Banana Drama

Laura Brown wishes the House of Emerald had maybe, tried emerald, and isn't too worried about Golnessa's future.

Bravo: This week the designers were asked to design outfits not only for real clients, but for the Real Housewives from OC and NJ. First off, do you watch the Real Housewives shows? Were you familiar with the ladies?

LB: Many people say their secret shame is watching the Housewives shows. My secret shame is that I haven't seen them at all! I've edited many stories in this magazine involving the New York City shows, but the Jersey and OC were new to me. I got a real kick out of them, actually.

Bravo: You've obviously worked with celebrities before, and having to make a look work for their taste and body type. How do you think the designers rose to the challenge?

LB: I think the challenge was a great one, actually — you don't design in a vacuum, you design for women. And in this case, you have women who are constantly around cameras and hyper-aware of how they look. One even brought in a notepad and sketched her own dress! You need to know how to be diplomatic — it's like the fashion U.N.

Bravo: House of Emerald unveiled these grandiose champagne-hued dresses, but sort of lost it on the details. What disappointed you the most about their collection? What was there that you liked?

LB: I wish Emerald had used a little…emerald. It was this endless champagne palette — and everyone knows that endless champagne can give you a headache. If you're going to have a one-note color palette, you better be rocking it in construction. And Cesar's execution was not great — he said 16 times his model "had a real bust," like that was the most challenging thing in the world. So he built a corset for her, but he built one and sacrificed the lining. She looked like she should've been on top of a cake. And Golnessa's model apparently wore Spanx during her fitting, so when she put on the final dress, it was too small. Golnessa put in this hideous banana-shaped addition to her hip. To quote Glenda Bailey last season, it was a "banana drama." Bravo: House of Nami managed to win, despite their many troubles. What put them over the edge to ultimate collection territory?

LB: They won against all odds. David made this kind of Peter Pan leprechaun dress for Caroline — and she looked like a Christmas elf! But at the last minute he draped blue fabric over the dress — which gave it a lovely depth and looked great. Dominique's eveningwear looked like baby's first cocktail dress — but she was the first to acknowledge that evening was not her forte. The best by far was Eduardo's gorgeous midnight-blue ruffle shoulder dress on Dina.

Bravo: What about Eduardo's dress for Dina was so enthralling to you guys?

LB: The drama. The finesse he had. He designs cocktail dresses and does them beautifully, although of course, we would like to see him push his boundaries a little. But Eduardo was like, "This is what I do. This is my signature." Fair enough.

Bravo: You guys sent Golnessa home this week, why did her dress warrant the elimination?

LB: The poor girl — I really believe she never realized her potential on the show. She dresses so well, but her execution was so bad. I don't know if it was bad luck, or if she was just intimidated — her ideas were chic — but they just didn't look good. Some people can be design reality stars and some people can't. She'll be just fine.

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Mommy Dearest

Stefan explains his process for creating the final fashion shows, including an inspiration that almost didn't happen.

So at the end of it all, two designers from The House of Emerald Syx are left standing, with dueling red "tribute" gowns, for the win! With the chaos, twist, and turns thrown at these designers, the message from Calvin, Dominique, and our winner Jeffrey was peace, calm, and self-reflective.

Fashion Show #1: Enchanted Forest

My consult with Calvin was very touching because he spoke very deeply and passionately about his dying lover of ten years. While showing me his collection and mood boards (which only had one beautiful picture of a misty forest), he told me that his finale gown would be a tribute to his partner and to the Gay Men's Health Crisis, hence the color red.

Speaking calmly, he said he wanted his fashion show to reflect his journey through this competition from being an angry person to someone more agreeable (though most would beg to differ). I truthfully never saw Calvin as angry…he's just direct and brutally honest (which can feel borderline abusive at times) in his want for things to be as amazing as possible (though that yellow dress from the first day was questionable). At this moment, Calvin became very childlike to me so I thought to make his show into a fairytale of sorts set in the woods.

