>> Previously on Project Runway
All Stars...
This week you'll be creating
sportswear.
We have four seasons and eight
designers.
Let's make this a fashion
face-off.
>> Oh, okay.
>> It was Jerell and I,
Mila and Rami, Mondo and Kenley,
Kara and Austin.
>> I'm glad you're doing that
'cause I know I'll win.
>> Michael is cutting the same
jacket as me.
>> [Bleep] I gotta be accused of
plagiarism.
Really, bitch?
>> Where's that bell, girls?
Ding ding!
[Dramatic music]
♪ ♪
>> I think the coat's gorgeous.
>> I love the hat, the hair.
>> Congratulations, Jerell.
You're the winner of this
challenge.
>> Yay.
>> She looks like a bore.
>> Kara, you had the high score,
and, Austin, you had the low
score.
>> Oh, boy.
>> Kenley, you have the high
score.
Mondo, you have the low score.
>> The top underneath, I wish I
had never seen that.
>> It was just bulky and
awkward.
>> I'm sorry to say, Rami, but
you're out.
13 of the best designers from
Project Runway are back.
And this time, competition is
tougher than ever.
Each week, their skills are
tested to the limit as they
compete for the biggest prize in
Runway history.
Who will be cut, and who will
have it all sewn up?
This is Project Runway
All Stars.
The winner of Project Runway
All Stars will sell their
merchandise within an exclusive
boutique at select Neiman Marcus
stores and on Neimanmarcus.com.
The winner will also get a
spread in Marie Claire magazine
and a position as guest editor
for one year,
$100,000 in technology and
office space from HP and Intel,
a sewing and embroidery studio
provided by Brother
International, and a cash prize
of $100,000, courtesy of L'Oreal
Paris.
Project Runway All Stars 1x07 Puttin' on the Glitz Original Air Date on February 16, 2012
== sync, corrected by elderman ==
>> Wow, what a shocker that
Rami went home, right?
Crazy! That's intense.
>> At this point it could be
anyone, because he was such an
amazing designer.
>> Such a great designer.
>> Shocked.
Really shocked and upset.
>> He's fantastic.
And I thought his look was
fantastic.
I definitely do think the fact
that Rami's gone is a bit of a
game-changer.
It's like one of the best
designers--
the most difficult to probably
beat is gone.
Can't be mad at that because
eventually they all have to go
so I can get my check.
>> All right, let's go.
>> Let's go. Come on.
>> Let's go.
>> We head off to Circle in the
Square theater, right there in
the heart of Times Square, the
heart of Broadway, like the
pulse of New York.
>> This is right up our alley.
>> It's very exciting.
I'm a huge Broadway fan.
I go to Broadway plays all the
time.
>> Hey, designers.
>> All: Hi.
>> Come down. Join me.
>> The world of theater is a
world of imagination.
It's a world of illusion, a
world of fantasy, and all those
things excite me.
>> This week we're on Broadway.
>> Whoo!
>> Who doesn't love a good
Broadway show?
>> Yes, absolutely.
>> This week's challenge is a
first for Project Runway and
Broadway, and it involves
Godspell, a rock musical about
Jesus and his Apostles.
To help me reveal all we have
one of the most successful
Broadway composers in history.
He's won multiple Oscars,
Grammys, and other awards for
his hits, including Pocahontas,
Pippin, and, of course, the
phenomenally successful musical
Wicked.
>> Wow.
>> Cool.
>> His first-ever musical,
Godspell, is back on Broadway
for its 40th anniversary.
Please welcome legendary
composer Stephen Schwartz.
[Cheers and applause]
Hi, Steven.
>> How are you? Good to see you.
>> Good, thank you. Welcome.
>> Hey.
>> Stephen Schwartz, huge
Oscar-winning composer.
>> He's won Oscars, he's won
Tony awards, he's won it all.
>> It's a true honor to have him
participate with the All Stars
for this challenge.
So, Stephen, tell us, how are
Project Runway and Godspell
joining forces?
>> Well, the winner of this
week's challenge will have his
or her design featured in the
new Broadway production of
Godspell.
>> Wow.
>> Cool.
>> And a bio in the program.
>> Wow.
>> Awesome.
>> Take a seat, guys, and let's
talk about the actual challenge.
>> To have your bio in a
playbill on Broadway is pretty
frickin' major.
>> So I want to introduce you to
the director of the show, Danny,
and the actress playing the
role, Uzo.
