>> Previously on...
Project Runway All Stars...
This week we've come to the
world headquarters of
the United Nations.
You'll be designing beautiful
dresses inspired by these flags.
>> This is not "Greece
lightning" right now--this is
"Greece frightening."
>> Michael C. chooses Greece!
Draping, Greece--Michael C.
>> She couldn't decide if she
wanted to wear a little black
dress or a long evening gown.
>> Are you convinced you can
stand out?
>> I have never seen a polka dot
flag before.
Jamaica just from a simple black
dress.
>> It's very well cut.
>> Somehow it looks like a very
new textile.
>> Mondo, you're the winner of
this challenge.
>> Oh, thank you so much.
>> Kenley, we did love your
look too.
>> Try not to do a dress that
looks like this next time.
You do it again and again.
>> It's just veering into
costume a little bit.
>> I just don't know who can
wear that dress or where.
>> It just looks schizophrenic.
>> I get Communism from this
dress.
>> I'm sorry to say, Mila,
but you're out.
13 of the best designers from
Project Runway are back.
And this time, the 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 1x09 When I Get My Dress in Lights Original Air Date on March 1, 2012
== sync, corrected by elderman ==
>> Hello designers.
>> All: Hi.
>> Just five All Stars remain in
the competition.
All of you are getting closer to
that grand prize.
Now it's really getting down to
the wire.
And this week's challenge is
the biggest test of your skills
so far.
>> What?
>> Huh?
>> Innovation and technology are
just as much a part of the
fashion world as fabric and
thread.
But you'll be using both in this
challenge, as you light up the
runway with your designs.
[Snaps]
>> Okay, this is cool.
I've never really done anything
with technology, like with
electricity.
[Snaps]
>> For the first time ever,
the runway will be lit by black
light.
You'll be using lighting
technology to create an
avant-garde look that we've
never seen before on
Project Runway.
>> I'm very much in love with
this challenge.
The avant-garde always inspires
me, because you can really take
it to a whole other level.
And I really love that type of
design.
>> You'll have access to all
kinds of lighting effects.
I'm guessing you might want to
know who our guest judge is this
week.
>> All: Yeah.
>> He's a Grammy award-winning
rapper, singer, composer,
producer and fashion designer.
He's worked with everyone--
from Madonna to Snoop Dogg,
Janet Jackson, Britney and
Beyonce.
And he was also voted the
best-dressed man in the world.
>> Who is it?
>> It's all-round superstar
Pharrell Williams.
>> Oh.
>> Pharrell is going to
incorporate the winning design
into the work with one of his
artists.
>> Hot.
>> You name it, he's worked with
them.
That's pretty cool that
Pharrell's going to judge this
and need it for a performer to
wear.
So not only does it have to be
avant-garde, it has to be
functional and
audience-friendly.
>> You'll have a budget of $300
at the lighting store for
equipment, and an additional
$100 at Mood to create your
avant-garde visions.
>> I have never worked with
lights before, on a design,
so it's scary.
>> All of this will be
happening on the runway tomorrow
night.
So let your imaginations run
wild.
Good luck.
>> Thank you.
>> Thanks.
>> We head off to the Barbizon
light and special effects shop,
where they have a lavish array
of illumination for us to choose
from.
>> Pretty!
>> These are what I want.
>> I know. Me too.
>> There's L.C.D. lights, L.E.D.
lights.
There's tube lighting, there's
Mississippi pearl lighting.
There's all kinds of crazy names
for all these lights that are on
the table.
>> Kenley.
>> What?
>> I could just definitely see
you doing something using
nothing but this.
>> Just glue it right on.
>> Just on the girl.
>> Guys, I'm done.
>> There you go--your design's
done.
I am instantly drawn to these
really cool little L.E.D.
magnetic kind of bright white
lights.
And these really cool little
fiber-optic light things--they
remind me of these toys that
I used to buy off the ice-cream
truck, so I'm going to
incorporate those.
>> Where are the blue barrettes?
Hopefully I'll be able to sort
of scatter and weave these sort
of delicate strings of lights
through clouds of tulle,
perhaps.
They're called fairy lights,
coincidentally enough.
I cannot handle this.
>> You can handle it, Austin.
I believe in you.
>> Austin has become very
high-maintenance.
He's like a...
A little prima donna.
>> I need to create a story in
my mind.
