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Tim Gunn's Blog
Episode 14: New York Fashion Week!
This is the last season in which Bryant Park will be center stage for New York Fashion Week. In spite of the fact that Bryant Park has been responsible for branding New York as "the Fashion Capital of the World," the New York City Parks Commissioner wants us OUT. His office maintains that Bryant Park is a public space, yet Fashion Week is an "invitation only" (i.e., private) event. Humph! Thanks to the tenacity and fortitude of IMG Fashion Executive VP Fern Mallis and her #2, Christina Neault, Fashion Week is carrying on in Lincoln Center, the ne plus ultra arts venue of NYC. So, effective in September, there we will be!
Back in February, at "Project Runway's" seventh finale, 10 designers showed collections, because 10 designers were still standing on the show. Actually, 11 designers were still standing. Anyone with their wits about them could figure out that it was Maya who didn't show. Consequently, there was understandable speculation that Maya must be the next designer to be auf'ed. Wrong. It was Maya's trepidation about the possibility of being a finalist and having to show at Fashion Week that triggered her early departure from the show. Ergo, she didn't show.
So, owing to the excessive number of designers who were showing, we reduced the number of looks in each collection from 12 to 10. The 20 fewer looks saved us close to 10 minutes of runway time, which in the scope of matters was a lot. And imagine the backstage, behind-the-scenes chaos: 100 models, 50 dressers, 80 hair and makeup artists, our production crew members, the producers and Lifetime executives, and … me. Laurie DeJong, who has produced our finale since Season 1, turned to me at one point and declared, "Promise me that we will never show this many designers again! I've never seen anything like this and never want to again!"
I was extremely proud of the six designers who weren't among the initial four finalists. I had visited Mila, Seth Aaron, Emilio and Jay to check up on their collections, but I hadn't seen the work of the others. It wasn't until they arrived for the finale week and were set up in a studio that was adjacent to the studio of the finalists that I was able to weigh in on their collections. They presented the strongest group of "decoy" work in the history of the show.
Many people, including the designers, assume that I know everything about what's happening or what will happen as it pertains to the show. Frequently, I'm as much in the dark as everyone else. Case in point: our finale guest judge. I didn't have a clue that it was the sublime Faith Hill until Heidi introduced her to our Bryant Park audience. She was fabulous. Thank you, Faith!
Seth Aaron WINS and makes "Project Runway" history as our Season 7 winner! Since the time of my visit to him six weeks earlier, he did, indeed, raise the bar for himself. He created a powerful collection that eschewed any reference to costume and exuded a wearability that I believe had been absent in many of the looks that he designed during the season. The looks in his collection demonstrated an unwavering point of view, spoke to qualities of innovation and embraced risk-taking. This is what he needed to do to surprise the judges and allow them to analyze his work from a fresh point of departure. There was no question that this was the work of Seth Aaron, but these designs possessed a higher level of sophistication and maturity than we had seen from him earlier. Please be assured that I am in no way trivializing his earlier work; I'm a huge fan! Rather, I write this to point out, metaphorically, that he found the answer to the riddle of the Sphinx. The challenge of figuring out how to mitigate the judges' previous perceptions of your work and surprising them while still being yourself is elusive to most of the designers across the many seasons of the show. Seth Aaron figured it out. And it was interesting to observe his stunning red dress on Kristina, because the longer it was observed, the more seductive and compelling it became. Hearty congratulations, Seth Aaron!
Mila was Seth Aaron's top contender, in my opinion. I loved her collection: She struck a powerful counterpoint in the proportions of the items within looks, she raised her neutral palette to a higher level by working with shiny versus matte surfaces, and she repositioned her nod to the '60s by placing it squarely in 2010. And I am forever grateful to Heidi, Nina and Michael for suggesting that she work on the overall styling of the collection in order to make it a little more rock 'n' roll. It needed that. Otherwise, it risked becoming too precious and staged, like the wardrobe of Marlo Thomas in "That Girl." And, indeed, Mila was successful roughing up her looks and giving the collection a biting edge. I was especially pleased that she put Brandise in the look with the superbly tailored coat, because it was one of her more ambitious looks and it would stand before the judges for several hours. I had no question that that particular look had strong staying power, as did most of the looks in her collection. Mila, congratulations on a stellar showing!
Emilio continued to elude me with the designs in his collection. As much as I tried, I failed to comprehend what he intended to achieve, because I could only see styles and silhouettes that were familiar; that is, nothing said "innovation" or "experimentation." He was confident that it was color that set his collection apart. I could agree with that statement, but only in a bad way. And that's not what he meant, of course. I must assert that I believe that his styling of the looks, the sequence of them on the runway and the overall impact of the collection showed it off in the best possible manner. I don't believe that the collection could have looked better, and I mean that in the most supportive way. But when Lorena stood before the judges looking so chic and sophisticated, I had to ask myself who else could pull off this look so successfully. Looking to Brandise on the left and Kristina on the right, I thought, Only Lorena. Emilio, be assured that you gave this your best shot.
Episode 13: Finale Part 1 and Home Visits!
Home visits!
Heidi greets the final four from the runway. Although there are four designers remaining, only three will show at New York Fashion Week in February 2010. Emilio and Seth Aaron will definitely show, but Jay and Mila will compete for the third space. Regardless, all four designers will create a collection with a budget of $9,000 and a four-month time frame. I will be making a visit to each of them to check on the progress of their work. Those visits will take place in mid-December, roughly six weeks before Fashion Week.
Emilio lives in New York City and has a studio in Washington Heights near the dramatic (and noisy) George Washington Bridge. In case it has not been evident, I have a difficult time engaging with Emilio, and vice versa; the editing of the show has been kind to both of us. I find Emilio to be stubborn, an indifferent listener and extremely arrogant about the quality of his work. When I walked into his studio, I was stricken by the palette of the items on the dress rack before me: pea green, candy apple red, a red/black/gold iridescent print and another iteration of the digital initials print for which he won the HP challenge (I'm still incredulous; Maya should have won). However, in that split second I refused to make any assumptions about what I was seeing, because perhaps those items had an altogether different purpose, such as costumes. I was being generous.
Indeed, the rack held his collection: about six completed looks, but for some finishing details, and several more in progress. The finished pieces — three dresses, a coat, some separates — were so basic that had he presented them at the auditions, I would never have been in support of him joining the show. What happened? I saw no semblance of the youthfulness and sexiness of the looks he created during the season. I saw matronly, dowdy looks that said "old." Composing myself, I said to him, "These looks are so basic. The judges are looking for innovation. Where is it?" He responded, "The color." The color? I know that responses to color are subjective, but these colors looked so tacky and tasteless. I promise all of you that I was searching and searching within myself to try to be positive and supportive, but that doesn't mean that I must subscribe to delusion.
So, I probed, "Tell me what's innovative about the color." He said, "Just that: color." Huh? I don't understand. Color, in and of itself, isn't innovative. Emilio was angry that I was challenging him and practically shouted, "It is if the other people [he won't use the word "designer" to describe his peers] aren't using color!" Why would he assume that? Furthermore, I still didn't understand why, in his mind, that factor would make his work innovative. I mean, if the other designers were all parading cropped pants and jackets down the runway and he presented a shift, does that mean that the shift is innovative? Of course not. I was feeling flummoxed for where to steer our conversation. It only became worse.
Let Emilio's work stand on its own with none of the drama to distract from it.
Seth Aaron is, admittedly, a quirky character, but he's a sweetheart of a guy too. Accordingly, I was so eager to meet his family, if only to understand more about him. While anticipating my visit to Portland, Washington (outside of Vancouver), I pictured a bohemian setting: a house painted 20 different colors, a menagerie of lawn ornaments, a family of Tim Burton characters. But I couldn't have been more incorrect! I walked into pure, unadulterated normalcy; good normalcy. There were Seth Aaron's adorable son and daughter, Aaron and Megan; his lovely and thoughtful wife, Tina; and Tina's mother, Carol, who lives in the basement. This reminded me of the opposite situation from "The Munsters" (if any of you remember that television show from the '60s), in which Marilyn is the normal one amid a household of ghoulish characters. It was odd, but it was also very touching. In any case, on to Seth Aaron's collection.
