method of printing at this time. His method included enlarging negatives to his desired size and mounting each version to aluminum and coat them with layers of platinum and palladium. His experiments with types of print, tones, shadows, colors, scales and papers gave him freedom as a photographer. While other photographers strived for consistently perfect photography Penn searched for the interesting in each version.

Irving penn met museum

Girl Drinking (Mary Jane Russell) 1960-2000

Cusco 1948

In November of 1948 Penn went on a fashion assignment for Vogue to Lima, Peru. After  he completed the assignment he traveled Peru on his own. He found himself in Cusco’s Andes mountains where he rented a studio for portrait taking. There he photographed the locals and passing visitors in their traditional wool clothing. These portraits  introduced a deeper physiological affect to his photography. So much so that Vogue ended up printing these pictures in the story “Christmas in Cuzco” in their 1949 December issue. This publication helped bring images of people and cultures America knew little to none about. Although Penn shot the pictures in black and white, Vogue published them in color. Giving the vibrant local clothing an opportunity to shine.

Irving Penn, the met museum

Many Skirt Indian Woman, Cuzco, 1948

 

the met museum ,irving penn

“Christmas in Cuzco” Vogue, December 1949

 

Small Trades 1950-51

During July of 1950 Penn was once again shooting couture collections for Vogue in Paris. While there he took on a new project of photographing trade workers. He continued the project making it his longest series ever by capturing the trade workers of London and New York City. His techniques included photographing the small trades workers in their work attire and tools on the same studio he shot models and famous clients. The set, lighting and backdrop for his small trade series were the exact same in his fashion photography. He felt that doing so equalized the workers to the elite that he photographed. Vogue once again published these pictures in their 1950’s publication.

Met museum, irving penn

Marchande de Ballons-Balloon Seller, Paris 1950

irving penn,the met museum

Potissiers or French Pastry Chefs, Paris 1950

Nudes 1950-51

During this time period Penn experimented with the silver process of printing and overexposing his pictures. After this process he then bleached them which produced different prints.

Classic Portraits 1948-62

At this point in Penn’s career he was one of the most sought out photographers in fashion and beyond. He worked for Vogue while also working in advertising. People who were asked to sit for Penn no matter how famous or wealthy considered it an honor. To prepare himself for the task of these portraits Penn studied the art of Goya, Daumier and Toulouse-Lautree. Their work conveyed focus, lighting and immediacy that Penn hoped to convey in his portraits. For Penn the toughest part about photographing a famous person was getting them to drop their persona.  Penn did so by meeting them in simple blue jeans and talking over coffee before beginning. During the session Penn would encourage his client to be as comfortable as they wanted to be. In the end their relaxed nature gave Penn the exact picture he wanted.

Irving Penn, the met museum

Audrey Hepburn, Paris, 1951

Met museum, Irving Penn

Pablo Picasso at La Californie , Cannes 1957. This was taken after Picasso pretended not to be home, so Penn climbed over the gate. Penn patiently worked with the moody artist,

Cigarettes, 1972

In the 1950’s Penn worked on ads for cigarette ads, although he despised the act of smoking. His cigarette series was a look at how society was in a disruptive time in history. Riots, Vietnam war, police corruption and New York City in bankruptcy and the governments willingness to promote cigarettes inspired the photos. Around this time his mentor Alexey Brodovitch died of cancer in result to his smoking habit. The smashed cigarette buds in gutters signified a painful moment in time not only for Penn but for the country.

irvirving penn, the met museum

Cigarette No. 82, New York 1972

 

Worlds in a Small Room

After serving in WWII Penn was inspired to travel the world and take pictures of different cultures. During 1967-71 he did just that for Vogue. With only a tent to serve as a studio Penn photographed locals of the Pacific and Africa. Although he did not intend on it, these pictures are reminiscent of invaders colonizing a newly conquered world. Vogue once again published the pictures, focusing on the local clothing and jewelry that were already inspiring the fashion of the 60’s.

Irving penn the Met museum

Man With Pink Face, New Guinea, 1970. Published in color for the Vogue 1967-1971 issues.

Time Capsules

The photos in this collection range from the 60’s to the 21st century. Inspirations include the youthquake and modern fashion of the 60’s. Theses pictures also explore the notions of nostalgia, fantasy, lost innocence and vanity. Penn was also inspired by the death of his wife in 1992 and his own aging. For Penn there was beauty in death and this inspiration was used in his late fashion photograph.

 

Designer Issey Miyake New York, 1988. Miyake and Penn were friends and creative collaborators for fourteen years. Both equally inspired by each others work.

