Cast Blog: #THEFASHIONSHOW

The Kids Are All Right

Rising to the Challenge

Mommy Dearest

Red Red Whine

The Creative Process

Hail the Virgin Queen

Doing It Big

Ultimate Dressmaker Collection

Let's Twist Again

Captain Planet

Accessories in the Attic

Beige is Boring

The Hungry Ruffle

More Is More

Blushing Brides

The Love Float

Finding Your Key Light

Panda-monium

The End of the Affair

Two Sides of NY

Jersey Shore Moment

The Island of Lost Handbags

In A Nutshell

Attention Upper East Siders

The Greatest Show in the World!

Banana Drama

Life Finds A Way

Shrinking Violets

Plaid in Space

Message in a Bottle

Sad for Plaid

Color Coordinated

Suffocate with Love

In Noir and White

Welcome to the Fun Haus

Lethal Women

It's a Camp-tastrophe

Disappointing Duplicity

Inside Out Man

I'm Still In Love

Peace Out

The Kids Are All Right

Laura Brown commends the bravery and grace of the designers this week, and doesn't worry too much about Eduardo's future.

Bravo: This week's episode was all about accessories. Are you a big accessories person?

LB: I had to sort of school myself in accessories. My first Waterloo was shoes, when I was about 22. And I have never recovered. When it comes to hats and gloves and lots of trinket-y things, I'm not SO big on it, I wear like one ring (but a good ring). But a good bag and a good shoe can make the girl.

Bravo: Do you have any favorite pieces in your own collection?

LB: Yes, I have a Stefano Canturi art deco diamond ring that I really love. And my fearless leader Glenda Bailey gave me a gorgeous black Celine bag with a chain that I'll carry 'til I die (or I get mugged). For spring, I'm obsessed with the Fendi color-block wedges – like my life without them was nothing.

Bravo: What are some of the trends you’re seeing for 2011?

LB: Color. Color. Color. Fashion looks like a big fruit bowl for spring, and I think it's a fun way to put a little color in your look — in your shoe, or a bag. You don't want to look like a rainbow with your clothes — if you're a jeans and tank-top girl, put on those Fendi shoes and you'll look great. Well, that's my plan, anyway.

Bravo: The designers were really great this week. What impressed you guys so much about the collections?

Laura Brown: I think a lot of them really hit their stride, and they used the challenge to facilitate more glamour. The accessories worked really well as an embellishment to their signature style. They were a little scared at the beginning, but they really rose to it and pushed themselves a little bit, I think. Bravo: Jeffrey pulled out the win this week, with his two amazing outfits, and particularly the earring-showcasing design that Isaac mentioned was a sure winner. What was it that struck you guys about it so much?

LB: I loved Jeffrey's colorful chicken lady look, too. I thought colorful chicken lady was great because it was so unique and so him. What he does really well is this fluidity thing. He made trousers, which he hasn't made so much. But he tempered the crazy blue and green feathers with white. It wasn't a schizophrenic bird—it was as measured as it could have been, given that he was given a giant multi-colored shrug. He totally scored with the earrings, and I think his instincts were right again to pair it with a very, very simple white dress. It was beautiful. Iman and I both would have worn that in a heartbeat. And he knew not to, as they say in my country, over-egg the pudding.

Bravo: You commended Dominique on being a bit of a brave one, and this week she definitely went all the way out there with the pig coat. What did you think of her work this week?

LB: The brave one. God bless her. Yeah, I didn't like that coat. But I liked her thought process; I liked that she went for that coat. I liked that she thought, "OK, my woman is going to wear a coat that looks like a pig." First, she made a coat with a pig face, and then she gave her second look an almost a couture treatment with the crinoline under the back of dress. She's completely fearless with shape and volume. I think that's a testament to her youth, and I think one day she'll learn to marry that fearlessness with commercialism, and it will be the best of both worlds. She's got balls. I appreciate her for that.

Bravo: At the end it was Eduardo that had to go home, instead of Dominique. What was it that sealed the decision for you guys to send him home instead of her?

LB: The hungry ruffle! Eduardo was eaten by the hungry ruffle. You know what, it wasn't like it was terrible, as we said it was a really tough week. It was that bloody ruffle on that dress that was longer than the dress. The dress had a strange hemline and the ruffle was black and the dress was brown-ish — it just was not good. And, again he's really great at making those saucy little cocktail dresses, and I would wear one of them in a second. He just failed in the execution of that particular dress. Something tells me though, that the kid's going to be alright.

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!