I was dumbfounded. At the time of my visit, Seth Aaron had completed more looks than any other designer in the history of the show. The only person who came close was Season 3's Laura Bennett. The looks were true to Seth Aaron's aesthetic and impeccably constructed. He had completed 15(!) looks and was launching into more, more, more. I had to insist that he put on the metaphorical brakes and stop to assess what he had done. As great as the work was, there was nothing that would surprise the judges. I was confident that the lack of anything surprising would prevent him from winning, and winning is what I want for all of the designers (well, almost all …). Frankly, he was shell-shocked by my critique. He told me that he'd been working 20 hours a day, day after day, only coming up for air to check in with his family and take a brief nap. I insisted that he stay out of his studio for three full days. I asserted that the fact that he's had no breathing room or time to reflect on his work has resulted in the regurgitation of the same items over and over again. He needs to reflect. He needs to re-conceptualize. He needs to wow the judges. I'm crossing my fingers that he will raise the conceptual bar for himself and attain an invigorated body of work.
Jay lives and works in San Francisco. He has a great studio space in an industrial loft district and he shares a gorgeous apartment with his adorable partner, Rolando. As the season's shows have been edited, it's not evident that Jay and I had our share of differences, which resulted in many awkward and stressful moments between us. And it all climaxed during Heidi's visit to the workroom in the Red Carpet Challenge, but you don't see that moment in the show. I think the producers thought that they were being kind to me. Accordingly, the rapprochement that Jay and I have in his studio is omitted from the cut, because it has no context. Jay acknowledged his bitchiness and apologized. I responded by thanking him and giving him a huge hug. We both had tears. And it meant that we could move forward and carry on and leave that earlier baggage behind. Whew. I felt physically lighter and I developed a sincere fondness for him. Bury the hatchet.
I never underestimate Jay's talent; it's indisputable. However, what I found in his studio that day was disappointing, because Jay was over-designing — everything. I'm used to suggesting that Jay turn down the volume on an item within a look, but I had never before been presented with a single item that, alone, was completely overthought and overworked (as opposed to being over-the-top, which is different). There were aspects to items that were superbly conceived and executed, even innovative, but then there would be a sleeve or a hood or some other aspect of the garment that made it seem too contrived and, frankly, too ridiculous. When he told me that he had been inspired by an exhibition about the samurai, I wasn't remotely surprised, because you could see it clearly in his work (and coincidentally, that very same exhibit had traveled to the Metropolitan Museum of Art, where I had seen it, twice, and found it to be eminently inspiring, too). At the same time, I thought: samurai, armor, Jillian's inspiration in Season 4, Carol Hannah's inspiration in Season 6 … Was this an "uh-oh"? Well, I couldn't go after Jay for having overly designed work and challenge his concept. The over-designing was more serious. He had heard this same comment from the judges on numerous occasions. Furthermore, Jay has been presented with a formidable obstacle: He must compete with Mila to see who between them will move forward to Fashion Week. I asked him to please step back and examine his work with as much objectivity as possible. If a look isn't compromised by the removal of a ruffle or flourish, then remove it. I suggested that he use the principles of counterpoint, harmony and balance as guides. It was a "Make It Work!" moment for Jay, and I hoped that he was listening.
Mila lives and works in a beautiful apartment in Los Angeles with her boyfriend, Matthew, a photographer whose stunning work is in every room. I love the home visits, because I often receive insight about the particulars that make the designers who they are. In Mila's case, she lives in a black and white environment, Matthew's photographs are primarily black and white, and they live with a black and white dog, Ziggy the Dalmatian. I felt as though I'd stepped into the Ascot Gavotte in "My Fair Lady." So, is it any wonder that Mila designs black and white fashion?
I want to begin by saying that I am a big fan of Mila's work. I'm especially pleased about her presence on this season of the show, because she's sportswear-minded, respects the wearability-meets-fashion conundrum, and is comfortable and confident designing separates. American fashion needs her! However, the work that she presented concerned me, because I was worried about the response of the judges to a black, white and aubergine collection. Repeatedly, they had chastised Mila for her repetitive palette. I understand her. I know that this is who she really is and that this is how she sees the world, but the judges are tired of it. If she's going to wow them, then the silhouettes and proportions of the items and looks had to be spellbinding. Frankly, I wasn't spellbound. Rather, I saw Eileen Fisher (apologies to her fans). I saw the possibility for the looks to become dowdy, matronly, which is the antithesis of Mila. She needed to adjust proportions, slim down some silhouettes and infuse everything with a spirit of youthfulness. I never doubt Mila's capabilities and I wasn't doubting them at the time of the visit, but like all the other finalists — Emilio, Seth Aaron, Jay — she needed to gain some perspective on her work and apply large doses of critical analysis to her outcomes. Furthermore, she would be competing with Jay for the third spot at New York Fashion Week. She needed to clear this hurdle before she could even contemplate winning.
The designers convene in New York for Fashion Week. Mila and Jay must present three looks each to the judges: Heidi, Nina and Michael. Mila and Jay will use their muse models (Brandise and Brittany, respectively), plus two additional models who have been randomly selected. I'm exceptionally proud of what each designer has achieved since my home visits. Their work is superbly executed and well-conceived. Therefore, the judges' decision will be a matter of taste: Chacun son got. And … Mila is moving forward to New York Fashion Week!
Next week: Bryant Park!
Episode 12: The Big, Top Designers
The circus is in town!
Heidi tells the designers that she's sending them to a tent … but not a Bryant Park tent. And I will meet them there. It's a considerable journey to get to this tent, relative to our other field trips, because it's in another borough of New York: Brooklyn, distant Brooklyn. The tent Heidi spoke of belongs to Ringling Brothers and Barnum & Bailey Circus, and it's pitched in Coney Island, the world-famous amusement park and beach. Ringling Brothers has created a special 30-minute show just for "Project Runway," and the show they prepared really is The Greatest Show on Earth!
The designers' challenge is to create a high-end runway look inspired by the circus. Their inspiration can come from anything or everything that they see and experience.
After the show, the designers have 30 minutes to sketch, and then we're off to Mood with a budget of $300. I remind them that it's very easy to create a costume inspired by the circus, but it's relatively difficult to create one that embraces fashion.
At Mood, I also remind the designers that for all intents and purposes, their success with this challenge begins and ends with their fabric selections. Once we return to the workroom, what they purchased is all that they have. (Oh, and if you spotted the adorable black and white pooch on the floor of Mood, that's Swatch, the store's mascot. We love him.)
Finally, this is a two-day challenge with no surprises or contrivances. With New York Fashion Week at stake, the designers have more than enough stress. And the always fabulous Cynthia Rowley is our guest judge!
Anthony is OUT. Inspired by an acrobat who rappelled up and down a rope while spinning to such a degree that we all had vertigo, Anthony created a full-length gown. He used a solid grayish-blue crepe de chine (in polyester, as Michael Kors pointed out) for the entire dress, so his look's impact was all about the silhouette, because there was nothing else to distinguish it. The only design aspect of interest was the bodice: an exaggerated sweetheart neckline with plunging cleavage. The skirt, however, was positively matronly; that being attributable to tortured seams, a thick waistband, and too little attention brought to the hem. Even without these construction mishaps, the lackluster impression made by this dress caused it to almost disappear when compared to the work of the other designers on the runway. Forgettable it was, but Anthony, forgettable you are not!
Emilio and Seth Aaron are going to show at New York Fashion Week!
Emilio eventually came to terms with the absence of evident color in his black and white look (with a touch of cranberry). I know that you see me haranguing him in the workroom, but my objective was merely to help him succeed. Given the riot of color that was presented to the designers at the circus, it confounded me that Emilio would believe that a head-to-toe black and white look was satisfactory. And if he wanted to believe it, then he had to own responsibility for it. I was thrilled when during the model fitting he was able to look critically and objectively at Lorena and declare that he needed color. Hooray! His look was all about sophistication and elegance. The fitted strapless top was offset by an exuberant skirt with a Watteau back. This dress could be worn on almost any high-end red carpet. The fact that it was inspired by the circus was merely an enhancement. Congratulations, Emilio!
Seth Aaron created a whimsical look that could have stepped out of a Tim Burton film, and I mean that only in the most positive way. After all, what is the circus if not a Tim Burton platform? However, I was concerned that Seth Aaron's look crossed over the fashion threshold into costume, because where in the real world would Kristina wear this design? That said, I loved what he created. The black-and-white striped waistcoat was ambitious and beautifully executed, and the touches of yellow used as accents in the inside of the cuffs and in the bodice were just enough to keep your eye tantalized. And his pairing of the coat with the red pleather jodhpurs was magical. The judges were highly critical of the pants crotch, as was I once I saw it on Kristina, but it was a minor infraction, from my point of view. Congratulations, Seth Aaron!