I need to play make-believe.
I need to create a fantasy.
That is what inspires me.
That's what motivates me in my
life--making fairy tales come
true.
>> Can we check out and, like,
see where we're at?
>> $700 for this.
>> [Panicked laugh]
What's my budget here?
>> 300.
>> There's not enough budget to
cover an entire garment in
light bulbs.
So I immediately think of
creating a print or a plaid with
tape.
Let's get rid of those bulbs.
>> All right, you're up to
$306.85.
>> You can't give me a $6
discount?
Thank you so much.
>> Thank you, Barbizon!
>> Thanks, Barbizon.
>> I got some pink taffeta
stuff that I'm going to make
this coat out of.
Could I just get, um, four of
this?
But I also got this really
gorgeous felt.
It's really stiff and very
outside my comfort zone,
'cause I don't do stiff fabric
too well.
Felt--kind of tricky.
>> How are you supposed to see
any of this?
First thing I do with the
black light is just test out all
of my fabrics and see how they
read under the light.
Because some of the colors don't
read the same color in natural
light as they do in black light.
All I know is that I trust my
instincts.
>> Oh! Love this.
Love, love, love that.
It's like an organza almost.
I want to get a fabric with
a lot of stiffness, for volume.
Let's do five yards.
And I want it to be black so
that the neon tape will pop
under the black light.
>> 15 minutes, designers.
15 minutes, Mood shoppers.
Now that I know what lights I'm
working with, the vision is very
clear in my mind of what
I'm doing.
It will be this grand, dramatic,
but very light and airy
ball gown.
And I really want to play up
the stardust look.
So I'm just going with black
tulle.
I know that I've used it a few
times, but I think that it'll be
the perfect backdrop for the
star.
Yeah.
>> I am getting prints.
'Cause one of the fun things
about designing something that's
going to be seen in black light
is you can get neon colors and
stark white to really, really
pop.
So I'm going to take advantage
of that by mixing prints that
you wouldn't expect.
>> Both: Thank you, Mood.
>> Bye.
>> Contact.
>> You guys like it?
>> It is a bright idea.
[Sings] Ta-da!
>> Oh, wow.
>> It's wow in the drawing.
Hopefully it will be wow in
real life.
>> I'm just really thinking
magical, dazzling, windswept,
just like the heavens.
I'm really envisioning a starry
sky in my mind as I sketch.
Look, they've created a whole
darkroom for us.
This is cool.
>> They created a darkroom?
>> Yeah.
Teeth are sparkling white,
Kenley.
>> Yeah, it's very orangey.
It's almost like this.
>> Everything changes.
'Cause I know this is pink in
the light, but it's orange.
>> Super orange.
>> ♪ Doo doo doo doo-doo
>> Yes, get your shimmy on,
get your shimmy on.
I'm going to do...This...
almost tribal peplum skirt
that's this really kind of
exaggerated shape.
I also found these really cool
white feathers that glow in the
black light and this fringe that
looks like liquid electricity.
I feel like I'm really being
true to who I am.
And I think it's definitely
going to be Jerell.
>> What are you making?
>> I'm making--it's going to be,
like, a sort of midnight sky,
like a see-through cage skirt
with shooting stars.
It'll be like a galaxy of
gorgeousity.
>> I'm making a kilt dress.
>> Cool.
>> Something different from you.
>> Yeah. More structured.
>> I want to push myself with
this one, and, um, see what
I can come up with.
Really have anything done.
It's called a challenge for
a reason.
So this is the challenge.
It can read very gimmicky.
I usually just go to the fabric,
let the fabric speak to me.
And at this point, it's very
quiet.
>> It's way too long.
>> Really? It looks awesome,
though.
>> Do you like my plaid, Mondo?
>> I'm not the right person to
ask.
>> And remember, Mondo, if you
don't have anything nice to say,
then don't tell Kenley anything.
>> Mmm. I am going to just start
taping down stripes and
creating a plaid.
And I want it to be a plaid
ball gown.
>> You've really stretched
yourself this time.
>> When I started working on
that pink jacket, I really
thought it was going to come
together beautifully.
That's it.
If it comes out like that--
but I was just so worried that
I couldn't pull this look
together.
So I can't continue with
something that my heart is not
in.
I have this, too, that'll
probably go on the black.
But I just got to...
Start the start move.
The day's almost gone.
