The Fashion That Drives You

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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


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

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

Reality Out The Window

The Fashion That Drives You

Finding creativity among seatbelts, floor mats, headlights, and seat cushions!

Heidi instructs the designers to go to the rooftop of 142 West 31st Street. That's all that she says and bids them farewell. Once there, they find out that it's a parking garage. They ascend to the rooftop via the enormous car elevator and, once there, are presented with a lineup of five brand new Saturn Vue Hybrid vehicles.

I'm there to greet the designers and to introduce them to Chris Webb, lead color designer for Saturn, who gives them their challenge. He explains that this particular Saturn model is 85% recyclable by weight, ergo the hybrid aspect. Each car has been filled with the materials for this challenge: floor mats, seat covers, headlights, seatbelts, carburetors, air vents, and sun screens, to name many. The designers have four minutes to load as much of these materials as they can into the provided laundry bags and rolling carts. Then, we're headed back to Parsons where the designers can create any look of their choice. This challenge is about innovation using untraditional materials. Our last challenge of this nature was the first challenge, Gristedes. Frankly, the results of that challenge were hugely disappointing, so this is a second change for the designers to wow the judges with their creativity and aptitude for innovation. I know that they have it in them, but we need to see it! In the end, I'm extremely pleased and excited about their achievements. But, will the judges be?

The designers have one day for this challenge. Celebrity stylist Rachel Zoe is our guest judge. And season three finalist Laura Bennett stands in for the ailing Nina Garcia. (Thank you, Laura! Come back, too. You're a fabulous judge!) The winner will receive immunity.


Leanne WINS! This look was sensational: a strapless mini-dress made out of seat covers with a "feathered" neckline made out of fringed seatbelts. Had one not known the source of the materials, one would never have guessed that they weren't all purchased at MOOD. Leanne even incorporated the natural shape of the seat covers - rounded at the top - to create a modified pannier. When the judges remarked that her look was very "Thierry Mugler meets John Galliano," I started to bristle, because I feared that they were citing her look as being too derivative. But, they loved it and she won! Congratulations, Leanne!


Keith is OUT. His downfall? The judges pondered the lack of any semblance of the "cutting-edge designer" whom he claims to be, and they've grown tired of waiting for a demonstration of his creative and innovative potential. Furthermore, prior to the runway show, his model sat down, contrary to his instructions, and split the skirt, and he didn't have enough seam allowance to compensate for it. Consequently, the skirt's fit was horrendous. So, Keith presented basic items and silhouettes with a seriously poor fit. Yes, that's troublesome, but he was pitted against Lethah Stella for Heidi's "Auf Weidersehen," and her look was completely incomprehensible. (Oh, shut up, Tim.) In any case, I'm sick about losing Keith. Most of us will miss him very much.


Blayne created a dress using vertical lengths of taupe seatbelts. That structural arrangement and the construction it required - overlapping and sewing each seatbelt to another - increased both volume and textile rigidity, which fight against fit. In addition, the skirt of the dress cascaded in deliberately uneven lengths, which, frankly, looked sloppy. Blayne's challenge was to give the dress some shape and some elegance of proportion. He didn't (and maybe couldn't). So, with sloppiness and horrendous fit looming large, he's very lucky that the judges moved on and left him relatively unscathed.


Jerell designed a stunning look using the faux suede reverse side of the seat cushion for a strapless top and resin moldings and dashboard parts for trim. A black miniskirt was fashioned out of alternating matte and shiny textiles. It was sexy, sophisticated, and, I repeat, stunning. Furthermore, the judges called it out for being one of the top three looks.


Joe was definitely in his comfort zone, since he lives in Motor City (Detroit) and designs for Schott. These materials didn't unnerve him! He created an adorable Motocross (by virtue of his use of the Saturn logo) mini-dress using red and black seat cushions and taupe seatbelt insets between the seat cushion pieces. It was a Saturn Vue Hybrid jigsaw puzzle, of sorts, and it was a marvelous success.


Kenley used the off-white reverse side of a silver sunscreen to create a skirt to which she added an air filter peplum on which she "Sharpied" a mini zebra print. She paired this with a strapless top out of black seat cushions. Midway through this challenge, Kenley was delivered a "make it work" moment: Her model Shannone dropped out, so we brought back the last model eliminated, Germaine, who's a size larger than Shannone. The skirt and the top were both too small, which sent Kenley into a nosedive. In the Project Runway spirit, she rallied and conquered. Her look was sexy, fun, and show-worthy.


Korto wowed everyone and was close to stealing the win from Leanne. Undaunted, she wove dozens and dozens of taupe seatbelts to create a swing coat that was an homage to the mod 1960s of Courreges. This was no easy feat, and to be able to manipulate the belts in such a manner that they would drape with ease was a serious exercise understanding the grain lines of the textile (Blayne's problem). The result was spectacular! Rachel Zoe even declared that she wanted the coat for herself.


Stella, oh Stella. Why does she choose this second chance to tackle innovation (remember her black garbage bag dress?) to wave bye-bye to her comfort zone, I ask rhetorically. "I don't do skirts," she declared to me. Then why are you doing one, now? It was a tiered A-line mini (are there such things?) made out of seatbelts. OK. But why are you pairing a shiny, taupe skirt that could be considered quasi-elegant (but lackluster) with a leather biker vest? It was incoherent. There was no cohesion. Neither I nor the judges understood anything about it. So, why is it that Keith went home, I ask rhetorically, again.


Suede fully embraced this challenge, but he ran the risk of over-designing everything. When I made my first rounds in the workroom, he was attempting to force myriad pieces of broken mirrors (from side-view mirrors) inside black plastic dashboard templates. This exercise in pietre dure (elaborate mosaics) was entirely too ambitious for the timeframe and it was distracting him from getting the core of his design finished. "Suede's in trouble" indeed. Wisely, he put that work aside and created an off-the-shoulder top using a draped black rubber floor mat and a flapper-esque mini out of a silver sunscreen. Whew!


Terri's look was stunning, too: quilted pants in black and gray and a black top, all made from seat cushions, with the exception of the cargo netting neckline. And, she was the only designer to create pants. (I know that viewers are saying that that's all that she does, but she does it superbly well, so why not?!) The only reason that she wasn't among the top three is because there was so much great work resulting from this challenge. Bravo, Terri!

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.