>> She's playing a very rich
person who likes everyone to
know just how rich she is.
>> You're gonna be designing an
outfit for this rich woman.
>> And it should feel like I'm
really rich, a material girl.
And she wants to show off her
wealth, and is hoarding her
wealth, and it's really
ostentatious.
>> It should look like each of
the characters sort of put
together his or her own outfit
from something they found in the
back of their closet, or picked
up at a thrift store.
And it expresses their inner
personalities in a colorful and
humorous and slightly
exaggerated way, but they still
look great.
The actors will be assembling
this piece onto her onstage.
>> Which is why this is gonna be
a separates challenge.
You have a budget of $200,
and I'll see you back on the
runway tomorrow, when we decide
which one of you will be getting
your Broadway debut right here
on this stage.
As they say in the theater,
break a leg.
[Laughter]
>> So after having a little
Q & A with our panel of
thespians, we are quickly
sketching away on our HP pads,
coming up with ideas,
inspirations.
I think it's really cool that we
are allowed a few moments in the
theater to just absorb the...
Just the magic of the room, and
just the ambiance of the
theater.
>> This is a tricky challenge
for everybody because it's
Broadway, and everybody thinks
about Broadway like lights and
sequins and fringe.
But it's difficult.
>> I sketched this long, kind of
crazy thing with a bow, but I
was afraid it might translate
into a dress.
So I started sketching this
other thing that was just, you
know, lots of pieces.
But I wasn't feeling that.
I thought it could be too
dramatic, so I came up with a
skirt and a top.
>> Okay, guys, that's it.
You ready to go to Mood?
>> And how much is this?
I want to go for some fabric
that will just speak luxury,
opulence, you know, conspicuous
consumption richness.
So I'm thinking, like, a
fabulous brocade.
>> Look at the top one.
>> This one?
>> Mm-hmm. This one.
>> I'm gonna make a fur-type
stole...like, jacket.
And then I'm gonna line,
hopefully, the jacket with some
really pop color.
>> I love color.
I love mixing patterns.
And I like over-the-top things.
>> One minute, everybody.
Wrap it up.
We got one minute, shoppers.
Come on.
>> Oh, where's the...
>> Where did my straps go?
>> Can I help you with anything?
>> I need red.
I've got red thread.
I need Navy thread.
>> I love Kara so much, and part
of what I love about her is her
emotional roller coaster.
Like, one moment Kara will be
singing and performing sort of
an interpretive dance, the next
minute she'll be, like, sobbing
and having a breakdown.
>> [Laughs]
>> Tell 'em we get the friends
and families, veterans discount.
All that jazz.
>> Hey, guys, time's up.
Bring your stuff up here.
Gotta get out.
>> 200 bucks.
200 smackeroos.
>> All: Thank you.
>> Thank you. Bye.
>> I've gotta get these clothes
off...
[Overlapping dialogue]
>> The brocade fabric, that's
gonna be my jacket.
And that's gonna be the key
signature piece for this look.
It's gonna tie all of the
separates in.
And I'm debating on a silver
brocade for a top, or a red top.
>> I am doing kind of this
goldish-silver Lame coat with a
peplum at the hip.
It's definitely gonna be
really... Lame, I gue--
I guess it's the word I'm
looking for.
Lame.
>> I really hope the judges are
able to pick up on my attempt to
create a design that is very
appropriate for this sort of
conspicuous consumption-type
character.
>> It's pretty.
>> It's going to be a blouson
top.
>> A blouson top.
>> Very blouson.
>> This time around, I'm really
hoping that the judges notice
the clean lines, and just, like,
a certain sort of really simple,
chic aesthetic.
>> Kara...Beautiful.
Kara's done, everybody.
>> That's fabulous.
>> Kara, look at my fabric.
>> Wow, that's beautiful.
>> [Laughs]
>> I've noticed a lot of this
sort of unnecessarily,
over-complimentary love for
others' designs, now it's, like,
crazy between Kara and Kenley.
If and when the time comes that
one of them is eliminated, the
other one, you know, might have
a meltdown
>> Coming up on Project Runway
All Stars...
>> It looks unfinished.
This is not as ambitious as you
need to be to be an All Star.
>> We're pushing ourselves so
hard every day.
>> There's really no time for
any of us to unravel.
>> Broadway!
I'm excited about just the sheer
possibility of having a Broadway
debut.
>> Having one of your cat suits
on Broadway!
>> [Laughs]
The challenge for this week is
to create an ensemble for a
character in the play Godspell.