I keep running back and forth
in the workroom, moving to as
many pieces as I can move to.
Thank God I bought, like,
6 1/2 yards of this black
wool-nylon fabric.
I'm going on a wing and
a prayer, hoping that it fits.
Well, you know what?
I'm going to do something
totally different.
>> Michael's playing
seven minutes in heaven
by himself.
>> [Laughs]
>> I don't know where he's going
with this one.
Honestly, doesn't look like much
is keeping his attention right
now.
That might get him in trouble.
>> I'm resorting to, uh,
plan "B".
I have severe commitment issues
when it comes to fashion.
A lot of people know this, that
I can't just commit to one look
and call it a day.
If it's not speaking to me, and
screaming out "winner," I'm--
I got to move quick.
>> Coming up on
Project Runway All Stars...
>> Michael's turning his model
into an Ewok.
>> This looks sort of part
Alien, part Elizabethan.
>> I really, really think that
Austin's going to go home.
♪
>> This week's challenge is to
light up the runway, literally.
So we have to incorporate all
these different lights, and it's
got to be avant-garde--
something that you have not seen
before.
Like, a fresh take.
It needs to move us forward and
it needs to be inspirational.
>> That's looking gorgeous,
by the way.
That's kind of Judy Jetson.
>> Judy Jet--yeah, perfect.
I love that, actually.
>> I do too.
>> I look over and, once again,
guess who's changing their
dress?
Michael C.
>> I don't want to play it safe.
I don't want to just send
anything down the runway and
take the chance of getting
eliminated for something crappy.
>> It's no secret Michael can
pull out beautiful dresses in
the time it would take Kenley to
learn to tie her shoes.
>> [Laughs]
>> Oh! You're hilarious.
>> It's no secret.
>> Hi, designers.
>> All: Hi.
>> Well, I think this is the
most avant-garde--it's certainly
the most electrifying challenge
in the history of
Project Runway.
And I cannot wt to see, first
of all, how you create that
magic.
And I want you all to focus on
making a dress that really,
really stands out.
Okay, Kenley, I'm going to
come and look at what you're up
to.
>> Hi, how are you?
>> Hi. I am excited about
Pharrell Williams being the
judge on this.
>> Me, too.
>> So tell me a little bit about
what you're doing to try and woo
his vote.
>> Well, right now, I'm creating
a plaid.
>> You're actually sticking this
on. Okay.
>> I have this upholstery
fabric.
>> Wow, so that's normally seen
on the bottom of sofas and
things, isn't it?
>> Yeah.
>> I like Kenley's design a lot.
I think that it was very smart
of her to create a plaid on her
own textile with the glow tape.
But it's glow tape, it's not
lights.
>> All right, good luck, Kenley.
>> Thank you.
>> Jerell.
>> Hi. How's it going, Joanna?
>> Hi. Well, this looks a little
bit like Kenley's, only much,
much smaller.
Explain to me exactly the
mechanics of how this is going
to work, 'cause I have to
confess, I have no idea how you
do a lighting dress.
>> Well, I have to say that I am
figuring it out as I go along
myself.
>> That's a little scary.
This is going to be the shape
that's lit up here, right?
>> Yeah, and I got these little
lights.
>> And what do you do with them?
You want to avoid the Christmas
tree.
Do you thread them onto
something? Do you--
>> They're actually magnetic.
>> Oh, that's cool.
>> It's still definitely going
to have this kind of ethnic
flair to it.
I think that's going to come in
with the rawness of this and
the fringe, and the movement's
going to be beautiful.
I definitely would love this to
be my second win--let's put it
that way.
>> All right, well, good luck
with it.
>> She seems kind of into it.
It could either go fabulous or
fugly--which is okay.
I could deal with that.
>> Wow, Austin.
>> Hi, Joanna.
>> Hi. This looks sort of part
Alien, part Elizabethan.
>> Actually, the whole vision is
sort of--she's like the starry
sky.
So this is really just sort of
the foundation.
>> Right. Let me ask you
something.
Pharrell Williams is the
judge, right?
And the prize is he's going to
put it on one of his artists.
Do you think that's too romantic
for Pharrell?
>> You know, just with the
silhouette and the drama--with
the swirling of the head,
I want to give it that edginess.
But I still think it needs to
reflect where I come from as
a designer.
>> All right, well, just make
sure it stands out from the
other four in the room.