Jay and Mila will spar off to determine who between them will be the third designer to show at Fashion Week.
Jay designed a look that was inspired by the clowns and the ringmaster. The pants were derived from the clowns who used their pants as storage bins for all sorts of paraphernalia. He said that he was creating "big pleats, big waistbands," and I thought, "Big surprise," because that's what he does. And, frankly, that concerned me, because Jay's circus experience was enabling his design clichs. It was a bit like Rami's situation in the Greek and Roman Galleries at the Metropolitan Museum of Art, the last challenge in Season 4. It wasn't surprising to see Jay latch onto a pant with volume! However, he truly made the pants into a fashion statement. He subdued the craziness and gave the silhouette just enough volume to serve as counterpoint to the very fitted, cropped jacket. Made in a rich red textile and adorned with epaulets, black leather trimmed with gold piping, and gold buttons, it was easy to see the influence of the ringmaster, but independent of our outing, the jacket looked more military-inspired. All in all, Jay created a very laudable design.
Mila was also inspired by the ringmaster, a powerful individual with a commanding look. Her look consisted of a modern riff on the classic tailcoat, sleek fuchsia pants and a feminized yellow top. I was struck by the impact of her color, in spite of the commanding hold of the black and white coat. And I'll confess to being ambivalent about a number of aspects of the coat: the overscale collar and the scale of the stripes, specifically. Did they work, or were they a distraction? Well, the entire look, coat included, certainly held my attention. And since the designers were told "high end," this was no time to be tame.
Next week: Home visits!
Episode 11: An Amalgam of Unprecedented Drama and Events!
Heidi teases the designers with following: For this challenge, "you'll be designing a look for a celebrity. This person does have a little bit of a reputation for being opinionated, headstrong and knowing what they want. And I'm glad that I'm not in your shoes." Gulp.
When the designers meet me in the workroom, I inform them that they will be designing a red carpet look for Heidi's aforementioned celebrity. And the celebrity is … HEIDI! Heidi enters the workroom and surprises the designers in the most positive way imaginable. In fact, the designers' collective relief is palpable — at least they know this celebrity! Heidi graciously admits to having discerning taste, but she also acknowledges her respect for the designers: "I'm excited to have you design for me, but I also don't want you to lose your point of view as a designer." Heidi states that she "will not have a bump" (be pregnant) when she wears the dress. In addition, she has prepared a dossier containing her past red carpet looks. This dossier is creatively liberating for the designers, because it demonstrates the breadth and diversity of Heidi's fashion. The designers have 30 minutes to sketch design concepts and then we're off to Mood with a budget of $300.
Before we leave for Mood, one of the most unsettling incidents in the history of "Project Runway" occurs: Maya decides to leave the show. She maintained that she felt unprepared to move forward. She felt spent creatively, and couldn't conceive of how she could continue to design and innovate for the remainder of the challenges. Furthermore, even if she found that she was able to rally, her physical, mental and creative exhaustion would make it only temporary. I did all that I could to talk her off the ledge and back into the workroom, but she was determined to leave. Frankly, I believe that Maya was terrified that she would, indeed, move forward to New York Fashion Week as a Season 7 finalist, which in fact she could have. She didn't feel ready for an opportunity that huge. In the end, she needed my support for leaving, not my cheerleading for staying.
Maya's departure created a new playing field for the five remaining designers. Specifically, with Maya gone, each designer had a one in five chance of winning this challenge, but also a one in five chance of going home. The latter was of great concern. The only way to adjust the odds back to where they were intended to be was to have an eliminated designer return. As the last designer to be auf'ed, it had to be Anthony. While Maya's departure was being facilitated, Anthony was in the process of packing up, giving an exit interview and mentally detaching from the show. Imagine his shock and surprise when he was informed about his return! On the one hand, it was exciting for him to be presented with a second chance. On the other hand, he was just beginning to embrace his newfound freedom, along with the opportunity to heal and repair, both physically and mentally. The show is nothing if not a taxing experience.
And as if enough weren't already enough, Seth Aaron's model, Valeria, drops out too. Cerri, the last model to be eliminated, replaces her (just as the last designer to be eliminated replaced Maya).
Another first: Heidi's presence in the workroom; she's never visited before. I don't believe that I've ever enjoyed a workroom critique as much as I did with Heidi. Most important, this was an unprecedented opportunity for the designers to get feedback from their client prior to the runway judging. Listening to Heidi's critique provided me with much appreciated corroboration of my own views of the designers' work.
Jessica Alba is our fabulous guest judge. She brought a thoughtful and articulate set of observations about each designer's presentation on the runway. Thank you, Jessica!
Finally, this episode should be titled "An Amalgam of Unprecedented Drama and Events!"
Emilio co-wins! And he won deservedly so. The look that he created for Heidi was sophisticated, sexy and ambitious. His was a classic case of less being more and, furthermore, of a simple silhouette looking deceptively easy to execute. Wrong. Had Emilio made the slightest misstep in execution, this would have been a disaster. His shimmery, seductive and sheer textile of sequins required a superbly executed infrastructure so that the sequined stretch fabric could be organically draped over it. Were the fabric to be controlled and manipulated, it would have looked contorted. Furthermore, as Nina pointed out, the shimmery fabric could have easily looked cheap, but it didn't because of the deftness of Emilio's execution. I always stand in support of work that sits on the cusp between success and failure when it indeed succeeds. Congratulations, Emilio. Heidi Klum will be wearing this look to a red carpet event!
Anthony co-wins! Talk about a BIG surprise! Anthony created a black-and-white confection of a dress. It floated down the runway with the buoyancy and effervescence of cotton candy. At the same time, it possessed elegance and sophistication. Like the judges, I had only the most positive response to the gorgeous drape of this classical Grecian-inspired gown. I found the confluence of the black and white textiles to be graphically impactful. However, I had grave concerns about the drape of the white fabric at the neckline, because it appeared to be uncontrolled and sloppy. The judges were mute about this, so I suppose that my observations and concerns were a case of "silly me!" And Jessica Alba waxed rhapsodic about Anthony's creation. That was surely enough to ensure this double win. Welcome back, Anthony, and congratulations! Jessica Alba will wear your look to a red carpet event!
Jonathan is OUT. Oh god, I felt so horrible for Jonathan when Heidi declared in the workroom that she was not a fan of the complex custom textile that he had been creating over the previous eight hours. However, it was better to know than not to know. She responded well to his silk jersey fabrics in solid colors, and she also liked the way in which he twisted them and achieved an effortless appearing drape. I believe that Jonathan did the right thing by abandoning his textile creation (although it made me sick for him too), because Heidi would most certainly have balked were it to have walked down the runway. He had a far better chance of surviving the challenge if he worked with the remaining fabrics. However, his second design ended up being a hot mess, frankly. Incredibly, he abandoned it and marched forward to a third, but he lost the richness of the coral jersey, because it had been almost entirely used up in the previous design. Jonathan was literally thrashing around the workroom to finish his design, but his resources — time and textiles — were too depleted for him to save himself. Jonathan, we'll miss you!
Jay created a "Jay" look; that is, a fitted strapless top with a volumetric bottom and all brought together with pleated exuberance. In the workroom, Heidi expressed her concern about the volume, and although Jay listened, he made only marginal alterations in the design. To be blunt, I support his decision, because he has to be who he is as a designer. Furthermore, look at how successful he's been on the show; he's still here! At the same time, Jay runs the risk of being labeled "a one-note" by the judges. On that topic, Jay's runway critique baffled me; the judges' criticized the pleating, the construction elements and the widening volume of the skirt. Huh? Jay's been parading this look before the judges for many challenges and has completely escaped their disapproval. Why now? For me, the aspect to criticize would have been the following: Was it a red carpet look that one could see Heidi wearing? No way. She would look like an escapee from the Ice Capades.
Mila disappointed everyone, including herself. To begin, she used an atypical palette to create a cocktail-length dress in taupe with metallic accents. I believe it was the length that essentially defined the dress as being just that: cocktail. Were Heidi to wear Mila's design on the red carpet, she would look underdressed. Furthermore, Mila is a master of construction, but this dress suffered from haphazard execution. In her case, I found the judges' critique to be astute: poorly fitting bust, awkwardly placed shoulder straps and uneven finishing in the construction. Had it not been for Jonathan's Waterloo, this would have been Mila's. Thankfully, it wasn't.