>> The character is a wealthy
woman who steals money from
everyone and flaunts her riches.
>> Oh, these are cute.
>> The Neiman Marcus accessory
wall has everything that you can
think of.
I just have to be sure that I
pick the right ones.
>> Oh, my God.
>> Can they be classy?
>> This is fantastic.
>> Yeah, that--
I was thinking of that.
>> Me want.
>> You take.
Mondo, I know he got all the
good stuff.
I want this necklace.
>> The twist to this challenge
is that we're required to make
separates because the actor has
to put them on onstage during
the musical.
>> Yes.
>> Hi, designers.
>> [British accent] Oh, hi.
>> I have to tell you, this is,
I think, one of the most
exciting challenges.
I'm so excited about this prize
being incorporated into
Godspell.
And I'm dying to see what
separates you are coming up
with.
Austin, it looks like you robbed
a bank here with all this kind
of gold and silver.
>> Well, our character is rich,
and she's all about conspicuous
consumption.
So I immediately thought of sort
of like a Marie Antoinette.
>> Mm-hmm.
>> And so that's why I really
gravitated toward the sort of,
like, baroque rococo brocade.
>> Really ostentatious.
>> To me, it does just say
"rich."
>> Well, I love it because it
reminds me of--
that, you know, is it hideous or
is it fabulous?
>> Yeah, I mean, that's kind of,
I think--
>> Because right now it's
hideous, but you're going to
turn it into something fabulous.
>> I think--
>> Aren't you, Austin?
>> I am. Well...
>> Right.
>> I think so.
>> All right, good luck.
>> Thank you, Joanna.
>> Kara.
>> Hi, Joanna, how are you?
>> I'm good.
Are you a Broadway fan?
>> I am. A huge Broadway fan.
>> Good.
Tell me about your outfit.
>> So I'm thinking of doing this
top, 'cause I feel like it has--
>> Okay, so it's a fairly
straightforward v-neck top.
>> Well, and I'm gonna have the
ties around the neck.
>> What, like a little pussycat
bow or...
>> Yeah, sort of like this, and
then--
just because I feel like that's
a rich, chic effect.
>> Right.
>> You know, and then I was
gonna do a high-waisted maxi
skirt.
>> You're gonna do a maxi skirt?
>> I was gonna do a maxi skirt.
>> Okay. I think this is not
necessarily as ambitious as you
need to be to be an All Star.
And I'm just concerned that
you're pushing yourself.
Because if you look around the
room, there's a lot of ambition
and imagination going on, and
I'm not seeing it as much here.
>> [Sighs]
I get it.
I get that it's, like, you
push yourself.
It's like we're pushing
ourselves so hard every day,
like, you want to fall flat on
your face, you're so tired.
And then Joanna comes in and
says, well, you know, like,
"Are you an All Star?"
And I'm thinking to myself,
"Well, I'll be damned.
I really, really thought I was."
>> Mila, hello.
>> Hi.
>> Show me what you're thinking
of, then, for the separates for
this crazy woman.
>> I'm doing a blouse that's
going to have the chevron effect
in the front.
Of course, it'll be lined.
I'm doing a little chubby, you
know, with a dolman sleeve, just
like the blouse.
And then I am making a skirt out
of this crazy optical pattern
here.
>> Okay, so what kind of a skirt
are you doing with this?
>> You know, it's not really
very Mila to do sort of a
waistband, you know, dirndl type
of thing.
But it might be a better look
with it than a pencil skirt.
>> Interesting.
I mean, a pencil skirt might
work.
She's quite powerful, I think,
this character.
I mean, she may be stealing from
people, and she may be rich, but
I get the sense that a pencil
skirt denotes power for her in a
way that might be interesting.
>> Hmm.
>> All right, well, good luck
with it, Mila.
>> Thank you.
>> Mondo.
>> Hello.
>> I'm here to help you, and I
may break into song, I'm just
gonna warn you.
I was in Godspell at one point
in my life.
>> You were?
>> Yes. Not a professional
production, I hasten to add.
So tell me what you're thinking.
>> So they were telling us that
this woman that she plays is the
rich woman.
>> Right.
>> And I was thinking that, you
know, for her coat to be, like,
her dad's old smoking jacket.
>> So it's sentiment.
>> Mm-hmm.
>> Right. I love the fabric
choice for this.
I just think the kind of
character she is, this deceitful
character, is played up
brilliantly in this.