>> Okay.
>> Okay?
>> Yeah.
>> It's an interesting week.
Oh, wow!
>> Hi. Welcome to the--
>> Well, this is very exciting.
'Cause there's no draping in
sight.
>> I'm staying far away from the
draping, and I'm doing
something very structured.
>> Okay, all right, so talk me
through it.
>> This is the headpiece thing
that's not done yet, and it has
this hole here for a ponytail.
I'll show you what it looks
like.
>> It's very Lady Gaga, isn't
it?
Illuminated.
>> It's very Michael Costello.
>> This is one of the things
that I was working on too.
>> Wow.
>> Of course, I don't like the
rippling of the tape.
But that's my only problem.
>> Well, the thing is, it's very
physical, isn't it?
The only concern I have is this
is the kind of detail that will
become incredibly obvious once
it's on the runway, just because
of the way things stand out.
And you don't want to get picked
apart for that when your whole
idea is so much better than
that.
>> After my meeting with Joanna,
I am freaking out about this
light challenge.
>> Okay, good luck.
>> Okay, thanks.
>> Mondo.
>> Hello.
>> Okay, tell me how you are
constructing your look.
>> I'm thinking I'm going to
make a coat--a little jacket.
Put these through the bodice.
I have just made these panels.
I do not know where they're
going to go, but they're going
to be encased.
>> But it's an avant-garde
challenge, so you could give her
sort of strange bits sticking
out somewhere.
At least you're not trying to
disguise it.
You can't sort of rest on your
laurels, can you?
There's no immunity in
All Stars.
>> Right. And, I mean, with
the time, it's like it just
makes it more intense.
>> I think you just need to
bring your Mondo-like focus to
it.
>> All right, thank you so much.
>> All right, good luck.
>> Thank you.
>> Good luck, everybody.
I think the challenges are
getting even more demanding.
And this is where your talent,
your innovation and your
creativity really have a chance
to shine, and embrace the
technology.
>> Thank you, Joanna.
>> [Indistinct]
>> Oh. Oh, my God.
[Sewing machine grinds]
[Motor revs]
Oh, my God, Jerell!
That is so cute!
>> It's like a little fairy.
>> Oh, that makes me smile!
>> Yeah.
I'm the only designer who chose
the fiber-optic lights.
So it gives you a very fine
light, um, and a lot of
movement, like so it bounces and
it's--it's really pretty.
>> You're doing a pencil skirt
or something, right?
>> Yeah, to the ground.
I definitely want to get the
skirt completed.
I really want to control what
you see.
♪
>> This challenge is, like,
a really hard challenge.
At this point, I don't really
have anything to put on my
model.
I haven't really figured out how
I'm going to use these tracks
that I've created.
>> Oh, I love that.
>> You love it?
>> I love.
>> Yay.
>> Jerell's design is...Um...
Just weird.
And very poorly constructed.
>> I want to win this one, damn
it.
>> Yeah, me too.
>> Isn't that cool? Yeah.
>> So cool.
>> Well, somebody said "light
up."
The design is actually coming
together pretty well.
I really love this dramatic
shape--keeping the silhouette
very sleek and slim in the
front, which I think is both
flattering and avant-garde.
>> Michael's turning his model
into an Ewok.
>> It has to be avant-garde,
so--
>> Well, it's avant-garde.
>> It's going to be crazy.
>> [Laughs]
>> Fabulous.
Okay, you got your shoes?
>> Bye, ladies.
>> Wow, that looks great.
Good job!
Michael just creates six
different looks, and picks which
one he wants to use.
I could never do that.
My stuff needs to be impeccably
made.
And it needs to look perfect.
I'm done.
>> Actually kind of interesting.
>> I know.
>> I like Kenley's design.
But--and again--it's the same
dress, but glow tape plaid
dress...
>> That's cute.
>> Let me see.
>> It actually is.
>> [Sighs]
So I speak to my mother...on
Skype--and I've never done that
before.
Here I am.
Can you see yourself?
>> No.
Nice mustache.
[Giggles]
>> How is everything with, uh...
The house and everything?
Tell me what happened.
>> It just went into
foreclosure.
>> And the bank owns it? Or--
>> Yeah, yeah.
That's what it is.
>> Oh, God.
My mother worked as a real
estate appraiser.
