Episode 306 (8/16)
Recap In “Waste Not, Want Not” the designers are led to a Waste Management recycling plant in northern New Jersey for an innovation challenge. Once there, they have 30 minutes to source all their materials for the next design. Elements include paper products, mylar, bottle caps and more. Tim's Take For this challenge, the designers are treated to a field trip. I met them at the Atlas Apartments and we headed out by van to New Jersey. While traveling, the designers engage in loads of speculation about our destination, some of it thoughtful (to Newark Airport to staff a check-in counter to research uniforms), and some of it ridiculous (to scour the highways for roadkill). When we reach our destination -- Waste Management Recycle America, in Port Newark, NJ -- the designers have no idea what’s hit them. Slowly, a garage door rises and, behold, we enter a pristine environment of sorted and stacked recycling. I was expecting a foul-smelling garbage dump, but this was more like a science laboratory, all sterile and antiseptic. It was remarkable. Still, we worked under the strictest guidelines: hardhats and goggles had to be worn at all times, and gloves, too, when sourcing through the materials. The recycling materials in the Waste Management facility were sorted in categories: paper, plastic, and metal. Within those categories, there was additional sorting. The designers were given 30 minutes to source and scavenge through these materials; the goal being that whatever they collect will be the materials for this challenge, which is to create an outfit, any outfit, but it must be a wearable outfit. Back in Manhattan, we visited an art supply store where the designers have $25 to spend on extra materials for construction and embellishments: glue, tape, paint, sparkles, etc. And they had two days to complete this challenge. Celebrity fashion stylist Rachel Zoe is our special guest judge. Given the range and needs of her clients, she is perfect for the challenge.
Michael wins!
Michael's the first Season 3 designer to win more than one challenge! Michael’s look was very real world, very believable. He used a vinyl-coated burlap peanut sack for his skirt and frayed the seams and hem for more interest. He used the reverse side of some mylar tubing, which was gold in color, to make a little bustier of a top. Over this was a clear plastic organically formed shrug. It was glamorous. It was elegant. It was fabulous. Congratulations, Michael!
Alison is OUT. This was a tragic outcome. Alison created her entire look out of plain, flat pages of manila paper. How much duller could materials get? But her design was an origami and sculptural masterpiece in my opinion. Foolish me, I thought she could win. Neither of us anticipated that the asymmetry of the design would bug the judges. However, she and I both anticipated that the bulkiness of the pleated corset would add more girth to her already-plus-size model. That was her death knell. Chacun à son goût. It’s a matter of taste. Alison, we will miss you more than I can adequately express.
Angela applied mylar over cardboard to create front and back panels. She wove magazine covers to create quilt-like appliqués for these panels. Mylar was also used to hinge the two panels at the shoulder so that they hung from breast to knees like sheets of armor. Under this, she had a mylar bandeau and mini-skirt. It was all so basic. And it looked like an elementary school craft project for a production of Camelot to boot. But Angela’s still in: Chacun à son goût.
Jeffrey masterfully pleated newspapers to create a stunning top and he continued the material, unpleated, to make the skirt (the newspaper was applied to a muslin infrastructure). He painted the entire look in a somber palette and even painted a trompe l’oiel belt. It was very well-executed, and I admired it for that, but it was not for everyone’s taste. It was an in-your-face kind of look. But with this level of gustiness, I knew his look would receive an “it’s editorial” nod at the very least.
Kayne began with a white, heavily textured paper bustier with back lacing and a large mylar bow in the back, too (why both?) -- plus a preposterous full-length skirt that looked like is was made with a hammer and nails. One of the many factors that confounded me was that while at Waste Management, Kayne had obsessed over a huge container of plastic bottles with caps. He removed dozens and dozens of caps with the intention of making a bustier. Fabulous. So where did they end up? On the stupid skirt: randomly placed and embellished with a dollop of green paint (like the paint on the top). I screamed, literally, and told him to lose the skirt. The final outfit used the same top, but the skirt was modified – paper and mylar and knee-length. It was better, but it was still a hot mess. Frankly, it looked like it was going to Pattycake’s birthday party at Angela’s art camp. Oh my. Maybe we should inaugurate a Jubilee Jumbles award?
Laura created a Courreges-like mini-dress -- refined and minimal -- and she finished several hours before our deadline. (How about adding a clear plastic shrug? No?) She used a vinyl-coated burlap peanut sack and manipulated the sack’s label so that it read, “FOR NUTS ONLY” across the back (her pleats obscured the “PEA” part). I loved that particular touch of wit and whimsy. Did I say Courreges? Change that to Schiaparelli.
Robert made a dress out of the silver mylar, exclusively. It was beautifully constructed, and the flair at the end of the skirt was a good departure from potential boredom. (“Don’t Bore Nina!” is our new mantra.) But the dress was noisy, very noisy. Fortunately, Robert’s design was strong enough to stave off that issue.
Uli wove the silver mylar and some white paper to make a skirt. That alone was a remarkable achievement. She used the same paper for a sexy strapless top. Paper, sexy? Indeed. The look was modern and youthful, and ready to walk out onto the street and to a cocktail party. Other than winning, there’s no greater compliment!
