Cast Blog: #PROJECTRUNWAY

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Episode One: We're Off!

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Kenley Blogs Episodes 510-514

On The Road

The Real Winner

The Final Showdown

Leanne Speaks!

Finale, Part 2

What's Next

Tim Responds To Your Comments!

Love Is In The Hair!

History Repeating Itself

Garden Of Locks

Nature Calls

Rock 'n' Runway

Rock Steady

Rock N' Runway

Suede: Rockin' Out

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Take A Bow

Transformation

Joe: Straight Talk

Working Girl

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Best Of The Best?

Written In The Stars

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What's Your Sign?

I Saw The Sign

A Designer's Dream

Fashion Inside Out

Stella: Lovin' The Leatha

Double 0 Fashion

No Leatha, Mo' Problems

Making The Most Of It

The Fashion That Drives You

A Softer Edge

Fasten Your Seat Belts

Show Some Love

It's All An Illusion

Daniel: Oy Gevalt!

Good Queen Fun

Drama, Drama, Drama!

Joe: All Aboard!

RuPaul: A Drag Race

Episode One: We're Off!

One by one, each designers outfit reviewed!

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And we're off! The fifteen season four designers have arrived, settled into their apartments, and are presented with their first challenge. They meet Heidi and me in Bryant Park (home of Mercedes Benz Fashion Week) where Heidi gestures to three tents at the opposite end of the park and declares that they are the source of the designers' materials for this challenge.

The tents are constructed out of $50,000 worth of fabrics donated by our favorite fabric resource, MOOD. The designers have ten minutes to collect as much fabric as they can. Then we will return to the workroom at Parsons where they will have until 1:00AM to design and execute a garment that demonstrates their philosophy and point of view.

So, here goes: 
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Rami WINS! Rami unequivocally showed us who he is as a designer: modern yet classic, romantic yet restrained, and with elegance personified. His silk georgette one-shouldered gown in a rich gray was all about the drape, and his draping is nothing short of magnificent. Lest anyone project that season four will belong to Rami, let me remind loyal viewers that the winner of the first challenge has never won the season - yet. rate_runway_14_401.jpg

Simone is OUT. I do not dispute Simone's talents as a designer: she's excellent. Her undoing was all about inadequate construction. Was I a fan of her garment design? Not entirely, but we can debate its conceptual quality and relevance. We cannot debate the construction; poor workmanship abounded. Furthermore, she didn't have time to set in the dress's zipper(!). Watching her design walk the runway was painful. I merely hoped that her own exit would be quick. It was. rate_runway_09_401.jpg

Carmen was the only designer to use a pant and I applaud her for it, because she gave herself a big challenge and an even bigger risk: fit. Her black pant offered a sleek and minimal counterpoint to the exuberance of the top pieces - a gold shrunken jacket over a floral blouse. It wasn't for everyone, but I found it to be stunning. rate_runway_05_401.jpg

Chris, this season's designer with a costume background, definitely presented fashion. It was a red carpet worthy gown in aubergine silk charmeuse with a large waistband and halter-top in an olive print. His model held the fishtail train on the runway, giving the dress an elegance and distinction that it deserved. Bravo. rate_runway_02_401.jpg

Christian created a bishop sleeve shrunken jacket using a Glen plaid in silk satin. This was paired with a taupe, asymmetrically pleated bubble skirt. I loved certain aspects of the jacket - the silhouette, proportions, and the dynamic chevron created by the matching of the plaid at the back center seam, but I was confounded by the print's mismatch elsewhere. Given the large scale of the plaid, the mismatching was discordant to me and begged the question, "Why match it at all?" since the meeting of the plaid in the back was so precise. Furthermore, the construction of the skirt eluded me. But the judges loved the look, so look out for Christian! rate_runway_13_401.jpg