I just hope it's dramatic enough
from a distance.
>> Right.
Well, I also bought this for,
like, trim to add into here.
I was almost thinking, like, a
mandarin collar and 3/4 sleeve.
>> All right, work it, Mondo.
>> All right. Thank you.
>> Okay, Jerell, tell me what
you are up to.
>> I love texture.
It's, like, one of my favorite
things.
So I'm gonna do a coat that
stops at the waist with a very
extravagant cuff.
>> Mm-hmm.
>> And the fabric is kind of
stretched, so it'll be easy for
her to move around in and dance
in.
But it's very much that
statement piece.
>> Okay. You've got so much
going on in here, you really
probably don't need very much,
other than the shoe, do you?
>> Yeah, totally true.
And in this case, I mean, the
jacket is a piece of jewelry.
So...
>> Right, the jacket is a piece
of jewelry.
All right, well, good luck with
it, Jerell.
>> Thank you.
>> Let's see if you can get two
in a row.
>> Let's see.
I'm definitely going for that.
>> Kenley, I'm in shock.
This is the first week we do not
have polka dots.
>> Yeah!
>> Talk me through this.
>> This is a really beautiful
brocade that I'm making this
really cool jacket in.
This is my sketch.
>> Okay.
>> This is gonna be the bottom
of the jacket.
>> Okay, so it's got a little
sort of peplum going on.
>> Peplum. Mm-hmm. Exactly.
For a little flair, flirty.
Okay, and we're gonna do
feathers for some glamour...
And thriftiness around the
collar here.
And I want to do a pencil skirt
in this gorgeous print.
And I just think they look
really fabulous.
>> That is a very Kenley print.
>> Mm-hmm. And then, I'm not
accessorizing because there's so
much happening.
>> Well, styling--
>> These are, like, signature
thrift store pieces.
>> All right, well, good luck
with it.
Good luck with it.
>> Thanks.
>> Okay, designers, once again I
am so impressed by the level of
talent in this room.
This is a fantastic opportunity
for everyone.
So good luck.
Really be ambitious, and break a
leg.
>> Thank you.
>> All: Thank you.
>> Apparently, what's--
like, you've just got to push
yourself and finish.
You've just got to push
yourself.
In, like, six hours, you've got
to present, like, three pieces.
It's hard. It's real hard.
>> The competition's kind of
getting to her.
She's stressed out, she misses
her kids.
It's down to just the seven of
us, and there's really no time
for any of us to unravel at this
point.
>> Why are you crying?
Let me see your eyes.
>> She's going through--
>> A little hug?
>> It's inspired by her
character in the play.
>> And she's this rich woman
that steals from the poor.
>> This was, like, so easy.
It's, like...A jersey top.
The fitting is great.
I mean, all I really have to fit
on the model at this point is
the cat suit, and that really
fits like a glove.
There's no alterations necessary
whatsoever.
>> She feels fine, youthful,
young in the skirt, and the top
looks really, really beautiful.
It came together really nicely.
>> When my model comes in for
the fitting, I'm trying to see
which direction I'm really
gonna, like, go.
>> Gorgeous, Kara.
Great job.
>> [Laughs]
>> Seriously!
>> It's so different from
anything I ever do.
So once I get my model into her
look, I'm not liking the way
this is going at all.
It looks heavy, it looks
over-thought.
It looks overdone.
Like, it's just not real--
I'm not feeling it, and it's not
coming out exactly the way I
wanted it to.
So I'm going to have to rework
this one.
>> It's kind of pebbles and
bamm-bamm.
>> We have half an hour.
>> I really like this jacket a
lot.
It looks flawless, and I did
that.
I don't make mediocre,
half-assed pieces.
I do every piece beautifully
with a "wow" factor.
So it must be so annoying for
those other designers.
>> Do I need a hem?
>> I don't know, I don't like
any of it right now.
I was just so over it.
There was materials on my table
that I wasn't really fond of
anymore.
I haven't even started on my
top--this is all I have.
>> Okay, but you work quick.
But don't get yourself in a
tizzy.
I got myself in a tizzy, and it
doesn't help.
>> It's so hard being here week
after week after week.
Last week, my look was a tribute
to my mother, and I was beaten
up.
Cynthia Rowley was so disgusted
with my look she didn't even
know what to say.
>> I'm a little confused.
The top looks kind of...
I'm not sure.
Could I see the back?
Oh, boy.
>> It's hard for me to put my
heart and soul on the line
again.