Using his personal journey and single misty forest image, I created a montage of woods imagery that started with a dark, foggy, moody, leafless forest and end with a lush, sundrenched, green jungle of life that became the perfect backdrop for his red gown (the back of which was gorgeous). I had the models walk through a path of Kara Walker-inspired trees and low looming fog to the sounds of pianos and music box tunes. For a humbling feel, I had the runway covered completely in burlap, which the art team hand sewed together with thick black yarn…it was well worth it! The details of the runway were beautiful and matched the dreamy elegance of Calvin’s final collection.

He and I agreed that the staging should not be as antagonizing as the zombie, barefoot show from the challenge before, though Calvin may have wanted to do something slightly more aggressive if given another chance. I'm glad we stuck with this tone because I believed it charmed the judges and almost got Calvin the win. Fashion Show #2: City Slicker

Dominique, the last surviving member of Nami, was also self-reflective during my consult with her. But unlike Calvin, her journey ends in chaos. She wanted her show to be all about her a naive, innocent arriving in NYC and entering this competition with beautiful jazz-style music in her head (well, iPod) and leaving with static, noise, and confliction (could David have had anything to do with this?).

I was impressed with Dominique’s ambitious ways during the whole competition and her willingness to try new things, like making her own plaid and deconstructing those umbrellas to create a chic sheath dress. One of the pieces Dominique made that she edited out of her final collection was a tangled wired bustier and ankle cuffs that were a cool, modern touch to her slouchy chic (which I love) silhouette.

Dominique show was the most fun to build because I focused on NYC and the fast-paced vibe here. I opened her show with city sounds set to jazz, which then exploded into techno rhythms. The models were lined up in a power stance behind the LED screen as footage of the subway whizzed by (Glenda Bailey loved this). I then had imagery similar to the of old-fashioned TV static sliced into the all the footage, with the final shot of the TV (and noise) being shut off as the model exited. Her runway was a city sidewalk with grates built in (the choreography was vital here, so the models heels would not get stuck in the grates…kind of like real city life). At the model entrance I designed a wire-filled structure that was inspired by her wire bustier (which never saw the light of day). My favorite moment in her staging was the night surveillance images I sourced with the guy shadowing the model on the catwalk…so eerie, so New York!

Fashion Show #3: Mommy Dearest

Jeffrey's fashion show was the toughest of them all because his journey was inspired by his late Mother’s presence, and I had to be respectful of that. He showed me mood boards of doves and red stains the resembled blood. Then he told me the story of his now famous red gown that was designed with his Mom in mind. After my first consult with Jeffrey, I left with thoughts of heaven in my mind…would it be about angels on clouds and golden gates?

But Bravo exec (and mega sounding board) Lara Spotts, made me examine closely what heaven would truly represent to our Jeffrey. So for my second consult with him (I always had two consult with the designers before the big show), I questioned Jeffrey about his show again (he loves a chic power woman) and what heaven represented to him. While he was talking I noticed a whole other board that he never shared with me with imagery of Buddhist monks and temples. I grabbed the board, and told Jeffrey that his show would be inspired by Buddhism...freedom from suffering, Nirvana. He agreed and went back to sewing (his collection was so far behind to the point that I was worried for him).

I fine tuned Jeffrey’s presentation up to the last minute as to capture the perfect mood for his collection, because I did not see the clothes till the models were dressed. Everything looked stunning on the girls! Once I saw the hair and makeup (Mally did a stellar job) complete I thought his show needed air, so I simplified everything and had the models trot through a grey ash filled catwalk (which captured a smoky, saintly atmosphere) as if they were entering a temple. The ash would also give a more deconstructed look to his pure clothes especially on the clothes with longer hemlines (some still with raw edges). Plus Jeffrey patiently handed painted all the models shoes with white paint (as if he did not already have enough to do) so the chalky ash looked great and modern (very Rick Owens meets Donna Karan).

I had the art team paint the symbol for the word PEACE on the runway and we built a candle filled alter at the bottom of the catwalk for an OM SHANTI feel. As I had the model posed on the stage for a final tableau, I asked our lighting guy to shine one perfectly bright beam of light on the group of girls for a heavenly glow.

And it all worked! Guest powerhouse judge Mary J. Blige could not stay in her seat… she loved it so much. And Jeffrey won!

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