Seth Aaron designed a gown that may have been more appropriate for Morticia Addams than for Heidi Klum. Using all black, he created a sleeveless gown with an innovative corset treatment, but there was little else of excitement or interest. In my opinion, he underdesigned; an unexpected first for him on the show. Had I not known otherwise, I would never have guessed that this was his work. The excellent construction of the dress rescued him from what could have been a judging feeding-frenzy for this ho-hum design.
Next week: We take our last field trip of the season, and what a field trip it is!
Episode 10: Hey, That's My Fabric
Heidi sends the seven remaining designers to meet me and a special guest in the workroom. That guest is fashion designer Vivienne Tam, who works closely with HP and Intel and will be our guest judge. Vivienne's presence is a clue to the challenge: Design your own textile to serve as the core of your look. This is a mere fantasy for most designers, and it's a fantastic opportunity to marry the art of fashion with the science of technology. Furthermore, it's a "Project Runway" first!
Each designer is presented with an HP All-in-One Desktop PC to use to create their textile design. Their designs will be digitally printed on fabric overnight. Accordingly, this is a two-day challenge. Day one is spent designing the print, printing a full-scale replica of it on paper (you see these on the worktables on the first day), shopping for corresponding fabric and notions at Mood ($100 budget), and prototyping in muslin in anticipation of receiving the digital textile on the following day. Day two is work, work, work, and with no surprises.
Emilio wins. Please note that I do not include an exclamation point (!). I can't be insincere or duplicitous. Emilio's win left me questioning the critical objectivity of the judges. Let's begin with the print. I was underwhelmed by the scale, color and hand-drawn execution; it looked sloppy and childlike. There was no semblance of sophistication. Furthermore, I was extremely put off by the narcissism demonstrated by the use of his initials (though I had no idea that that's what the script was until he told me), at least at this stage in his career. Gucci? OK. Louis Vuitton? Fine. But Emilio Sosa? Not yet. There is a way, however, that he could have pulled this off; that is, by winking at us through the use of wit or whimsy. But I don't believe that he has the capacity to understand those nuances. Then, there was the dress and jacket. To me, the dress was just a simple, basic silhouette with a palpable vintage heritage. The short-sleeved jacket with its blouson shoulder treatment reminded me of a bed jacket and, accordingly, said "matronly." Why did his print cause the judges to wax rhapsodic? Michael Kors even cited the brilliance of Emilio branding himself, while I had anticipated that Michael would be offended by the arrogance of it all. Why didn't Emilio's '40s-inspired look propel Nina to use the word "referential"? They responded as though he had invented fire, which he surely believed he had, too. I was dumbstruck. Finally, were it not for Lorena's lithe figure and stunning affect on the runway, perhaps the judges would have seen Emilio's look as I did. Oh, shut up, Tim.
Anthony is OUT. Well, it had to be someone. Frankly, we're too far along in the season for a designer to abandon a critical part of their look at the 11th hour, and that's precisely what Anthony did. I'm confident that it was that self-imposed action that derailed him. He used his print — a purple and off-white abstract graphic — to create an exuberant bodice that he planned to pair with a simpler black skirt. There was a lot going on, and it was apparent that he was struggling with where it was going. It was equally evident that the design was controlling him and that he was losing himself more and more as it evolved. For me, this was a classic make-it-work moment; that is, confront the design, diagnose the issues and offer up a prescription for fixing them. Instead, Anthony scrapped the entire thing. Consequently, he was presented with a seriously troublesome time challenge — and it showed in the work. If you look at the neckline of the dress, you can see evidence of construction issues, especially in the right bust. Furthermore, owing to the fact that he ditched the earlier bodice and along with it the digital textile, he had little of that textile left. So, the digital textile wasn't even close to being "the core" of his look, a requirement of the challenge. And then there was the shrug: a non sequitur; it wasn't necessary and it didn't make sense. Anthony, the workroom won't be the same without you.
Jay ended up in the middle during the judging process; that is, with seven designers standing, he was in neither the top three nor the bottom three, so he disappeared altogether from the runway. I was disappointed, because I loved the look that he created and I wanted the judges to spend more time with it. Initially, I found his digital print to be limiting: thin green and black stripes. At Mood, he purchased a black fabric, which at the time eluded me, because I anticipated that his look would be so dark and brooding. But when paired with the digital print, the black fabric took on a stunning resonance. Furthermore, Jay referred to his print as being "tribal," a description that couldn't have been more apt. Regarding the look he designed, I was especially enthusiastic about the jacket: black with military-inspired detailing and with the digital textile lining the overscale collar. He paired it with what appeared to be a svelte black catsuit with a modified bustier in the digital print. To me, Jay's was one of the strongest looks on the runway. C'est la vie …
Jonathan created a beautiful textile that was all about subtlety and nuance. It was also about sophistication, as was his design. The dress was polished and elegant, and the corresponding jacket was a nod to innovation, which he needed. Yes, I was concerned that his look may be another case of over-designing, especially the kick pleat, which spread out his print in an elongated manner like a peacock spreading its feathers. I was also concerned that his dress — with the Dior gray silk chiffon above the bustline and tied with a bow — may be a bit too sweet. However, the jacket cancelled out those concerns, because of the innovation of the design — a wrap jacket in gold that is worn front-to-back — which gave it modernity. Imagine my incredulity when the judges descended upon him like velociraptors, using words like "appalling" and "catastrophe" and terms like "a disco straitjacket." Was that really necessary? I was proud of Jonathan for pushing back at them and standing his ground. As I remind all the designers: Chacun son gout — it's a matter of taste.
Maya created a gorgeous and arresting textile in red and black. She maintained that she's not a print person, but her command of the digital design process, as well as her finished look, challenge that statement. I stood in full support of Maya's decision to use the digital print as side panels in her sleeveless minidress. She used black fabric for the front and back panels, which she pleated and ruched in order to give them volume. The volume that she created appeared to be so strikingly appropriate, given the visual "electrical charge" of the vibrant print; it was as though the combustible aspect of the print was "blowing up" the corresponding fabric. And all of this was capped off with an exuberant and effervescent collar that enveloped both fabrics. Her look was stunning, innovative and, as I said earlier, arresting. You couldn't take your eyes off of it, and for all of the right reasons. The judges even declared that Maya's print was the most successful of any of the group. So, may I ask the judges, what does Maya have to do to win a challenge this season? I'm dumbfounded. Maya, you're the winner of this challenge in my book!
Mila created a beautiful print, which for me was an homage to the Washington Color School painter Morris Louis (if you don't know his work, then please Google him). She designed a full-length dress with a corresponding cap-sleeved jacket that was not intended to be for evening. Rather, it was conceived to be a poolside lounging ensemble harking back to the late '60s/early '70s. I love Mila's work, but I had trouble with this look. In the workroom, I struggled with coming to terms with the particulars of my issue — and then it struck me: Mila was being too reverential (as opposed to Nina's referential) with the print. Specifically, she was treating it as though it were a canvas on a wall. This was exacerbated by the heft and stiffness of her corresponding fabric from Mood, which didn't move with any degree of ease or grace. Consequently, the floor length of the dress became an issue, especially for Brandise , who had the challenge of walking the look on the runway. Fortunately, the judges didn't address another of my concerns about the look: the spaghetti straps in colors corresponding to the colors in the print. For me, these gave the look a Crayola feeling and diminished the impact of the print. I was perplexed. It wasn't Mila's best day. I'm merely happy that she's still with us!
Seth Aaron created the ne plus ultra Seth Aaron look, and I applaud him. Furthermore, he placated the concerns that I held within me about his digital textile. To me, the large graphic squares containing the cartoonish illustration were very, very limiting and spoke more to costume than fashion. That concern was underscored by his intention to use the print for a cutaway coat, a silhouette that brought to mind Vivienne Westwood — when a designer goes down Westwood Lane, trouble usually ensues. And why did I hold my concerns within me? Because Seth Aaron couldn't change the print. Remember: I don't believe in talking to the designers about things that they can't change; it's not useful. But he could change the cutaway, so I focused on that. He came 'round to realize that a shrunken version would look more modern and, most importantly, more him. Furthermore, by using the print on the bias, he mitigated the graphic up-and-down-ness that worried me about the print. In fact, using the print on the bias made the entire jacket appear to be one organic entity, which, in fact, it needed to be and was. The other three pieces of his look worked in harmonious support of the core item, especially the dramatic pant. Fabulous work, Seth Aaron!