 

 

Late Still Life

Throughout the years working at Vogue Penn not only did many creative jobs for the magazine but also shot still life photography on his own time. From 1975- 2007 he produced four series of still life. Street Material, Archaeology, Vessels and Underfoot were the titles of these four projects. The subjects were rags, metal parts, old bottles and other miscellanies items. He liked to sketch these items and find a way to bring the items to life in his photography. He achieved this through his positioning or pairing of the items.

the met museum, irving Penn

Three Poppies ” Arab Chief”, New York 1969

I always knew of this iconic photographer due to his revered fashion photography but it was so interesting learning about Irving Penn the man. He was a constant student of his craft willing to push himself past the norms. His work brought different cultures and fashions closer to western civilization. His ability to transcend a persons personality and give life to a still object is what made him the most revered photographer of his time.

Had you heard of Penn? What are your thoughts, let me know in the comments and on social media.

Learn More Here!

T.S.

art fashion Fashion exhibit History The Metropolitan Museum of Art Uncategorized

The Met’s: Rei Kawakubo of Commes des Garcons, Art of the In-Between

June 4, 2017
The Met Museum

Currently on display at the Metropolitan Museum of Art is the “Art of the In-Between”. The exhibition is a look into creator of Commes des Garcons, Rei Kawakubo’s inspirations and work. Rei founded Commes des Garcons (French for “like some boys”) in 1969. Rei’s expression of fashion is one of disruption. Her designs are what we in the industry call Avant Garde. They are unconventional and challenges what society accepts as fashion.

1.Absence/Presence

Much of her work revolves around two notions, koan mu (emptiness) and ma (space). The exhibition explores nine translations of in-betweenness through Rei’s collections and explores the  emptiness in conventional clothing. The architectural displays and circular path that visitors walk through to view the exhibition are inspired “Mu” and “Ma” the Zen Buddhism symbolizim for emptiness and space. Ma also translates to void and volume. Ma is both something with and without shape, much like Rei’s voluminous designs.

The Met Museum The Met Museum

 

2.Design/ Not Design

Rei doesn’t have a formal design education, her self education allowed her to explore how to design unconventionally. Many times her inspiration comes from a word or abstract image. Many of her collections are inspired by fusion, imbalance, the unfinished, elimination and design without design. These templates for her work are also rooted in the Zen Buddhist principle wabi-sabi.

The Met Fashion musuemThe Met Museum

3.Fashion/ Antifashion

During the late 1970’s and early 80’s Rei moved away from her traditionally Japanese inspired collections. Her need to design something with strength led her to become a modern archetypal designer. Her goal was one of originality or ” newness” and has been what defines all of her collections. Fashion/ Antifashion showcases Rei’s early 80s collections. The color story of predominately  black expresses the thought of mu (emptiness) while the shapeless and oversized garments express ma (space).

 

4.Model/Multiple

Rei has also explored the contrast of original work and the replicas that are made. In Model/ Multiple Rei’s collection Abstract Excellence the pieces take on these differences. The repetition of clothes not only represents replicas but uniformity. Her pieces in this collection have very little differences.This showcases the rift between original art and designs and knockoffs. Many of these techniques have been used in the fashion industry and are being used today in fast fashion.

Met Museum fashion

5.High/Low

The collection “Motorbike Ballerina” expresses the ties between elitist and pop culture.  High society forms of dressing like a tutu and a low society form like a biker jacket are combined. Street style takes on high end fashion and the collection explores how society see’s both.

The MET MueseumFashion at the Met Museum

 

In the collection “Bad Taste” Rei explores what bad taste is. Style associated with punk which are made with cheaper fabrics like polyester are combined with high end tulle for tutus. Her goal was to shine a light on what upper society sees as good taste. While combining those exact forms of bad taste with what society might view as good taste.

 

The Met Museum

6.Then/Now

In the collections Modern Sweetness, Sweeter Than Sweet, Body Meets Dress-Dress Meets Body, Inside Decoration and White Drama Rei travels through both modern and historical fashion. As a designer her work has been constantly influenced by fashion history. It can be seen in these collections that consists of silhouettes that are from the 19th century.

The Met Museum The Met Museum

 

In her collections Broken Bride, White Drama and Ceremony Rei explores the movement of time through life experiences. Birth, marriage and death are expressed through what Rei and much of society think about these time periods. The traditions we believe in during these periods of living are expressed both in ways we recognize and don’t.

