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	title of this thread your message And FLW preferred some ornamental and formal expression (some would call them flourishes) through forms and materials that added finishing details of balance and beauty to his as nearly as feasible balanced and beautiful compositions, even as the thought and fashions of an avant garde in his profession usurped his leadership, marginalized his preferences and beat him out of commissions. Is it surprising that FLW would persist in these preferences, these flourishes, given that this sort of behavior had been how he had apparently distinguished himself to some degree, and so curried favor with his mother, apparently in a way his father never could? I also always think there is something to be learned about a person, especially a professional, from the way a person dresses. It is not always a simple message. It is not always obvious. But it is there, if we wish to understand the person. The diminuitive Wright did not prefer to be pictured in blue jeans and a work shirt, though he may well have worn them on a construction site sometimes. He did not prefer to be pictured in a Brooks Brothers suit, back when they were a convention of doing business. He often wore a broad hat and a cape of the kind one sees persist in some use into the mid 1990s on the promenade in Rapallo, Italy (haven't been back since, but intend to). A broad hat and cape were not conventional, or "necessary," certainly the last three decades of Wright's life. But they brought to his appearance the kind of simplicity that bears within it function and expression in beautiful balance, especially in a short, slightly balding man with a need since childhood to distinguish himself as a worthy successor to the marital order. associated web images (optional) associated web link (optional) your email your password create a forums account \| you forgot your password?