Right now, I'm still counting
the pieces and trying to put
them together.
And it's really hard to come
back and try to do something
that I'm very proud of.
>> Don't get stuck.
You can do it, okay?
He keeps saying that he's not
feeling it, and he's just done
with this, he's not feeling like
himself.
It's making me really upset.
>> Cute. So proud of you.
>> Thanks, mama.
>> Kara's designs are hard to
keep up with, and I'm not even
really sure what she's doing
right now.
I know that she's using the faux
fur as a stole, but I don't see
a whole lot of other elements.
>> Okay, everybody, let's go.
>> Coming up on Project Runway
All Stars...
>> I was using this one.
>> This one?
>> Yes.
>> My first machine Jerell
broke.
I cannot believe this.
>> Jerell did not take yours.
>> I--no.
No one pushes Austin Scarlett
around.
>> Ooh-hoo-hoo!
>> It's day two.
We head back to the workroom
before runway.
>> Oh, look, the mice have
finished my gown.
How wonderful.
I love the world of theater.
To be able to make my Broadway
debut, it'd just be a dream.
>> I have to go to a really dark
place to make myself work
harder.
And so, yeah, I tell myself I'm
stuck so I can really grab it by
the balls and move forward with
more energy and more passion.
>> Mila's grooming services, for
all your animal-coat needs.
My skirt is finished, my top is
finished, but I'm still working
on this damn fur jacket.
I've never worked with faux fur
before, so the fur is getting
everywhere.
I'm like come crazy cat woman
now.
Never again.
>> Mila's design is not her best
work to date.
She's doing fur that she thinks
is so fabulous, but it's not
even real.
I'm curious to see how it
translates on the runway.
>> Austin, you doing okay?
>> I really don't have enough
time to finish anything the way
I need to.
It's definitely one of the most
stressful runway days thus far.
What is going on with all the
machines?
>> What do you mean?
>> I was using this one.
>> This one?
>> Yes.
>> I'll be off in one second,
man. Sorry.
>> I cannot believe this.
I don't understand why people
are just, like, jumping from
machine to machine.
>> Jerell did not take yours.
I was on Michael's machine.
Michael was using that.
>> Ooh-hoo-hoo.
>> Michael said that I could use
it.
>> Well, he also said I could
use it, so Jerell did not take
your machine.
>> I--no.
No one pushes Austin Scarlett
around.
No one touch this last machine
in here, please.
>> [Laughs]
>> [Chuckles]
>> Hey, girls.
>> This should be above the
knee.
>> I could make something to go
around the ankle.
>> Okay.
>> I have to make some straps to
keep my model's shoe on.
I'm just hoping that the judges
don't think it's too
matchy-matchy.
>> Just, yeah.
I just want to get makeup on
you.
>> After the model fitting, our
models head into the L'Oreal
hair and makeup salons.
>> I need sort of very evil
eyes.
>> Big false lashes.
>> Just kind of flawless old
Hollywood.
>> But not, like, costumey evil.
>> Oh, excellent.
>> Thank you.
>> Glamorous.
Like, full curls on one side.
>> We're gonna split Jasmine's
hair straight down the middle.
I want this hair to be, like,
intimidating, so I kind of give
her these horns, almost.
>> I love it! It's perfect!
Do it. Do it, do it!
>> Hey, y'all, ten minutes,
All Stars.
Ten minutes, All Stars.
>> Take that with me--
ooh, sorry.
>> [Bleep].
>> Where's a screwdriver?
>> Kara's look looked like her
model was a tube of lipstick.
I think, in this case, Kara did
push it.
Like, she pushed it all the way
to the edge, but she didn't push
it over.
>> Skirt is done!
>> Congratulations.
>> Ohh!
>> [Bleep]!
>> Michael C's...
I don't get enough of, like,
the bitchy drama queen.
It almost looks like a mother of
the bride.
>> And then these earrings,
two rings.
I'm just layering on the gold
accessories because that's the
look of this character.
She thinks more is better.
>> The only one I don't really
understand is Mila's.
It's kind of like a girl who
can't get into the club.
>> Oh, it looks cute.
>> Guess what, All Stars, it's
that time.
Let's head to the runway.
>> Coming up on Project Runway
All Stars...
>> I'm not really understanding
who this girl is.
>> She looks like she uses
drugs.
>> This almost reminds me of the
Chiquita banana woman.
>> It's Austin Scarlett.
>> Oh, did I say starlet?