After the whole recession
happened, you know, the whole
housing market completely
bottomed out, and she was
basically unemployed.
Just--it horrifies me that my
mother is basically homeless.
I hope I don't let you down.
Or myself.
>> You never let me down.
You know, I'm going to be
cheering for you.
>> I want to win this for her,
for our family.
Coming up on...
Project Runway All Stars...
>> This is going to be a [bleep]
show.
My dress isn't lighting up.
>> Now I know with this dress
what God must have felt when he
was creating the heavens.
>> Whatever you do, girl, don't
sweat; You don't want to get
electrocuted.
>> I get this vision of what
I want to show.
And I start executing it.
But I'm giving her a winter
look.
I really grab it by the balls,
and move forward with more
energy and more...passion.
[Whistles]
>> Whoo-hoo!
Glow boobies!
>> Globes.
>> Are there any white shoes?
>> All right, guys, time's up.
Got to go.
>> So tired.
>> I know.
>> Oh, my God, it was exhausting
today.
>> I know, Michael, you're done.
>> No.
>> You're actually not done?
>> I got to add more lights.
The glue showed up as white.
So I have to get style tape and
go over the glue with the black
style tape.
>> I have to sew that coat.
>> Yeah, I'm really focusing the
attention in a few places.
>> And you're doing something
different--you're doing prints.
>> Yeah, 'cause I don't want to
use too much of, like--I think
there's a lot of the orange and
the greens going on.
So it's, like, a different kind
of--it's my take on it.
I think that we're down to five
now, it's got to be memorable,
and there's some very talented
people here.
So I've definitely got to pull
out some magic Jerell Scott
stuff.
Luckily, I still have some left.
♪
>> It's the morning of the
runway show, and I'm a little
nervous, because I still have
to weave all of those fairy
lights into the grid-jacket
that I made.
And that could take a while,
because it's a lot of weaving in
and out.
>> Time is definitely running
out.
Definitely starting to get
nervous.
I'm running around in the
workroom really fast.
I'm normally the first to
finish.
And I still need to rip all the
boning out, steam it, iron it,
press it, and see what can I do
to get the back lights working
on this crazy coatdress.
I don't want to just, you know,
send it out there with no
lights.
>> You also don't want it to
look like a...Chinese lantern.
>> Does it look like a Chinese
lantern?
>> I'm just saying.
>> Now I know with this dress
what God must have felt when he
was creating the heavens.
It's not easy.
>> [Chuckles]
>> I'm in such a [bleep] mood
today.
I'm having tons of technical
issues with my dress.
It's not lighting up.
I'm not a technician.
I can hardly change a battery,
let alone work with these
lights.
It's...going to be a process
today.
It's not going to be...that
glamorous.
>> I just don't really get total
avant-garde from Mondo's design.
I'm kind of surprised, because
he is so creative.
I just don't see, like, tons of
new, creative ideas going on in
Mondo's dress.
>> Cheesy.
>> Let's go to hair.
I send my model to the L'Oreal
hair and makeup room.
This will go, like--right here
is perfect.
>> And have, like, a knot right
at the top.
>> I was just thinking
something, like, up and sort of
sleek and secure.
>> Me likey.
>> It'll just be choppier, you
know?
>> Fluorescent makeup, like a
pink, smoky eye.
>> Geisha kind of lip?
>> Where it's this, like, white
line where it's just right here.
>> Maybe some delicate, like,
white...like, stars.
>> Awesome, though.
>> Guys, we've got 30 minutes
left.
>> My dress isn't lighting up.
That's a problem.
We'll see what happens.
>> Whatever you do, girl, don't
sweat.
You don't want to get
electrocuted.
[Laughter]
This is the craziest thing I've
ever made.
>> Michael's samurai look is
hilarious.
It's just so over the top and
she's so covered up.
I just can't imagine that model
being comfortable right now.
>> I have never felt this good
about my work, because it's so
simple, so beautiful, cut to
perfection, and it's me.
>> Have you looked at it in the
black light room yet?
>> Not yet.
>> I'm not doing any neon.
Repeat.
>> [Laughs]
I love you, Austin.
Austin was the only one that
didn't use neon, because he
doesn't do neon.
He would never work with neon
colors, and it turned out
different than everyone else's.
Guys, five more minutes till
runway show.
>> Okay.
The sexy pumps from the Neiman
Marcus accessory wall...