7.Self/Other

Self/ Other explores what fashion looks like when boundaries are crossed. This part of the exhibition showcases how Rei’s work blurs the lines between East/ West, Male/ Female and Child/ Adult. East and West displays what eastern and western cultures clash in fashion. Male/ Female fuses what we typically recocnize as male attire with womenswear. While Child/ Adult focuses on what age appropriate dressing while using the Japanese cultural aspects of Kawaii (cuteness). A form of dressing made popular by the Japanese youth who use playful aspects in their dressing.

The Met Museum The Met Museum

8.Object/Subject

Object/ Subject focuses on the form of our bodies and drasticly changing the way it looks and how we think about it. In this part of the exhibition the collection Body Meets Dress- Dress- Meets Body challenges that notion. The looks include extreme padding challenging what society thinks is a beautiful body. These deformed looks contrast with the traditional cuts of fabric and prints of gingham.  The line between  dress or the object and subject the body are blurred.

Met Museum

9.Clothes/ Not Clothes

Once again Rei felt the need for reinvention and in 2014 left behind the the notion of newness in presute of making “objects for bodies’.  In the ninth installation the collection is broken down in to nine categories. In Clothes/ Not Clothes Rei introduced forms that have never been introduced to fashion. The collection is a constant rif on what can be worn and what is simply expressional pieces. They have similarities but also have considerable differences.

The Met Museum

9.1  Form/Function

Form/ Function features the collection Not Making Clothing. Continuing her search of objects for the body she created the piece as if she were not a designer. The pieces are structured, three dimensional and don’t form to the body naturally. The cuts and forms are similar to a dolls whose clothing is too big. The pieces seem cut and pasted together and don’t look as if they should go together. (Picture above)

 

9.2  Abstraction/ Representation

The collection “invisible clothes” in 9.2 challenges the thought of the body being dominate over clothing. Recognizable forms of clothes like an arm are obscured through the voluminus shapes. In doing so body and the form of the dress become one. There is not a clarity of what is body and what is dress. The goal is to see clothes not as clothes but as a form of the body.

The Met MuseumThye Met Museum

 

 

9.3 Beautiful/Grostesque

In Beautiful/ Grotesque Rei’s collections ” Holes” and ” Monster”showcase how Rei’s 1980’s collections were criticized by Western society as grotesque. Although to Rei they were simply different forms of beauty. The collection “Monster” delves into humanity, fear and going beyond what we see as common sense. Rei once again goes against ordinary fashion by creating pieces that are big and can be perceived as both beautiful and ugly. The knots and twist of the garments are meant to expand what people see as beauty.

The Met Museum

 

 

9.4 War/Peace

War/ Peace showcases the collections ” Flowering Clothes” and “Blood and Roses”. These collections are Rei’s response to the unjust events in society. Her reactions to what is happening around us is never literal, but symbolic. Her reactions and knowledge of history inspired her to create these collections. Throughout history the symbol of the rose has been used to represent both good and bad. ” Flowering Clothes” focuses on the positive connotations associated with roses. The pieces are inspired by the strength, happiness and positivity of a rose. “Blood and Roses” focuses on the dark significance a rose can have. It’s inspired by the historical use of a rose in war, political and religious clashes. In “Blood and Roses” Rei used both expressional and literal expressions of the topic with the color of bold red.

The Met Museum

9.5 Life/Loss

When one looks at Rei’s clothes they must understand that she is not an intellectual designer but an emotional one. Her own feelings inspire the collections, even those of fear and doubt. Her collections are a look into her intense emotions and spirituality. Life/Loss expands on the collection in Then/ Now with theme of transition. In Life/ Loss the concepts of the memory of a subject and memorialization of something are explored.

The Met Museum

Life/ Loss presents the collection ” Ceremony of Separation” which brings to the forefront the feelings of pain of losing someone and the beautiful ceremonies we put on to say good bye. The dresses in this collection are translations of traditional mourning dresses. The clothes are sad but extravagant with delicate lace representing how fragile life is. This collection is similar to her earlier collection “Square” where the clothes are made of one square of fabric and express the ritual of pilgrimage. The “Square” and “Ceremony of Separation” collections both explore the traditional outlets of expression during these points in life.

9.6 Fact/Fiction

Fact/ Fiction demonstrates Rei’s expressions through storytelling. The collections ” Blue Witch”, “Lilith”, “Dark Romance”and “Witch”. The collections are filled with strong silhouettes and mix menswear with womenswear.  Although the traditional forms in menswear are distorted. In all three collections menswear  becomes a feminine piece like a skirt.  The collections are pieces of dismantled and distorted, mashed together women and men’s wear. They are also expressions of  the fictional topics, witches and  storybooks.