Elisa is going to be very interesting to watch, but perhaps for reasons other than...we'll see. She designed an azure jersey gown with a gorgeous silhouette, an excellent fit, and superb finishing. That given, why did she believe that a long poorly finished train in a riot of colors and textures would enhance the gown? I didn't understand it. And her model was almost crippled from a series of trips and falls both backstage and on the runway. In spite of Elisa's strong commitment to her work, a dysfunctional design is a dysfunctional design. rate_runway_03_401.jpg

Jack presented a black on white floral print skirt paired with a halter top with an azure waistband and halter-strap accents. It was fresh and youthful and I wish I had more to write about it. Later, Jack. rate_runway_01_401.jpg

Jillian is clearly her own muse: witness the adorable outfit that she designed and wore to her initiation into the New Gotham apartments. For this challenge, she created a halter dress with an exuberant bubble skirt and a sleek fitting top. The slight contrast in the hues of red that she chose for the skirt and the top infused the design with a healthy tension. I surely understand who she is as a designer and am very pleased for her success, but I wonder how her point of view will continue to be demonstrated as the season progresses. That's a roundabout way of saying, "Don't bore Nina!" rate_runway_04_401.jpg

Kevin designed a strapless dress in black chalk-striped wool cut on the bias. He created a visual punch with a band of red satin protruding from under the skirt and above the breast-line. A silver obi was the piece de resistance and an ambitious addition. I'm eager to see what lies ahead. rate_runway_07_401.jpg

Kit is admittedly avant-garde. She is determined to push the metaphorical envelope, and I suspect that it will be a cold day in hell when she sends a classic shift down the runway. Her design for this challenge was anything but, but what was it? A black and white flower print dress (or was it a skirt and a top?) with a red, one-shoulder bustier cum harness. I get it, but I had difficulty with the proportions, not the concept.

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Marion is quick to declare that he's a flower shop owner, which sounds almost self-deprecating given that he's here for fashion. I know that he's educated as a fashion designer (class of season three's Robert Best at Parsons) and worked in the industry. So who is he as a designer? For this challenge, he created a black lace top over an olive skirt. The top was quite elaborate and beautifully constructed. The skirt consisted of large asymmetrical panels and felt very sculptural. I found the amalgam of skirt and top to be discordant, as though they belonged to entirely different customers. Still, I believe in Marion's vision and am eager to see what's next. rate_runway_11_301.jpg

Ricky has an extensive background as a lingerie designer and it shows in his understanding of the importance of workmanship: details and finishing. His design was all about the workmanship. I admired the construction and the flawless manner in which he used a scalloped lace trim to enhance the effect of the black and silver striped dress. The microcosm worked, but from a macro perspective, the dress was very, very basic, and perhaps too basic. Still, his execution won out - for now. rate_runway_08_401.jpg

Steve designed a classic black suit with an edge. The pencil skirt was beautifully proportioned, as was the corresponding jacket with over-scale, fabric covered buttons. The jacket's cut and silhouette brought to mind a modified peplum, which was just enough of a retro nod to give it an element of surprise. Worn with an effortlessly tied red scarf, the look was chic and sophisticated. rate_runway_10_401.jpg

Sweet P is very much about surfaces: textures, patterns, embellishments. That can potentially speak to excess, but she knows how to practice restraint. Her design for this challenge was a dress in a textile consisting of circles of eyelet embroidery over a red underskirt. Wisely, she chose a simple silhouette. I found the wide baby-blue straps of the dress to be an element of surprise. Sweet P will be interesting to watch. rate_runway_12_401.jpg

Victorya was one of the six designers left on the runway for the further deliberation of the judges - "the three best and three worst," as Heidi says. I have to admit to scratching my head about into which category Victorya fell. Her design wasn't bad, but it was so very, very basic, not unlike Ricky's: a black shift with a single and large silver floral embellishment. I'm not opposed to the look, but I'm not swooning, either. So if Ricky is one of the "three worst," then why is Victorya....? Oh, shut up, Tim.

PS Why so many baby doll dresses? (And what happened to the term, "empire waist" for this kind of design? I'm showing my Old-Fogieness.) Why? Because this form of design is a sure thing when it comes to fit. The same is true of halter tops, of which we had a profusion.