Gorgeous.
Just gives the whole look a
lift.
Knock 'em dead.
>> I definitely don't like
Austin's look.
It looks like he took a bunch of
lights and just draped them
around the dress.
I really, really think that
Austin's going to go home for
this challenge.
>> Okay, guys, we've got to go
to Parsons.
>> Coming up on
Project Runway All Stars...
>> She looks kind of like an
insect.
>> It also looks like a
teletubby.
>> The styling just came off as
grandma.
>> I didn't see any pretty woman
walk down the runway.
>> Hello, designers.
>> All: Hi.
>> Pretty special challenge this
week.
What was the hardest part?
>> Everything.
[Laughter]
>> As it's been said, on Project
Runway, one day you're in and
the next you're out.
There are five of you left, and
after tonight, only four All
Stars will remain.
This week we asked you to
combine innovation with
technology as you light up the
runway with your avant-garde
designs.
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, Isaac Mizrahi.
>> Hi, Isaac.
>> Hi, kids.
>> Our guest judge this week has
revolutionized 21st Century
music, and he's also known for
his fashion lines, billionaire
boys club and icecream.
Say hello to the guy voted best
dressed man in the world,
Pharrell Williams.
>> Hello.
[Applause]
>> Hi.
>> It's time for you to light up
the runway.
Have a great show.
[Dance music]
♪
>> I think the outfit is cool.
I think that I made it a little
absurd and I think that it's
different from everybody else's.
And either they're going to love
it or they're going to hate it.
I love it.
>> It's like looking at the sun.
>> I think it's fantastic.
I love the way this stuff looks
in the black light, so I think
it's definitely going to have me
stand out.
>> [Laughs]
It's so crazy.
>> No one else is doing this
sort of fabric.
It's definitely going to be
Jerell.
>> I love this look.
This is my favorite challenge
yet.
I love the jacket, I love the
way I created a plaid with this
cool, vibrant neon tape.
She walks in and she demands
attention, and that was what I
was going for.
Cute.
Stepped out of a dream.
I love the way my dress looks.
It's actually, I think, one of
the favorite creations I've ever
made.
It's pure fantasy, it's pure
imagination, and I love it.
>> That's gorg.
>> She looks really cool.
She looks like she's going to
kick some ass.
She's got this crazy Ninja
Turtle look about her.
I love it.
I mean, in the dark, it's pretty
fabulous.
I wish I could have give her a
samurai sword.
There's no way I can go home for
sending down something this
cool.
>> She's going to go kick some
ass.
>> Yeah, she is.
>> Designers.
>> Let's dim the
lights and bring out your
models.
>> Kenley, tell us about your
avant-garde look.
>> Well, I really wanted to do
something fun and innovative and
really push myself this week,
Isaac.
>> [Chuckles]
>> And I wanted to think of a
way to sort of utilize these
beautiful fairy lights.
>> Well, let's find out what
Pharrell Williams thinks.
>> I liked the shape of it.
I wish you could have used the
lights in the piece versus,
like, weaved in and draped
around it.
It's like it's draped on a
fence.
>> Like barbed wire.
>> Right, but I'm saying that
with respect.
Like, I love--this is one of my
favorites.
>> Oh, thank you.
>> I think it's divine.
I think it's divine.
>> Thank you.
>> You managed to give us volume
on the top and volume on the
bottom, and she doesn't look
huge.
She looks so great, because we
can see right through that grid.
>> Right.
>> I think you did stretch
yourself.
>> The proportion is really
great.
You've managed to achieve a big
sleeve with a full skirt.
I think that was job well done.
>> I love that you were so
thoughtful in creating a plaid
with this tape.
Well done, Kenley.
>> Thanks.
>> So, Mondo, tell us about your
avant-garde look.
>> I didn't want to just, like,
apply the lights on top of the
garment, so I made these casings
for all of them.
>> I see so much of you in this
dress, which I love.
Perhaps if you'd sort of brought
those tracks in a little rather
than having them straight,
'cause it's making her look very
straight up and down now.
It does look a little
Tron esque.
>> Mm-hm, I've...seen--
>> Have you seen Tron?
>> Yes, I have.
>> I love the use of technology.
It goes like chaser lights in a
limousine.
I wonder how avant-garde this
dress is, though.
>> The boobs?
>> The boobs are not
avant-garde, do you think?