Next week: The designers work for a very demanding and opinionated celebrity client. Start guessing who …
Episode 9: Takin' It to the Street
The season is at the halfway mark: We began with 16 designers, and now eight remain. Heidi announces that this challenge will put the designers "in a New York state of mind," and she instructs them to meet me in the designers' lounge. I greet them and introduce Collier Strong, consulting makeup artist for L'Oréal Paris.
For this challenge, New York City will be the point of departure. Four distinctive neighborhoods have been selected based on their history, cultural impact and influence on fashion: Chinatown, the East Village, the Upper East Side and Harlem. The designers will be working in teams of two. Each team will create two looks, one for day and one for evening. The first four names drawn from our velvet bag are the team leaders. They in turn choose their team member. In reverse order, they choose their neighborhood. (This was an attempt to be as fair and equitable as possible.)
Each team has 30 minutes to explore their neighborhood and sketch design concepts. Then, the teams meet me at Mood, where they shop with a budget of $300.
This is a one-day challenge; the designers have until midnight, plus a small amount of time in the morning. And owing to this being the L'Oréal Paris challenge, each team will have a makeup consultation with Collier during the workday.
We have two guest judges for this challenge. Francisco Costa, Women's Creative Director for Calvin Klein, sits in for Michael Kors. And we're delighted to have model and actress Molly Sims as a guest judge, too.
Team Emilio WINS! With Harlem as their neighborhood, team leader Emilio and Seth Aaron both win, a "Project Runway" first! The day look was executed by Seth Aaron, and it was all about denim: a shrunken denim jacket paired with a skinny jean. The construction of both pieces was accentuated by using gold thread. The darkness of the denim was offset by a top in a vibrant graffiti-like print, plus the look was topped off by an overscale beret in a merlot-dominated tartan. Emilio assumed control of the evening look: a full-length, spaghetti-strap, slim-fitting gown with a moderate train. Appropriately, this dress was inspired by Billie Holiday and the Cotton Club. The two looks, although distinctive on their own, had synergy and a profound resonance together on the runway. Congratulations, gentlemen!
Amy is OUT. Team leader Amy chose Jonathan to be her teammate, with the Upper East Side as their neighborhood. Once again, I took issue with many of the judges' comments. To me, the day look, executed by Amy, was well-conceived, beautifully proportioned and extremely ambitious. It was all about a 2010 version of the shirtdress, but with none of the expected austerity. Instead, it consisted of an exuberance of pleating details and was given shape by being belted with a sash. My single concern was with the palette: shades of citrus — lemon and orange. Those colors made the look appear jejune, childlike. Jonathan's superbly executed evening look was as ambitious as Amy's. He was inspired by the proliferation of wrought iron in the Upper East Side's architecture, and that was very evident in his design. He applied a chocolate organza over a caf au lait stretch silk to create a slender cocktail dress. However, like the judges, I was troubled by the dress's side panels, which looked like modified godets. They made the dress appear bottom-heavy and gave the entire look an awkward proportion. As much as I hated to see anyone go home, "Project Runway" is like a game of musical chairs; by definition, someone will have to go home. In this case, it was team leader Amy, and we will dearly miss her. Remember, chacun son got: It's a matter of taste.
Anthony and Maya had Chinatown as their neighborhood. It was the hustle and bustle, the movement, the narrow streets and the proliferation of fire escapes that impressed them during their visit. They created a day look consisting of a shrunken kimono jacket paired with a black mini with inverted pleats lined in red. To me, it was a bit stuffy in light of the upbeat and colorful effervescence of Chinatown. The evening look was a basic, black sleeveless dress with a plunging neckline. Frankly, I was troubled by the construction details in the dress, which was executed by team leader Anthony. It had oddly placed darts at the bustline (a self-confessed pet peeve of mine), and a quasi lapel that begged for closer inspection and suffered more from that inspection. I was further troubled by what I perceived to be an uneven hem, which is unforgivable at this point in the season. But I hoped that the judges would be distracted from those matters by what was truly special about the dress: a fabric version of the art of paper folding, in this case using accordion pleats to create a honeycomb of volume. This folded and pleated detail cascaded in a sinuous manner from over the shoulder of the evening look and had the appearance of a dragon form. The judges were captivated by both looks and placed Team Anthony in the top two. Silly me for worrying!
Jay and Mila chose the East Village, where they responded to the graffiti and the rock 'n' roll grittiness of the neighborhood. Team leader Jay took charge of the day look. He created a modern jodhpur in gray wool, and used a cut-and-sew knit in black and red for a tank top. From the outset, I was concerned that the silhouette of the pant would add unwanted volume to the hips. Furthermore, constructing the pant required so much time (the pattern was very complex) that the top became almost an afterthought. Few items of apparel are as basic as a tank (it's a front and a back, really), but this one suffered from a very poor fit. Mila's evening look, however, was head-to-toe stunning. She created a jacket and miniskirt using black and white textiles (surprise!), plus a pair of red tights. The ambitiously designed and executed jacket served as the focal point. I loved the simplicity of the silhouette, including the high collar, relative to her use of the stripe details in the sleeves and bodice of the jacket. I must say that I agreed with the judges' comments about these two looks, or should I say that they agreed with me? You never know.
Next week: The designers go digital!
Episode 8: The Elements of Fashion
Heidi instructs the nine remaining designers to meet me on the rooftop of the Atlas, their apartment building, where they will learn about their next challenge. She adds, you're going to "channel your natural creativity." Hmmmm …
I'm joined on the rooftop by Philip Carreon (pronounced like "Carry on!" I kid you not.) Philip is Garnier's celebrity hairstylist and, yes, this is the Garnier hair challenge. I ask the designers to acknowledge where they are — that is, in the center of an entirely man-made environment, a megalopolis. Their challenge will serve as a kind of antidote to our mass urbanism. They are to create a look inspired by one of the four natural elements: earth, air, fire, water. Owing to the fact that Jay won the last challenge, he can choose any of the elements. The eight remaining designers must choose their element from one of our eight cards, two cards for each of the four elements. Their order of selection is determined by our velvet bag.
We thank Philip, who will be consulting with each designer about the hair for their model later in the day. We return to the workroom at Parsons to sketch design concepts and then we're off to Mood with a budget of $150.
I love the conceptual challenges that are wide open to any flavor of creative thinking and execution … but the designers don't. They want guidelines that are more tangible, that allow them to fully visualize the outcome from the outset and that give them clear indicators of how they can evaluate their own work as it develops. With the points of departure of earth, air, fire or water, they were afraid of being too literal and, conversely, afraid of not being referential enough. Honestly, I understood their anxiety, and about all that I could offer them was cheerleading and support. I was strident about keeping to their vision, not compromising, and not dumbing down the outcome. The good news and the bad news was the high level of ambition that most of the designers embraced. It was Amy, I believe, who remarked, "No one is going to be the next great American fashion designer by playing it safe and not taking risks." Correct!
This is a one-day challenge; the designers have until midnight (minus their hair consultation time with Philip), plus a couple of hours in the morning, but those hours are also the hair-and-makeup hours.
Finally, we were honored to have French designer Roland Mouret as our guest judge. The designers were especially thrilled.
Jonathan wins! (air) Finally! Jonathan has created so many beautiful looks, and I've been perplexed that he's almost always "safe" — that is, not in the bottom three, but not in the top either. Other than Jonathan, I don't believe that anyone was happier with his win than I. To begin, I loved his concept for air: laughter. It's upbeat and fun, and puts a smile on your face by definition. Then, I was enraptured with the textile that he created by layering colors of descending intensity and then cutting away at them like an archeological dig. It was a stunning effect. Finally, his finished garment achieved all that he set out to achieve — and more, frankly. Cerri looked as though she was indeed "enveloped in a swirl of uncontrollable laughter" (Jonathan's words), and the colors of the dress in relation to Cerri's skin tone were such an enhanced dimension of his runway presentation that you could hear gasps from the judges. And I believe it was Nina who called his look "poetic." It was. Congratulations, Jonathan!