>> Hmm...
>> Hello, designers.
>> All: Hello.
>> As it's been said, on Project
Runway, one day you're in,
and the next, you're out.
Tonight, one of you will be
going home.
This week you had to design a
look made out of separates for a
rich woman.
The winning design will be
incorporated into the Broadway
production of Godspell,
and one of you will receive your
Broadway debut.
So let's meet the judges.
First, the designer and
co-founder of Marchesa, Georgina
Chapman.
>> Hi.
>> All: Hi.
>> Next, one of the most famous
names in fashion, who's also an
expert in designing for
Broadway, Isaac Mizrahi.
>> Hey, Isaac.
>> Hi, kids.
And our guest judge this week
knows exactly what it takes to
make a design pop onstage.
She's the star of the Tony
award-winning musical Anything
Goes...
Broadway leading lady,
Sutton Foster.
[Cheers and applause]
>> Sutton Foster, a two-time
Tony award winner--
she's adorable.
>> It's time to start the show.
Good luck.
[Upbeat electronic music]
♪ ♪
>> My model looks really
beautiful walking down the
runway.
She looks whimsical, magical.
That chartreuse-colored skirt,
it's moving side to side.
And especially the headpiece--
it brought the whole entire look
together.
I want to know who she is.
♪ ♪
>> I think the jacket looks
impeccable, but she's still kind
of thrifty, hip East Village at
the same time.
That's the look I was going for,
and I was happy with it.
♪ ♪
>> My model looks every inch the
decadent aristocrat with an
absolute rocker flea-market
glamour.
All mixed into one glorious
presentation.
♪ ♪
>> Job well done, Jerell.
Yet again, I love my look.
I think it totally reads true to
who I am.
I think it's definitely
appropriate for the challenge,
and I think it stands out on the
runway.
♪ ♪
>> She's really put together,
and she sort of plays up to the
drama of being this rich bitch.
All in all, I think she's
looking sharp.
♪ ♪
>> I am very happy with how I
attacked this challenge.
And at a moment where I was
ready to give up, I'm so glad
that I captured the spirit of
the theater, yet still being
very fashionable.
♪ ♪
>> My model looks really fun,
and that's what I was going for.
I wanted there to be a sense of
humor.
And I'm hoping that the judges
see that I really pushed outside
my box.
It's definitely a "notice me"
kind of outfit.
>> If I call your name, please
step forward.
Jerell.
Congratulations, Jerell.
You're safe.
>> Me?
[Laughter]
>> Your designs are keeping you
in the competition, and you may
leave the runway.
>> Thank you very much.
>> The rest of you are here for
the judges' critique, so let's
bring out your models.
Three of you have the highest
scores, and three of you have
the lowest scores.
Michael, tell us about your rich
woman.
>> I took in that this woman
wants to definitely look like
she has money, but there has to
be some sort of a humor about
her.
And if you're noticing the green
strings, those are to hold my
model's shoes on.
>> I love those.
>> Yeah, they're cool.
>> It's very lovely.
I wish it was slightly more
eccentric.
I think you're relying on what's
happening in the hair a little
much.
And so I would have liked you to
have put a little more of the
eccentricity into the actual
dress itself.
>> It draws my eye.
She feels like a rich party girl
that would be a little wild,
but I like that.
>> I get that vibe too, and
there's something about her that
almost is a little bitchy.
Like, "I have everything."
>> Totally.
>> Congratulations to you
because that color, to me, is a
very difficult color.
Pairing it with the top was a
really good idea.
>> Thank you.
>> So, Kenley.
>> Okay. Well, I really got
excited about this challenge
because I lived in the east
village for years, and I would
throw pieces together--
prints, colors...
And it all comes together and
makes one look.
>> You are really flying in our
faces right here, do you know,
a little bit.
In order to do that, though, you
need to tweak it just a little
bit.
The black shoe just goes, like,
too East Village, to me.
Like she doesn't live in the
East Village, she lives in a
doorway in the East Village.
You know what I mean?
>> [Laughs]
>> I thought you cut that coat
so well.
>> Thank you.
>> And I was really impressed
by that, given the time.
I do think maybe you've got one
too many elements going on in
there.
Because if you're going to mix a
print, and then throw in
feathers, and then feathers in
the hair, and then a polka dot--
it's sort of like we're missing
how beautifully that coat's cut.
>> Right.
>> When you came on the runway,
I thought, "I want to wear that
in real life."