>> But they're like old Cadillac
wings.
>> The breast shape is very
strange, like nothing I would
ever think of.
>> Doesn't it remind you of
Madonna slightly?
>> Of course.
It also looks like a teletubby,
weirdly.
>> Oh, that's what it is.
>> Which is my favorite,
favorite thing on earth.
I live for teletubbies, so that
means that is a big compliment.
I do, yeah.
>> Okay, well, thank you very
much, Mondo.
>> Thank you.
>> Let's move on to Jerell.
>> When we were at the lighting
store, I instantly gravitated
toward the fiber optics.
I thought they'd have, like, a
beautiful movement to them, and
my objective was to kind of
bring in the ethnic, tribal
thing, but, like, tribal meets
technology.
>> I like the movement in this.
Most of the others are very
static pieces.
But on the other hand, it feels
a little tribal raver.
You might find her in a tent
somewhere at 6:00 in the
morning.
[Laughter]
>> I thought it was really funny
that she had a light in her
mouth.
That's quite sort of weirdly
sexy, but I don't know, like,
the rest of it looks like she
bought some of those pieces at,
like, a joke store, particularly
the glasses.
The shoes go very joke store.
>> There's this amazing shaped
skirt, but then why is there a
long black dress underneath?
>> I just really didn't want to
see bare flesh.
I wanted it to just go black.
>> The styling just came off as,
like...Grandma, you know, with
the long dress.
Her body gets lost, and she just
gets this long grandma look,
like, you know, that grandma
that's like, "I used to model,
like, 20 years ago, 30 years
ago."
>> Can you try making it into
a miniskirt just so we can sort
of see?
>> It goes Josephine Baker
immediately.
>> There's something so much
sexier about--like, she just
went from grandma to sexy.
>> Now you're supposed to say
"this was a trick and this is
what I intended."
[Laughter]
>> The final reveal.
>> Thank you, Jerell.
>> Thank you.
>> Austin.
>> To me, one of the most
beautiful types of light is
starlight, so I found these
fiber optic lights and these
delicate wire lights.
They're called fairy lights.
I thought that I could really
create just sort of this whole
heavenly galaxy around my model.
>> I can see that.
I would have loved to see these
spread out more into the dress,
maybe with some layers of tulle
over it.
>> Yeah.
>> I love this, Austin.
I think there's something
mysterious about it.
>> It really is just, like, a
beautiful piece.
>> This is so romantic.
The problem is, is it just
lights put on a gorgeous dress?
But on the other hand, it's just
so pretty.
I'm enchanted by your dress,
Austin.
>> Michael.
>> I wanted to create this
avant-garde, futuristic, neon
ninja warrior princess with the
neon tape and the l-wire.
>> I like the idea of this.
The execution falls short.
It looks like tape on a dress,
especially with the tapes that
have wound around.
Also these chaser lights in here
are very noisy, and then her
waist kind of going on and off
like that.
I don't think a person wants to
call that much attention to her
waist.
And then, if you turn around,
that bow--you can't see her
waist, and to me, that's a big
problem.
>> Don't just put something on.
Like, you know, if you're going
to do a bow at the back, do it
properly or don't do it at all,
because I think, in these time
constraints, you've really got
to edit yourself so everything
is perfect.
>> I actually really like these
shoulder pieces.
I mean, they're whimsical and
crazy, like Mondo's, and I kind
of like the ninja thing too.
>> When I see that, I just keep
seeing, like, Mortal Kombat
meets, like, Grace Jones.
She's more fit for, like, a
Comic Con.
Perfect for that.
>> Designers, you all did an
incredible job this week.
The judges have a lot to talk
about, so we're going to send
you away and we'll call you
back to the runway.
Thank you.
>> Let's start with the highs.
So we have Austin, Kenley, and
Mondo.
Let's talk about Mondo.
>> He's always good.
I mean, he's never not good,
right?
It was so good, what he did.
>> His usage of, like, the
different materials was a little
bit more harmonious than most of
the other people.
>> It worked as a complete look,
head to toe.
>> That's what I like about it,
that it's a thought-out look.
It wasn't, like, thrown
together.
>> There are no accidents with
Mondo.
>> No.
>> Let's talk about Kenley.
I've never seen anything like
that, those sleeves and that
shape.
>> The proportion was really
good.
It had a very little waist.