There is no immunity with this win, nor will there be with any future challenges. Why? Because so few designers remain…
Ben is OUT. (water) I felt sick about Ben's situation. On the one hand, I'd become so frustrated with his work passing by the judges and merely remaining "safe," because his work is excellent (with the exception of our last challenge …). On the other hand, I didn't want him to attempt a design that he couldn't adequately complete. Well, that's precisely what he did. His concept for water was to address something in the water; specifically, a great white shark. His design on paper evoked just that: a fitted pant with a cropped jacket with dorsal fin–like projections, all in light-colored textiles. As I said to him, my overarching concern about his work in most of the challenges has been that his strength as a designer has so much to do with working artfully with subtlety and nuance. In this challenge, those nuances were in the topstitching details of the jacket and pants. And the topstitching wasn't merely decorative; it was an essential aspect of his construction, because he conceived of the pants suit in myriad pieces, rather like constructing a suit of armor. And by the time I first came to him for our critique, his textiles were already cut. Consequently, he had no choice other than to continue the trajectory that he had begun. Regrettably, time was his enemy. He simply didn't have the time to execute the laborious tailoring that the pants suit required. Could he have ditched the jacket? Yes, but a dumbed-down look wouldn't have pleased the judges, either. Ben, we'll all miss you!
Anthony (fire) took rather wide creative license with his element, fire, by addressing the aftermath. In this case, his inspiration was the charred remains of his church pastor's burned-down house (not a very uplifting story). Accordingly, he chose textiles in dark and somber colors. And he created a design that had me more than a little worried, because the finished look possessed little in the way of harmony and balance, at least to my eye. The top consisted of large-scale undulating pleats in gray, the effect being organic and sculptural. But the way in which the top or bodice integrated with the full-length black skirt was off-putting. Furthermore, the vertical slit along the side seam of the skirt was awfully high and risky. Still, his look passed by the judges unscathed. Whew.
Amy (fire) created a strapless catsuit that was beautifully constructed and fit Holly like a glove, but, alone, did not evoke innovation. The innovation was an add-on, of sorts: a sculptural "bodice" that was tight at the waist, projected out from the bosom and swept over the left shoulder without touching it. It appeared to float. Amy's intent was to build a structure that would contain something explosive, which was how she was addressing her element of fire. Somehow during her hair consultation with Philip, she became inspired to fill this structure with hair; specifically, Holly would be given extensions that would cascade into the cavity of the structure. Well, the judges were totally thrown off by this aspect. In fact, rather like my response to the use of human hair by Chris March in Season 4, I believe that their gag reflex kicked in. Amy's conceptual decision was a bit of a head-scratching conundrum, as in "What is that?" In the end, the judges had to acknowledge Amy's expert execution of the look. Amy, I'm glad that you're still with us!
Emilio (earth) designed a strapless dress with a tightly fitted bodice and a volumetric asymmetrical skirt. His use of textiles in shades of mossy green made perfect sense, but I also felt that everything about his look and its relationship to earth was entirely too obvious. This was a case of being too literal-minded, at least in my estimation. Was it a pretty dress? Absolutely! But did it speak to innovation or experimentation or a more creative interpretation of the theme? Um, uh, I don't believe so …
Jay (air) wanted his look to have the feeling of a tornado and, indeed, it did. He used textiles in a rich and sophisticated palette. The construction of the garment, a full-length bias-cut dress with a shorter overskirt and asymmetrical one-shoulder top, emphasized diagonal, swirling movement. Jay's use of scale, combined with the corresponding textile in Brittany's hair, gave his look a feeling of power and force. Owing to his immunity from the last challenge, I knew that he wasn't going home, but that was never on my mind. What was on my mind was my belief that he could win, again.
Maya (water) created a long-sleeved minidress out of a gray stretch-wool textile. She cut scallops into long strips of a gauzy gray companion textile and appliqud them to the sleeves and skirt of the dress in an almost random pattern. The back of the dress had a surprise element in a reverse cowl. It was the drape of the cowl and the undulating panels that ensured that her look would have movement and grace. And Lorena walked the look with elegance and sophistication. If I were to use one word to describe Maya's look, it would be "cascade," which is a word that we immediately associate with water. Great work, Maya.
Mila (earth) was seriously chewed up and spat out by the judges. Frankly, I thought that their bad response to her work was excessive, even bordering on exaggeration. I responded well to her look. It was really all about the vest, which evoked precisely what she set out to achieve; that is, to conjure up rocks, stones and minerals — earth! The corresponding turtleneck and pants were foils, in a manner of speaking, because of their relative simplicity. However, those two items were also beautifully draped, rather than stiffly tailored, thereby highlighting an aspect of Mila that the judges haven't really seen. During the deliberation, was I ever fearful that she may go home? No. Never. But I was very annoyed by it all.
Seth Aaron (air) was inspired by the nighttime view from his apartment at the Atlas: dark sky, glittering lights. So, his interpretation of air was "midnight air in New York." He created a spectacular look that fully embraced his design aesthetic, pushed at the boundaries of what he's created so far and brought an unexpected vision to the theme. He created a futuristic asymmetrical tailcoat in pleather, worn with jodhpurs, and all in black. This was accented with sparkles of silver through the use of studs that were randomly placed in the tailcoat and a modified spat that made Valeria's shoe look like a boot. It was an exceptionally captivating look and a strong contender for the win.
Next week: To quote Heidi, "The next challenge is about a New York state of mind."
Episode 7: Hard Ware
Heidi sends the designers on a field trip. They arrive at the Michael Kors shop in SoHo, where Michael and I greet them. Michael presents the challenge: Use innovation to create a garment and an accompanying accessory, using unconventional materials. Those materials will come from a hardware store — a classic old-world Manhattan hardware store, no less.
We leave Michael and go directly to the hardware store, which is just two blocks from Parsons, thankfully. The designers have a budget of $150 and 35 minutes to shop. (I wish I could recall why the time allocation was such an odd number. I believe that I suggested that they spend their first five minutes becoming familiar with the content of the store.) It's unusual for us to not sketch design concepts before shopping, but in this case it would most assuredly be the materials that dictated the design. Therefore, we shopped first.
I love the unconventional-materials challenges, because, by definition, they serve as a catalyst for creative thinking and innovative solutions. One of the designers complained bitterly about how forced and contrived it is to work with unconventional materials: "I'm a fashion designer, not a construction worker!" he declared. These challenges are intended to test the creative aptitude of the designers.
I have to assert that, although this challenge produced some clunkers, it also produced some of the best and most innovative work in the history of the show. Congratulations, designers! Also, I found it to be more than a little curious that three of the men all used copper flashing for substantial portions of their designs. Do any readers have thoughts about why this would be? If so, then please leave a comment. Actually, please leave a comment anyway!
This is a one-day challenge; the designers have until midnight, plus a couple of hours in the morning, but those hours are also the hair-and-makeup hours, so it's not as though they have an uninterrupted swath of time on the following day. I have to add that the workroom was the noisiest that it's ever been. The din even surpassed the "take a car apart" challenge of Season 4.
Finally, we have two guest judges for this challenge, in order to fully address both the apparel and the accessories: fashion designer Isabel Toledo and jewelry designer Stephen Webster.
Jay wins! Jay knocked everyone's socks off, especially mine. Had he informed me back at the hardware store that he was using black plastic garbage bags, I would have shuddered and pleaded with him not to (think about Daniel Franco's design in the first episode of Season 1 and Stella's first challenge in Season 5). He transformed them into something seductive and arresting, and he did so by giving them body and shape by stretching them over a plastic mess material that's sticky on one side (it's used to patch drywall and plaster). The sleek, slim fit of the pant was offset by a sculptural top in vertical stripes. Finally, his accessory — a braided garbage-bag belt — was a stunner that beautifully enhanced his look. Jay, this was a masterful achievement! I'll go further: It's one of the most superb looks ever created on any season of the show. Congratulations!
Jay has immunity as a reward for his win. Let's see how much longer Heidi bestows it…
Jesse is OUT. From the moment I laid eyes on Jesse's look, I suspected that the judges would find it to be troublesome. I told him that it looked like an elementary-school craft project, because it was so amateurish and tortured-looking. Jesse was one of the three "copper boys," and he used the flashing to form a fitted bodice. He molded it around the dress form, and although he attempted to cut, shape and assemble it in the manner of armor, it failed miserably to exude that effect. He boasted that he used copper wire to "sew" the pieces together. On that topic I could only think, What a waste of time. In a moment of anxiety-ridden self-awareness, Jesse sought to distinguish his look from the other two copper dresses (Jonathan's and Ben's) by painting it white. The effect of the white paint merely made his model, Alexis, look like she was going to a Halloween party as a snow princess. However, Jesse's look included an accessory — the quirky hat — which the judges actually acknowledged liking.
Did Emilio, also in the bottom three, have an accessory? Not by my reckoning. And the other designer in the bottom three, Anthony, included an accessory. Consequently, I would have considered Emilio's omission of a requirement of this challenge to be an instant disqualification and sent him packing, but I'm not a judge.