But then I also felt like the
patterns muddle it.
So onstage, I feel like it would
blend, as opposed to pop.
>> She definitely seems
eccentric, but I wasn't sure if
this woman looked rich enough.
>> I see what you mean.
>> Austin.
>> I saw her as, like, a
character who...
All she cared about was just
this decadent sort of luxury.
I mean, I could almost imagine
the people saying to her, like,
"Oh, your people, they're
impoverished."
Then her reply would be, "Well,
let them wear Austin Scarlett."
[Laughter]
>> You know what, you managed to
keep it modern.
And I can definitely see the nod
towards Marie Antoinette.
I think you've done a great job
here.
>> Thank you.
>> I love the color, and it
would definitely draw attention,
which is exactly what the
character wants.
>> I really like the silhouette
of this look.
I think it's really fun and
modern.
>> To me, this is incredibly
wonderful, but it borders a
little bit on too young.
Because the woman who's gonna
want to buy Austin Starlet needs
money, needs a place to wear it
to, you know.
But that's my roundabout way of
saying I really like it,
darling.
>> It's Austin Scarlett,
not starlet.
>> Oh, did I say starlet?
>> That's all right. I mean--
>> Good for you, darling.
>> I just wanted to make sure
that that was well understood.
But thank you.
>> So, Mila.
>> I thought of, like, a woman
who shops on rodeo drive.
Kind of a California take on it.
She just really likes to live it
up, and she likes to be noticed.
>> I really like the top of
this.
I like that white kind of rabbit
fur jacket.
And I sort of like the bottom--
that kind of crazy, asymmetrical
skirt.
But somehow together, for me...
It doesn't work.
>> It's sort of borderlining, to
me, on, like, rich party girl.
But it also--
it borders a little bit on
someone who might walk the
streets.
That's how I feel.
It's terrible.
But it's, like, kind of
bordering those two things.
So it doesn't feel wealthy to
me, it feels a little gaudy.
>> Mondo.
>> Hi.
>> Tell us how you got your
inspiration for this look.
>> Well, I think when you play
with clothes as an actress,
you have your secrets.
So her secret is this idea of
this old smoking jacket that she
had from, like, her dad.
You know, and then she pulls
everything else together from
different places in the world
where she's been.
>> She's so sexy...
In a crazy kind of
passive-aggressive way.
You want to see the dress?
>> Yes, I want to.
>> Sutton wants--Sutton would
like to see the dress.
Wow, that's really good too.
Really good with flats.
Ooh.
>> What's so great is the
layering of the fabrics.
I imagine that chiffon alone
would not look very nice.
It's the sparkle underneath, so
you get the richness.
If anything, you've gotta just
refine the length where her foot
hits.
That's your problem area.
>> Well done, Mondo.
>> Thank you.
>> So, Kara, how did you come up
with your look for your rich
woman?
>> In the beginning, I tried to
make her really precious, and I
was gonna do a maxi skirt.
But then I imagined her just
being, like, almost nasty.
>> I love the red pop of the
skirt.
>> Yeah.
>> I think it's really
beautiful.
However, the silver bow in the
front gets very bulky.
That's taking away from her
richness.
>> This is the best you've done,
I think, for me.
I do feel it needs to be
developed a little bit.
It needs to go further.
You need a little bit more time.
>> There are just these little
tweaks that are needed that
throw me.
For example, you've got a little
bit of an issue at the back with
the slit.
It's sort of going off at an
odd angle.
So I think the ideas are really
good here.
The just needed resolving, if
that makes sense.
>> No, of course, of course.
>> Thank you, designers.
You may leave the runway while
we have a little talk.
Thank you.
What a great challenge.
Seven very different looks
for one character.
Let's start with our favorites.
Michael.
This almost reminds me of the
Chiquita banana woman.
Is that weird?
>> No, that makes sense.
>> Yes, it does.
You know, I thought the mixture
of fabrics was very clever.
I think it was clever the way he
used...
The top of that slight
reflective quality that picked
up the chartreuse, which made it
all work together.
>> He had the good sense to
throw on these purple shoes.
But then he tied them up with,
like, matching ribbons around
the feet.
He said, "Oh, did you notice?"
No, we didn't notice! Right?
>> I liked that.
>> As much as I like it and I
like looking at it, it just
doesn't feel specific.
I don't feel like I really know
who this character is.
>> Mondo.
>> A lot of times in this
competition, we look at each
other and we go, "Look, you know
what, that was 24 hours they had
to work on that."