>> It was the wires that just
made it look cheap to me.
>> But I like the wires.
The wires gave delicate, kind
of kooky little wires to me.
I liked it.
>> She stepped up to your
challenge this week, and you
still see Kenley there.
>> Austin really took a totally
different approach to this
challenge.
>> Everybody else heard
avant-garde and went futuristic,
neon, and he didn't, and I love
that.
>> To me, he's the silent
killer.
>> [Laughs]
>> The dress itself, minus the
lights, is sick.
>> But in some sense, you do see
the lights laid on top of it,
and I would have loved to see
it in the tulle more, in layers.
So let's move onto our low
scores, and I'd just like to
start with Jerell.
I feel like there's a lot of
potential in that dress.
I love his energy.
It kind of flies out and it's
got movement and I thought that
was a really good idea, but why
would he put a long skirt with
that amazing thing that he had
going on?
>> In order to appreciate his
designs, we needed to see the
model.
>> That's part of being a
designer.
You can't make half an outfit,
and I feel like he made half an
outfit.
>> Even without the dress, to
me, it kind of goes joke store.
It's not sophisticated or
wonderful or great.
Come on.
>> Let's move on to Michael.
>> I just didn't want to see
Mortal Kombat.
>> The waist was big, those
shoulders were gaudy and awful.
I didn't see any pretty woman
walk down the runway.
>> I actually thought it gave a
strong impression when it first
walked out.
I think when it stood on the
runway, that's when I saw all
the problems.
>> I agree.
>> She does look like she will
kick your ass, though.
>> She does.
>> He accomplished that.
>> This is going to be hard.
>> Very difficult.
>> Either-or would be very hard.
>> We all agree?
>> Yes.
>> Designers, one of you is the
winner of this week's challenge,
and one of you will be leaving
us tonight.
>> Designers, this was one of
the most unique challenges we've
seen on Project Runway.
One of you is the winner of this
week's challenge, and one of you
will be leaving us tonight.
Mondo...You're safe.
You may leave the runway.
>> Thank you.
Bye-bye.
>> Kenley, Austin, one of you
will have your avant-garde
design used by one of Pharrell's
artists.
Pharrell, would you like to name
the winner?
>> Austin.
>> Thank you.
>> Congratulations, Austin.
>> This is really exciting.
>> You're a star, man.
>> Thank you.
>> Congratulations, Austin.
Your design's going to be worn
by one of Pharrell's artists.
You're through to next week and
one step closer to the grand
prize.
Well done.
You can leave the runway.
>> It is so incredible to be the
winner.
And when Pharrell called me a
star, it was, like, the most
wonderful thing.
It really felt great.
>> You got it?
>> I won.
>> Yay.
>> Kenley, your design was
pretty incredible too.
Well done.
You may leave the runway.
Michael, you utilized the
technology well, but the
execution fell short and it
wasn't flattering at the waist.
Jerell, your avant-garde design
had great movement, but you
can't make half an outfit.
You're out.
And that means you're safe,
Michael.
You can leave the runway.
Jerell, thank you so much for
being part of All Stars.
>> Absolutely.
This has been such an amazing
experience, and I'm really
thrilled to have gotten to do
this again.
>> Give me a hug.
>> Okay, girl.
== sync, corrected by elderman ==
Thank you so much.
I appreciate it.
Okay, deuces.
I don't, like, beat myself up
with woulda coulda shouldas.
What's really important is
that--that I like what I do.
So going out on it, I can't be
mad, because I did Jerell.
>> Oh, Jerell, I'm so sorry.
>> No, it--no, it's all--it
really is all good.
It is what it is and...
>> Mm-hm.
>> I had fun.
Keep doing it, player.
>> [Laughs]
>> Love you.
>> Love you too.
I really, truly believe
everything happens for a reason,
and I'm very proud of myself for
making it this far in the
competition, especially with the
caliber of designers that I was
competing against.
Cried, they slammed each other's
work, and they're here to give
you the inside scoop on all
of it.
>> And a very special guest will
be dropping by.
>> This is a true confession.
I thought Kenley should've won.
>> I hated this challenge.
>> Are you impervious to
suggestion and criticisms?
>> It's hard to keep these
goodies in a jar.
I'm just going to keep it real.
>> It's all wrong.
The top is hideous.
It's got this sort of swooping
dead bird effect.
>> You shut me up.