Jesse you're very talented, a real sweetheart, and we will all miss you. Bonne chance!
Anthony lost his way; that's the best term that I can use for his work for this challenge. I admired his concept: to make hard materials appear to be soft. However, one must respect what the properties of the materials are, and not attempt to make them do something that they don't want to do. At the same time, he was using aluminum window screening, which I don't consider to be especially "hard." He launched into this challenge with entirely too much ambition, and once he realized that he couldn't achieve his intention, he pulled back and his design went flat. The judges described his work as being boring. They were being kind. Anthony, I'm merely glad that you're still with us.
Amy created an engineering and artistic marvel using … sandpaper. Her dress had the effect of origami — folding, twisting, morphing — yet the sheets were all flat pieces that she masterfully placed and manipulated to form an asymmetrical strapless top and a flared skirt. Like her work for the potato-sack challenge, Amy respected the integrity of the color of the material and used it "as is," which caused me to marvel even further at her achievement.
Ben was another one of our copper boys. Frankly, I was extremely underwhelmed by his final design — it was amorphous, without any tangible shape; lackluster and, I dare say, sloppy. Furthermore, I'm not certain what happened to what I thought was his accessory: a platform heel that he embellished with copper flashing. I didn't see it on the runway. Perhaps it didn't fit his model, Alison? She was wearing a bracelet, so perhaps that was of his making. Ben, I'm so pleased that you passed by the judges unscathed.
Emilio gathered piles of aluminum washers, clothesline and pink string at the hardware store, and ended up being way over budget. Consequently, he had to remove many items, and left with alarmingly little. Back in the workroom, he spoke with bravura about the dress that he was going to create. A dress? Out of what? And for whom or what? A Barbie doll, perhaps. He had so few materials that even a micro-mini couldn't have been managed. I joked that he'd be lucky to have enough materials for a bikini. Ha! The joke was on me and the judges, because that's precisely what he did. Last week, I wrote that Emilio must have an angel over his shoulder, because he keeps dazzling the judges with what is in my opinion the most mediocre stuff. So, it happened, again, and I believe that I even heard Nina declare, "I rather like his look." Really? I doubt that even Lady Gaga would wear it! But may I please sing the praises of Emilio's model, Holly? What a divine trouper!
Jonathan created a copper intergalactic halter dress, something that you might see on the Starship Enterprise. He said that his look was "Veronica Lake meets C-3PO." While I could certainly see that one could look at his design from that point of departure, I found his dress to be more of a nod to the Russian Constructivists of the 1920s and '30s. The silhouette, proportion and fit of his look were all in harmony and balance, making for an excellent presentation on the runway. And for his accessory, he created a corresponding Constructivist clutch. Great work, Jonathan.
Maya constructed a jaw-dropping jacket out of black cording used for venetian blinds. She created what was, in effect, a three-dimensional topographic map of a jacket. Stunning. This was over a basic shift using window screen, which served as a perfect counterpoint. Her accessory was also stunning: a necklace made out of house keys and aluminum screening. The entire head-to-toe look possessed simultaneous delicacy and toughness. Superb job, Maya!
Mila created a stunning design. I know: It was another '60s inspired look, but it was fabulous. Furthermore, it was an engineering marvel, because she was able to give shape to black and white paint-tray liners, which possess very little flexibility. She treated the liners as being like scales on a reptile and fastened them with C-hooks. I loved her use of the larger panels of paint trays for the bodice and smaller pieces for the skirt, because the skirt became kinetic, moving almost by itself. Her accessory was a cuff made out of a metal "New York Housing Authority" sign. Fantastic work, Mila!
Seth Aaron pounded away at this challenge, literally. He was one of the louder executers, because he was intent upon shaping large sheets of metal into an anthropomorphic form, rather like a suit of armor. I was intrigued by his process, and I checked on his design's development with more frequency than usual. Frankly, his final look fell short of my expectations of him. It was perfectly OK — it passed by the judges neither scathed nor saluted — but it was flat. To me, it looked just as much like a Hershey Kiss costume as Jesse's did. However, Jesse didn't have immunity …
Next week: The natural elements!
Episode 6: "A Little Bit of Fashion"
Heidi announces that the designers will have new models for this challenge, models who have limited experience. Then, 11 adorable young girls walk onto the runway, ranging in age from five to nine. The designers have to rethink their former design experiences, because these new models require a significant adjustment in practice when it comes to proportion and fit.
Back in the workroom, each designer has a children’s dress form and a card with their new model’s measurements, because they won’t see their models until the following morning. The designers workroomsketch concepts, and then we go shopping at Mood with a budget of $50. And the designers have until midnight to finish their look.
The next morning, I inform the designers that their children’s look will not be walking the runway until the following day. However, this does not constitute found time. Rather, they must design a corresponding companion look for their “Models of the Runway” model. Although their children’s look is, indeed, the point of departure for this new look, the adult look is not intended to be a maxi version of the mini. The children’s look must be reconceived for an adult. We return to Mood with a budget of $100, and then we’re back in the workroom for the duration of the day until midnight, again.
The designers seem more than a little daunted by the double challenge. Hopefully, our guest judge, the multifaceted designer Tory Burch, will help them rally to the additional pressures of the runway presentation.
Seth Aaron wins! He created a black-and-white houndstooth, stretch wool hoodie for six-year-old Sydney, a look that said “Seth Aaron” literally and figuratively, owing to the fact that he appliqud “SA” on it. This was paired with a dress consisting of a top of black and pink horizontal stripes and a black skirt adorned with hardware. I loved this look, but Sydney was most impressed with the little handbag that Seth Aaron designed. Valeria was, indeed, the corresponding companion mom in a graphic black-and white jacket of vertical stripes and chevrons paired with a black stretch wool pant. It was a sophisticated rocker look. It was Madonna and child! Congratulations!
Janeane is out. She created a bulky, loose-fitting persimmon dress (more like a barrel) for eight-year-old Ixele and suspended it from her shoulders with spaghetti straps. Frankly, the dress had so little design in it that it was little more than a front and a back. And the black-and-white leggings with which it was paired looked like an X-ray print, causing the entire look to spill over into Halloween-land. For Brittany, Janeane created three pieces: a basic cropped jacket in the same persimmon, a blouson top in a Jackson Pollock–like print, and a black cropped pant. Regrettably, it was very ill-fitting and ho-hum. In the end, the judges were bored, plain and simple. Janeane, we will all miss you.
Anthony designed a baby-doll dress for six-year-old Lexi. He used a floral print for the bodice and pink taffeta for the skirt. His design for Kristina was an excellent companion: a fitted strapless dress in fuchsia with a plunging V-neckline that was accentuated with a ruffle treatment. These two looks were dressy and sophisticated and very Park Avenue. Anthony, you’re still on your game!
Amy used a range of orange sherbet–colored fabric to create a whimsical petal skirt for eight-year-old Caitlin. She used white stretch cotton for the top and covered that with a relaxed sweater/shawl in a turquoise machine knit. For Alison, Amy created another whimsical look: a cropped pant of multicolored petals with a turquoise camisole and a wide belted sash in black. I’m the first to admit that the looks were cacophonous; that is, loud, vibrant and all over the place. Still, those characteristics could be spun in a positive way. Chacun son got: It’s a matter of taste.
Ben designed a lavender dress for six-year-old Sylvie with a hem that was longer in the back than the front. While this can work for adults, it looked sloppy on little Sylvie. Lorena, however, looked stunning in her silver fitted skirt, black top and navy vest. But she also looked like the evil stepmother whose child suffers from neglect, at least fashion neglect. Ben, I’m merely happy that the judges passed you through without further scrutiny.
Emilio claimed to be under-designing for five-year-old Lauren; that is, he didn’t want to put too much of himself into this challenge. Why? He made (I won’t say “designed” or “created”) a very sweet pink dress that we could buy right now at Bergdorf Goodman’s Best & Co. shop. And I don’t know what to say about Holly’s look: baggy, ill-fitting and in a pastel that would only be flattering on a model with very dark skin. Oy vey. Emilio, I think you must have a little angel over your shoulder.
Jay stated that he was going for a fashion-forward and sophisticated look for nine-year-old Savannah. Using textiles in plum and navy, he created an adorable drop-waist dress with a bubble skirt of broad knife pleats of alternating panels of colors. This was paired with a Lurex denim pant. For Monique, he created a stunning sleeveless top using the same pleating treatment. This was paired with a simple stretch wool pant in navy. It was very sophisticated, indeed, and a strong contender for the win.
