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"I know the price of success: dedication, hard work, and an unremitting devotion to the things you want to see happen."
Frank Lloyd Wright 1867 - 1959
The Frederick C. Robie House is a U.S. National Historic Landmark on the campus of the University of Chicago in Chicago, Illinois, USA. Built between 1909 and 1910, the building was designed by architect Frank Lloyd Wright and is renowned as the greatest example of Prairie School, the first architectural style considered uniquely American.
Wright designed the Robie House in his studio in Oak Park, Illinois between 1908 and 1909. The owner, Frederick C. Robie, was only 28 years old when he purchased the property in May 1908. He and his wife, Lora, a 1900 graduate of the University of Chicago, selected the property to remain close to the campus and the social life of the University. The Robie family, Frederick, Lora, and their two children moved into the house in May 1910.
The steel beams in the 9,062 square foot building carry most of the building's weight to piers at the east and west ends. As a result, the exterior walls have little structural function, and thus, are filled with doors and windows containing 174 art glass panels in 29 designs.
Attending the University of Chicago had been a dream of mine, but as a welfare child it seemed an impossible dream. In a long career path I was finally accepted into the University program to pursue my doctorate in International Business in 1990 and fell in love with this architectural icon. The Robie House has only recently received funding for a full renovation which is scheduled for completion within the next few years. Tour groups must wear hard hats to see some rooms but the work continues. Thankfully, most of the art-glass can be saved including my favorite design of which I have a small recreation at my home.
The angular crossings remind me of the lacing on a corset, the house itself with the steel beams like a well-fitted corset. The purpose of both is to create beauty and elegance as well as to support and protect. To honor the Robie House and the years when Lora Robie was enjoying her new home's creation, I chose an early Edwardian corset style to create for the Foundations Revealed Competition 2019. Lora may have worn such a corset style as she walked the campus and watched the dream of her new home become a reality.
Research of the Early Edwardian Era from 1902 to 1909 defines the a lady's fashion silhouette as having a low, full bust and long hip creating a "pigeon breast". The straight front of the corset gives the figure an S-bend. The bust sits lower and may be artificially exaggerated with padding and ruffles and other methods as the corset flows away from the ribs, while a hip padding may be placed under the corset to give the impression of an arched back and rounded hips.
Research of the Early Edwardian Era from 1902 to 1909 defines the a lady's fashion silhouette as having a low, full bust and long hip creating a "pigeon breast". The straight front of the corset gives the figure an S-bend. The bust sits lower and may be artificially exaggerated with padding and ruffles and other methods as the corset flows away from the ribs, while a hip padding may be placed under the corset to give the impression of an arched back and rounded hips.
As this is my fourth corset, I am still learning many basics. I have grand visions of beaded and intricately flossed designs but decide, instead, to focus on learning the basics of the sculpture of this era. I decide to begin with a Truly Victorian pattern as my base which allowed for a toile that I could then customize to fit. The pattern states "This pattern is recommended for persons with previous corset making experience." I'm ready!
There are many new techniques for me to learn with this corset era: bust gores, hip gores, internal boning channels, and even padding to accentuate and fill to the desired silhouette of that time. I begin with a basic muslin toile to learn how the pattern works, to decide on the option given for high, medium, and low bust heights, and the same for the hip length.
I choose the high bust option which is designed to hold the bust at about the same height as a modern bra but lower than a Victorian corset. I also choose the low hip which will still have a beautiful curve to showcase garters.
A pure white narrow herringbone coutil is my strength layer.
The first new techique - bust gores. Careful stitching and topstitching and I see a shape taking shape.
After sewing midnight black bias binding to the top edge of the corset, I insert the bones.
A pure white narrow herringbone coutil is my strength layer.
Over the coutil I lay a pure white organza embroidered with leaves. This layer is to give the impression of a windowpane and the longest season in Chicago, Illinois: winter. To keep the panels and layers organized I pin them to my dressform and work with them in order.
For the center back panel I use a gold silk the color of the center panels of the Robie House art-glass window design.
The busk is matte black, as will be the grommets and corset lacing and binding to reflect the black lines in the inspiration design. Although I have been successful with my past three busk insertions, I still have a little celebration when this one is finished and looks beautiful to me!
As I sew the gores and panels I stitch the coutil and organza together at the leading edge leaving the trailing edge free. When I pin the layers for sewing I form them over my pressing ham to give them some ease which they will need in wearing.
The first new techique - bust gores. Careful stitching and topstitching and I see a shape taking shape.
The remainder of the panels, bust and hip gores are sewn and the corset halves are complete.
A hip gore close-up and a fit test of the self-made garters. Loving these bust and hip gores!
The Truly Victorian pattern includes bust and hip pad patterns and I take a break from the corset to sew and fill these. They are made from the same gold silk as the corset back center panel and garters and filled with a modern poly-fill.
I cannot delay the next step any longer :), grommets. I don't have a setter so all are done by hand with an awl and a hand setter and hammer. It takes patience and hand strength and chocolate to get through the 30 grommets. But eventually they are all in and although I have a nasty blister on one hand, I'm happy.
Curiosity gets the best of me and I have to see how all of this creates the Early Edwardian silhouette. Those Edwardian ladies were clever!
Now for the second new technique - internal boning channels. My steel boning is 1/4" wide and the boning tape is wide enough for two bones each. I lay them to follow the pattern but adapt for my size. The channel is stitched down the center, then on each edge. With the back center panel there are a total of 28 bones in this corset, 14 per side.
After sewing midnight black bias binding to the top edge of the corset, I insert the bones.
After sewing the binding on the lower edge I add embroidery flossing to hold the steel bones in place. As with anything, the more I flossed the better they looked, but they still weren't perfect. If anyone was that close to see the imperfections they had better be buying me a diamond ring. :)
With the lacing added I was ready for photos of my Robie House-inspired corset both indoors and outdoors on my antique dressform. Can you see my dressform through my little window?
I also took some photos indoors.
And then I went to the computer to submit those six indoor photos and my essay to the Foundations Revealed Competition 2019. I froze. I had already seen some of the incredible creations by professionals with professional photographers, models, make up artists. But I had also seen those of us who are still learning and growing and I knew that the professionals were doing the same - learning and growing. And although I'm crawling still, I can only walk if I keep getting up and trying. So I submitted my entry which will appear for the public on March 1st, just over a week from today.
I'm stunned and happy with what I've learned in this corset and am now ready to start a new project which will stretch me even further - a recreation of a 1908 double lacing corset in the collection of Edward Jones. I have been able to purchase his pattern made from the original which assists his tuition for University.
I believe that Frank Lloyd Wright would smile to hear me say that I understand what he meant when he said "I know the price of success: dedication, hard work, and an unremitting devotion to the things you want to see happen.". It took all of that for me to create, submit for the Competition and honor a Frank Lloyd Wright place in a Frank Lloyd Wright time.
As a member of Foundations Revealed I have to acknowledge and thank the incredible tutorials, videos, and mentors and supportive members from whom I have and continue to learn so much! Specific information from Foundations Revealed used for this project include:
1. Flossing Design Library - Symington Collection, written by Cathy Hay
2. April 2018 Monthly Mentor Meetup - Edge Finishes
3. July 2018 Monthly Mentor Meetup - External Boning Channels
4. September 2018 Monthly Mentor Meetup - Padding the Figure
Thank you for taking time to follow my story!