The Met Museum

9.7 Order/Chaos

When Rei formed “Comme des Garcons” her goals were “newness” and independence. She pursued independence of conventional subjects and expression. This search lead her to appreciate street style and the punk culture. Both going against the grain of tradition and what society thinks is fashion. In “Order/ Chaos” combines history and the theme of transition. The collection “18th- Century Punk” uses the traditional silhouettes of the 1700’s combined with 1970’s punk aesthetics. The pieced together collection recalls the collection “Adult Delinquent” which was also inspired by the punk movement.

The Met Museum

 

9.8  Bound/ Unbound

In Bound/ Unbound the collection “The Future of the Silhouette” made not of clothes necessarily  but of objects for the body is on display. Here fabric is replaced by synthetic wadding  that is constructed around the body. They take inspiration from the collection used in Then/ Now without the historical references. The pieces are distorted hourglass forms that become parts of the body like that of the Body Meets Dress- Dress Meets Body collection. The pieces are binding to the body without arm holes, pressing against the notion of what accepted beauty is. The goal is not to give a body purpose, place or period in which to be but to simply exist between these aspects of life.

The Met Museum

 

Rei’s work will not instantly make you think of fashion, but of expressionism. Once you are able to understand what she is expressing , you will be able to understand and see the fashion in it. Much of it is not meant to be worn but translate and affect how society thinks and feels about what’s acceptable in fashion and beauty. It is a story of the “art of the in-between.”

The exhibition Rei Kawakubo: Commes des Garcons/ Art of the In- Between is on display at the Met until September 4th. I enjoyed learning more about this fascinating designer and hope you do to. Her take on fashion and its emotional connections are what I relate to most. Let me know if you visit the exhibition and what your thoughts are. Pay attention to my Instagram for more pictures throughout the week.

T.S.

fashion History shoes The Metropolitan Museum of Art

The Met’s Masterworks: Unpacking Fashion

January 16, 2017

Currently at the Met’s Costume Institute is Masterworks: Unpacking Fashion. Visitors are given a peek into the Costume Institutes archives from the eighteenth century to twenty first. Not only has the museum acquired one of the largest collections in the world but one that includes Masterworks. Masterworks are labeled as such due to the garment ‘s technical qualities that have pushed the process of garment making forward. The qualities that deemed each piece a masterwork changed as eras progressed. Curators chose pieces that complemented each other no matter the time period. Essentially showing how fashion reacts to the past, present and future.

18th Century Masterworks: Quality of Materials

During the 1800’s the craftsmanships of embroidery, textiles, weaves and tailoring are what constitute masterwork. As the silhouettes of garments did not change much during this period it was the use of intricate techniques that made them masterworks. The Robe Volant, or one piece gown with a tight bodice, flowing front and back pleats was the typical style worn by women and girls. During this time the reference to lingerie  through  fuller proportions was seen as indecent and as a result so was the wearer. The shape was also frowned upon as people believed pregnancies due to affairs could be hidden. The simple silhouettes allowed the detailed damask or brocade prints to be the showcase of the garment. The making of a garment was through the process of draping fabric on a bodice and folding pleats rather than cutting and sewing.

Fashion

Robe Volant 1730 French and Robe A La Francaise 1760

 

Men’s attire for this period was inspired by new trade relations between Britain and Asia. An influx of new materials and styles such as silk and kimonos originated from China, India, Persia and Turkey changed the fashion of Europe. All of these cultures inspired the Banyan a casual house gown worn by British men. Depending on details like fit, cut or quilting they would be adorned at home or out at casual events. This coat’s European silhouette combined with Asian materials and styles was seen as elegant and fashionable. Men who wore a Banyan were considered well traveled with great fashion sense. Again simple lines and tailoring were used allowing detailed embroidery, bold patterns and bright colors to be the focus point of the garment.

fashion

British Blue Banyan 1760-70 and Red Suit 1770-80

During this same time period French fashion was pushing the boundaries and blurring the lines on what was acceptable for women to wear. Striped prints took the place of embroidery, a trend influenced by Asian relations. The print now being used for both female and male attire was previously associated with socially excluded populations. Men’s riding coats, cape collar and lapels were some of the masculine trends implemented into the Redingote or women’s dresses. To the dismay of  French magazines and their progressive efforts the public viewed the this trend as a perverse mixing of gender roles.

historical fashion

1790s Men tailcoat and 1787 Women’s Redingote

19th Century Masterworks: Technical developments in tools and speed and changes in  silhouettes