What's Next

Words of advice to Leanne, Korto, and Kenley.

Leanne put together something that was interesting and sophisticated and it definitely had a point of view. In a weird way she managed to have a focused collection that still had variety. She took an idea and she stretched it. The clothes were young as well as sophisticated at the same time.

What's next for her? Well, everyone thinks that they have to put on this big runway show and that's not necessarily always the case. I think her clothes are very much about seeing the workmanship, the detailing and all that, so I definitely think she's got the goods to do her own thing. I don't think she should feel obliged to do a big show right away. I think there's something to be said about things growing slowly and organically and that might be better for her. Then people can really see the clothes up close, because when you put the kind of workmanship into something that's understated, things can get lost. She could do a fun presentation, maybe, or a still life on mannequins. I don't think she necessarily has to rush out and put on a whole show. I think her clothes will be appreciated in both Europe and Japan so she should probably think about bringing it over her line to Paris where you're going to find more of the European buyers as well as the Asian buyers. Once again, I think her clothes will do really well in Asia. I think they have an understanding of sophisticated workmanship. You're not going to see her clothes in the local mall. They're not for that. She's got to keep it high-end and sophisticated and keep her focus, which I think she will.As for Korto's collection. I remember the beads well. There was one asymmetrical dress where the beads were built in and I loved that. Everything she wanted her collection to be - ethnic without being costume-y, playful with color - she managed to hit that with certain parts of the collection. But I think the necklaces, when they were just necklaces on their own, looked added.

With Kenley the reality is you have to have a confidence in what you do and you have to believe that you're right. A designer needs a big ego because you really are going around and telling people "You're wrong and I'm right." But I think that there are ways to do it gracefully. It's the kind of industry where you're always going to have good feedback, bad feedback, or sometimes no reaction, whether it's the woman in a store, the buyer, or the press. It's always a public thing, not a private thing. The important thing to remember is as much as it might burn you when someone criticizes you, the real reality is you don't have to take it totally verbatim. I think she takes things totally verbatim. And one can listen and say, "I got what you're saying but I'm ultimately going to do what I want to do, thanks for the input" and maybe you will learn something. You should learn something. When you think you know it all at 25 then your career's going to be really short. The whole point of fashion is that you never know it all. She's gotta learn how to keep her point-of-view and her confidence, but learn how to be a little more of a lady. Granted, being tough never hurt anyone in fashion.She's obviously got a point-of-view. She's got a great hand. The painting on those clothes was just gorgeous. In general, the quality and the craftsmanship of everything she sent out was beautiful. But I think when people are dress designers, which is really what she is, it doesn't make for the most compelling fashion show. It might make a very nice line. I think that in history there have been a lot of designers who are "dress houses," so to speak. They don't do a whole collection and they can have very successful businesses. It's hard to tell a varied story when you are so specifically dress-oriented and especially when your look is so particular. So I think she could put a line together and do very well with it. There's always going to be someone who likes something feminine and flirty and she's another one where I don't necessarily think the runway is always going to be her best friend. I think the greatest thing that has happened from the show in the last five seasons is that it's certainly made people aware that their clothes don't just appear in their closet. It's kind of like knowing the farmer who grows the crop. Suddenly you have an appreciation for the food that's on your table. I think that Runway has really opened people's eyes to know that this is an incredibly difficult endeavor and it takes real tenacity and talent.

I think that's the greatest part of the show for me. I'm a real fashion person so when something turns the corner and I think it's really spectacular that's the greatest moment for me. When Christian's show started and I saw the chicness of this 3-Musketeers silhouettes I thought "Wow." Same thing with Leanne. I look at the whole thing lined up and I think this is what we're here for. I'm happy when it looks great. My other highlight is sometimes just losing it laughing. Whether it's the wrestling challenge or... just losing it laughing in general! As much as I love it all and we are excited about it and spend so much time doing it, at the end of they day, they are just clothes. And sometimes it's good to just laugh about it all.