Jesse aimed to design a “Madeline”-like French schoolgirl look for eight-year-old Ava. He used a light gray textile to create a dress with an asymmetrical waistline, with red piping details in the bodice. Ava’s red wool coat was one of the more ambitious items on the runway, and we all know that Jesse’s tailoring shines. Alexis looked every bit the mom, albeit a glamorous, sexy mom. For her, he designed a beautifully fitted dress using a darker gray textile and echoed the red piping treatment on the placket of the bodice. Black side panels gave the dress an exaggerated hourglass shape, and a wide black belt enhanced the look. I thought he created a smashing duo. And so did the judges!
Jonathan’s design for six-year-old Fabriana was a yellow shift with a cascade of white cotton organza, on the center front, paired with a bolero with puff capped sleeves. It was conceptual, yes, but it was also adorable. For Brandise, he created a pearl-gray dress covered in layers of organza in the same color. I found it to be lavish and arresting. Jonathan recognized that these designs were filled with risks. At the same time, he was intent upon stepping up his game. I applaud him and, considering the judges’ unfavorable response, I’m very glad that he’s still with us!
Maya created a bumblebee-yellow jacket to serve as the focal point of her look for seven-year-old Chloe. Under the jacket was a cute top in a multicolored print that was paired with black leggings. For Megan, Maya designed a cropped and more fashion-forward jacket. This was paired with a charcoal stretch pant. Were it not for our limited time frame, I’m confident that Maya would have made a top for Megan. Therefore, I’ll forgive her for the bare midriff. Still, she did a smashing job.
Mila designed an A-line color-blocked dress for seven-year-old Haley, using panels of pink and green (how preppy) with a Dalmatian-print trim at the neckline and center front seam. Cerri wore a black-and-white color-blocked swing coat with cropped leggings. It was all very ’60s-inspired — Courregs, Gernreich — and it was all very Mila.
Next week: Hammer and nails, anyone?
Episode 5: "Run for Cover"
Another field trip is ahead for our 12 remaining designers. I take them to one of New York's newest architectural marvels, the Hearst Tower on West 57th Street. Designed by Norman Foster, the glass and steel structure was conceived to perch above an earlier landmark, Joseph Urban's six-story Art Deco headquarters for Hearst. The two structures couldn't be more antithetical. In fact, rather than blending seamlessly, they collide, but only in the most visually and physically arresting manner. Furthermore, Foster's creation is a model of sustainable design; that is, it was designed to consume less energy than a typical office building.
We arrive at the Hearst Tower and are greeted by the glamorous and commanding Joanna Coles, editor-in-chief of Marie Claire magazine, a Hearst publication that is headquartered in the Tower. (Joanna's office, high in the building, has a staggering view of southern Manhattan, clear to the Statue of Liberty.) Joanna presents the designers with their new challenge: design an outfit to be worn by a celebrity on the cover of Marie Claire! And that's not all — the celebrity is none other than Heidi Klum!
Joanna gives the designers invaluable counsel. She explains that the outfit that they design will be photographed from the thigh or waist up, so they should concentrate on bring visual interest to the top of the garment. She gives advice about color: Black will never work, for example. Additionally, she states that patterns can be problematic, owing to the many lines of text on the cover. Furthermore, this is for the April issue, so the designers must consider the fashion direction of the spring season. Finally, Joanna is our guest judge, so she will see firsthand how the designers embrace her direction.
Back in the workroom at Parsons, the designers have 30 minutes to sketch and then we're off to Mood with a budget of $150. And this is a one-day challenge.
Anthony wins! I never know where the judges will take us and how they will spin their critiques of the work of the designers. I stood in full support of Anthony's beautiful design, but I could hear the judges spinning a contrarian view. He designed a stunning look: a fitted azure silk dress with an asymmetrical cascade of undulating fabric from shoulder to hip and a tiered skirt of horizontal panels of fabric. He listened intently to the sage advice of Joanna Coles and he knew that this color would be fabulous on Heidi. To me, he essentially "sculpted" the fabric to create a lush and captivating look. Congratulations, Anthony!
Anna is OUT. I was dumbfounded by Anna's three-piece look, because it was all so dull-normal and, frankly, lackluster. She made a blouson top out of a muted blue cotton, a basic vest in silver gray, and short shorts in a pinstriped menswear fabric. There was no semblance of innovation and no indication that she understood the parameters of the challenge. Furthermore, couldn't we buy any one of these items right now? Anna, we will miss you.
Amy designed a strapless dress with a fitted bodice and a flared skirt consisting of bias panels, thereby creating a buoyant handkerchief hemline. She embellished the top with a volumetric starburst that brought definitive attention to the upper part of her design. My concern was her textile: a vibrant print that went against the direction of Joanna Coles. I wondered whether Amy considered her immunity (from winning the previous challenge) to be a license to take a risk with the fabric. In any case, she passed by the judges unscathed.
Ben designed a quasi-wrap dress in color blocks of teal, yellow and a black metallic nylon over a fuchsia linen. The panels of color were bold and impactful, and their verticality assured that the look would be slimming (not that "slimming" is ever an issue for Heidi!). Additionally, he belted the dress in wide black leather (he cited "Madame Butterfly" as his inspiration, so this nod to an obi was appropriate), which gave the dress shape and an additional proportion. I loved his look and hoped that it would be a strong contender for the win.
Emilio created a short sleeveless dress in cherry-colored silk jersey with a crisscross of laced panels in the front. Owing to time, I assume, he had to curb his ambitions, which were to have a profusion of multiple spaghetti straps and lacings to emphasize the neckline. Furthermore, he was rapt with the ombr effect of the trims that would make up this effect. Why? The ombr effect was barely discernable from 12 inches away, let alone 12 feet. I had to ponder how it could be that Emilio would invoke the words "amazing" and "spectacular" to describe his design. Really? Are we speaking the same language?
Janeane returned from Mood with a good range of color textiles, from blue and turquoise to green and silver. In the end, the dress that she designed — sleeveless, with a fitted bodice and an asymmetrical skirt — was entirely silver, with the exception of a panel of color at the shoulder. This gave her look a distinctly bridal appearance, which I found to be contrary to the parameters of the challenge. My issue with Janeane's design work is simple: Her designs don't move well. They look fine on a dress form; that is, static. But they move as though they've been hammered and nailed. Janeane, loosen up!
Jay also seemed to embrace bridal. He designed a strapless, empire gown in a white-on-white intarsia textile. He adorned one shoulder with a flourish of organically formed fabric, which was the most visually impactful aspect of his design and served to pull the eye upward. The entire look said "organic," from the textile to the easy and casual flow of the dramatically slit skirt. But would Heidi and the judges respond positively? I wasn't sure.
Jesse designed a short, sexy, sleeveless dress in a dark green/blue fabric. When I first visited him at his worktable, I was wowed by the basket weave that I understood would comprise the top of the dress. But by the time it walked the runway, the basket weave had become a mere embellishment at the waist. I was not only disappointed, but I found his revised look to be lackluster.
Jonathan created a look that I can best describe as being a wrap romper with a kimono sleeve. His design presented me with several concerns, frankly: its short, short, shortness; the washed-out color of the textile, especially in reference to Heidi's coloring; and the fairly ordinary neckline. I'm glad that the judges passed him along without further scrutiny.
Maya created a short, fitted halter dress with layers and layers of graduated panels of fabric encircling the neckline. This was another look consisting of neutral textiles (Joanna said "color!" everyone) that I feared would have a lackluster appearance. Maya feared that she hadn't used enough layers of fabric to create the sense of volume that she desired in the neckline, but I was concerned that such volume would create a clownish cowl and reduce her look to mere costume. Her dress was pretty, but a Marie Claire cover?
Mila returned from Mood with a variety of colors in stretch wool. Most of them were muted — peach, beige, cream and light gray — which concerned me, because how was she going to achieve the strong graphic impact that brands her as a designer? She designed a short, flirty dress consisting of mitered panels that formed chevrons. To me, her look was so close to the color of her model's skin tone and the chevron details were so extremely subtle that it all but disappeared.
Seth Aaron designed a sleek and stunning fitted silver gray pantsuit. The shrunken jacket had a puffed sleeve that served as counterpoint to the glove-tight arms and bodice. I loved the covered buttons on the placket and sleeves. And his construction was impeccable. I thought that he would be among the top three, but the judges merely passed him by.
Next week: Kids say the darndest things!
—Tim
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