This century saw quick changes in a garment’s silhouette as opposed to the 18th century, which relied on materials to progress fashion. The use of bustles, crinolines and corsets was introduced drastically changing the form of a woman’s body. Technical abilities in cutting and sewing progressed with the introduction of the Jacard loom and the sewing machine. These tools allowed for garments to be made faster, cheaper and created ready-made or ready to wear accessibility. During this period the introduction of  Haute Couture by designer Charles Fredrick Worth was also pushing fashion forward. His tradition of labeling his pieces introduced the notion that a designer was a creator and artist.

fashion

Paul Poiret Opera Coat 1911

Fashion History

House of Worth 1898

 

 

 

 

 

 

 

 

Early Twentieth Century Masterworks: Innovation and Reinvention

War World One like many other aspects of society affected fashion. Simple garments with less body restrictions was the norm. Haute Couture masters such as Paul Poiret and  Madeleine Vionnet embraced the uncorseted frame by using the draping method. As usual fashion and art intertwined with the surrealist movement inspiring collections by Elsa Schiaparelli and Charles James. As some designers looked to the future others looked to the past. Jeanne Lanvin’s mid-eighteenth  century inspired pieces included techniques used in the 1800’s. Techniques such as simpler silhouettes with bold embroidery and prints were used again .

Left:Madeleine Vionnet 1929 Haute Couture, inspired by the past and future fashion.
Right: John Galliano Spring/Summer 1999. Inspired by Madeline Vionnet gowns.

Fashion

Both House of Lanvin Haute Couture
Left: Traviata Robe De Style Winter 1928. Right Robe De Style 1926-27

 

 

 

 

 

 

 

 

 

 

Late Twentieth Century Masterworks: Cultural Combinations, Youth Dominance and Couture’s Survival

At this point in fashion the popularity of Haute Couture was waning as the boom of ready to wear excelled. Designers like Yves Saint Laurent guided couture into relevancy by combining traditional couture elegance and modern street style. Cristobal Balenciaga  looked to the past and continued implementing 17th century structures with modern details. While punk visionary Vivienne Westwood lead the uprise of deconstructive fashion. Influences for her 1970’s,80’s and continuous collections included the fashion of the 17th-19th centuries.

Historical fashion

Left : Yves Saint Laurent Rive Gauche Spring Summer 2014. Right Yves Saint Laurent 1971. The Rive Gauche line by YSL used inspiration from the 40s.

Fashion History

Chicago Jacket by House of Dior by Yves Saint Laurent Autumn/Winter 1960-61. Referenced a moto jacket but couture made.

 

 

Contemporary Masterworks: Rebellion, Expression of the times, Garments with multiple meanings

Masters of the moment included Hussein Charlatan, Martin Margiela, Yohji Yamamoto, Issey Miyake and Alexander McQueen. The advancement of the deconstructive technique by Margiela unveiled the intricate details of the construction of a garment. A process normally only seen by the designer. The use of unconventional materials was introduced and paired with traditional couture techniques. Materials like porcelain and wood were transformed and conformed to a women’s shape. By doing this designers expanded the relationship between a women’s body and clothing as well as peoples traditional ideas of fashion. Pop culture, politics and perceptions were also questioned and applied to the creation of a garment. From my recollection of my college days even the  history of a country and its fashion inspired collections. Alexander McQueen and John Galliano both designed the traditional corset with  progressive materials like coiled wire.

Fashion

Yarmoto 2006-2007 Black silk, plastic and cashmere wool bustier. Issey Miake 1880-81 red molded polyester resin and cellulose nitrate bustier

history fashion

Pannier hooped petticoat 1760-70.

 

 

 

 

 

 

 

 

 

The Harold Koda Gift

Curators are preservers of art who expand the lifespan of each piece. By doing so they allow art to live beyond its prime and introduce generations of observers to a historical world. This is what Harold Koda did as Curator in Charge at the Costume Institute for fifteen years before retiring in January of 2016. In tribute to him current Curator in Charge Andrew Bolton and Met Trustee Anna Wintour commissioned thirty designers to donate selections of their archives to the Met. Each  piece chosen held significance for Honda and found a purposeful position in the existing collection. Designers recalled their admiration and relationship with Koda that was cultivated through collaborations for the Costume Institute.

Fashion History

Philip Treacy “Paphiopedilum Philippines Hat. Spring/Summer 2000

Historical Fashion

Maison Margiela by John Galliano Coat Dress 2015-16

 

 

 

 

 

 

 

 

 

The exhibit gives an inside look at how fashion continues to be influenced by history. It showcases how innovative designers find a way to move fashion forward with techniques of the past and future.  Masterworks:Unpacking Fashion will be on through February 4th 2017. Metropolitan Museum of Art 1000th 5th Ave, NY,NY,

T.S.