So squint at it and, you know,
okay, we like it.
In the case of this dress,
that could have taken, like, two
weeks because it really looked
gorgeous.
>> His looks always come out--
apart from last week, where I
don't know what happened with
that bag.
>> Me too.
>> But normally, you really feel
he knows his woman.
My only criticism is the length.
That, to me, you know, looked a
little unresolved.
>> Should we move on to Austin?
>> I loved his inspiration in
Marie Antoinette.
>> I loved that as well.
>> And it really followed
through.
>> And I could see the performer
dancing in this and
performing...
>> Being able to really live in
it.
>> And expressing herself in it.
>> Yeah.
>> So let's talk about our
least-favorite looks.
I'd like to just go directly to
Mila's look.
>> She looks like she uses
drugs, this girl.
I'm sorry, but that is what she
looks like.
>> Sutton, as an actress, could
you show this outfit?
>> For a different type of
character, definitely.
The only thing I keep thinking
of is, like, pretty woman...
Before she gets pretty.
>> I mean, I don't mind the top
of the look.
I think with the right skirt,
it would be okay.
It would be safe.
>> Kara.
You mentioned that this was her
best challenge, and she's still
on the lowest list.
>> I thought it was her best
challenge to date, but I didn't
like it.
>> I applaud her for trying to
push herself.
>> There's a proportion issue
and a color issue here--
that it's almost good, but it's
not.
>> Let's talk about Kenley.
>> What she took from the
challenge, about it being
vintage--
and that's so her that I was a
little disappointed.
>> That's all she heard,
unfortunately.
But she didn't continue to
listen about how this is a rich
woman.
>> Right.
>> If it worked, and it was
vintage, we'd be thrilled.
It just doesn't really work,
this outfit.
>> So have we all made a
decision?
>> We have.
>> Yes, we have.
>> Okay.
Designers, your looks were very
theatrical...
But were they big enough for
Broadway?
Tonight, one of you will be
going home.
>> Designers, your rich-woman
looks were a lot of fun.
But only one of you can win.
Michael, you're safe.
You can leave the runway.
>> Thank you.
>> Mondo...Austin...
One of you will win this week's
challenge and receive your
Broadway debut as a designer.
And that designer is...
Mondo.
Congratulations.
We loved your look.
>> Yes. Thank you so much.
Thank you.
>> Congratulations, Mondo, you
may leave the runway.
>> Thank you.
This win, coming off of last
week, was so validating.
Like, it's amazing.
>> Did you win? Did you win?
>> Yes, I did.
>> Ye-ah!
>> Austin, it was a very tough
decision.
We also loved your work.
You're through to next week,
and you may also leave the
runway.
>> Thank you.
And it was lovely meeting you,
Ms. Foster.
>> Same.
>> Congratulations, Kenley.
You're also safe.
>> Thank you.
>> You can leave the runway.
Mila...Kara...
One of you will be in, and one
of you will be out.
Mila, you're a master of
geometrics, but this time you
didn't quite pull it off.
Kara, we're really proud of how
you designed and stepped out of
your comfort zone this week.
But again, your construction was
off.
[Dramatic music]
♪ ♪
Mila...
You're safe.
I'm sorry to say, Kara, you're
out.
Mila, thank you.
You can leave the runway.
>> Thank you.
>> Kara, thank you so much for
being part of All Stars.
You're a very talented designer.
>> Thank you.
>> These are always the things
we grow from.
>> Truly. Thank you.
>> Take care.
>> I don't know that this was
the best challenge for me.
I gave all that I had every
time.
It's okay.
Don't cry.
You're gonna make me cry.
[Crying]
>> You're an artist.
You're a loving mother.
>> I just want them to be proud
of me.
>> They're so proud of you.
>> I've learned how much I've
grown over the past five years.
And I've also learned how much
more growing I have to do
creatively.
It's been a really, really
special time, for all its ups
and downs, and I'm just really,
really grateful for the
experience that I've had.
>> Next on Project Runway
All Stars...
This week we've come to the
world headquarters of the United
Nations.
>> I'm really excited.
>> I'm not a geography major.
>> Are you convinced you can
stand out?
>> He's going overboard.
>> This looks a little bit like
a national costume.
>> Why is she still here?
>> It's disturbing to look at.
>> I think that would look
better on a Christmas present.
>> It's just screaming beauty
pageant.
>> I get Communism from this
dress.
== sync, corrected by elderman ==