Vincent stated that his inspiration was fine arts and that his creation was like a painting. Indeed it was when I first saw it: a cacophony of stuff seemingly randomly placed on the front of the floor-length column like a Pollock painting. But there was nothing on the back save a mylar crisscross lacing. The column was the peanut sack and the embellishments were god-only-knows what, but one was extremely annoying: paper holes from a hole-punch machine. He must have had a pound of the stuff! We’re still finding it scattered around in the nooks and crannies of Parsons. In any case, I encouraged him to make his painting three-dimensional; that is, extend its impact around to the back, because it was looking too two-dimensional to me. In the end, Vincent is Vincent and there’s no stopping him nor advising him. His look was god-awful in my opinion. And his model could barely walk the runway in his preposterous creation. But I guess Vincent has the last laugh; he’s still in. WHY?
http://www.bravotv.com/Project_Runway/season/3/episode/6
Recap In “Waste Not, Want Not” the designers are led to a Waste Management recycling plant in northern New Jersey for an innovation challenge. Once there, they have 30 minutes to source all their materials for the next design. Elements include paper products, mylar, bottle caps and more. Tim's Take For this challenge, the designers are treated to a field trip. I met them at the Atlas Apartments and we headed out by van to New Jersey. While traveling, the designers engage in loads of speculation about our destination, some of it thoughtful (to Newark Airport to staff a check-in counter to research uniforms), and some of it ridiculous (to scour the highways for roadkill). When we reach our destination -- Waste Management Recycle America, in Port Newark, NJ -- the designers have no idea what’s hit them. Slowly, a garage door rises and, behold, we enter a pristine environment of sorted and stacked recycling. I was expecting a foul-smelling garbage dump, but this was more like a science laboratory, all sterile and antiseptic. It was remarkable. Still, we worked under the strictest guidelines: hardhats and goggles had to be worn at all times, and gloves, too, when sourcing through the materials. The recycling materials in the Waste Management facility were sorted in categories: paper, plastic, and metal. Within those categories, there was additional sorting. The designers were given 30 minutes to source and scavenge through these materials; the goal being that whatever they collect will be the materials for this challenge, which is to create an outfit, any outfit, but it must be a wearable outfit. Back in Manhattan, we visited an art supply store where the designers have $25 to spend on extra materials for construction and embellishments: glue, tape, paint, sparkles, etc. And they had two days to complete this challenge. Celebrity fashion stylist Rachel Zoe is our special guest judge. Given the range and needs of her clients, she is perfect for the challenge.
Michael wins!
Michael's the first Season 3 designer to win more than one challenge! Michael’s look was very real world, very believable. He used a vinyl-coated burlap peanut sack for his skirt and frayed the seams and hem for more interest. He used the reverse side of some mylar tubing, which was gold in color, to make a little bustier of a top. Over this was a clear plastic organically formed shrug. It was glamorous. It was elegant. It was fabulous. Congratulations, Michael!
Alison is OUT. This was a tragic outcome. Alison created her entire look out of plain, flat pages of manila paper. How much duller could materials get? But her design was an origami and sculptural masterpiece in my opinion. Foolish me, I thought she could win. Neither of us anticipated that the asymmetry of the design would bug the judges. However, she and I both anticipated that the bulkiness of the pleated corset would add more girth to her already-plus-size model. That was her death knell. Chacun à son goût. It’s a matter of taste. Alison, we will miss you more than I can adequately express.
Angela applied mylar over cardboard to create front and back panels. She wove magazine covers to create quilt-like appliqués for these panels. Mylar was also used to hinge the two panels at the shoulder so that they hung from breast to knees like sheets of armor. Under this, she had a mylar bandeau and mini-skirt. It was all so basic. And it looked like an elementary school craft project for a production of Camelot to boot. But Angela’s still in: Chacun à son goût.
Jeffrey masterfully pleated newspapers to create a stunning top and he continued the material, unpleated, to make the skirt (the newspaper was applied to a muslin infrastructure). He painted the entire look in a somber palette and even painted a trompe l’oiel belt. It was very well-executed, and I admired it for that, but it was not for everyone’s taste. It was an in-your-face kind of look. But with this level of gustiness, I knew his look would receive an “it’s editorial” nod at the very least.
Kayne began with a white, heavily textured paper bustier with back lacing and a large mylar bow in the back, too (why both?) -- plus a preposterous full-length skirt that looked like is was made with a hammer and nails. One of the many factors that confounded me was that while at Waste Management, Kayne had obsessed over a huge container of plastic bottles with caps. He removed dozens and dozens of caps with the intention of making a bustier. Fabulous. So where did they end up? On the stupid skirt: randomly placed and embellished with a dollop of green paint (like the paint on the top). I screamed, literally, and told him to lose the skirt. The final outfit used the same top, but the skirt was modified – paper and mylar and knee-length. It was better, but it was still a hot mess. Frankly, it looked like it was going to Pattycake’s birthday party at Angela’s art camp. Oh my. Maybe we should inaugurate a Jubilee Jumbles award?
Laura created a Courreges-like mini-dress -- refined and minimal -- and she finished several hours before our deadline. (How about adding a clear plastic shrug? No?) She used a vinyl-coated burlap peanut sack and manipulated the sack’s label so that it read, “FOR NUTS ONLY” across the back (her pleats obscured the “PEA” part). I loved that particular touch of wit and whimsy. Did I say Courreges? Change that to Schiaparelli.
Robert made a dress out of the silver mylar, exclusively. It was beautifully constructed, and the flair at the end of the skirt was a good departure from potential boredom. (“Don’t Bore Nina!” is our new mantra.) But the dress was noisy, very noisy. Fortunately, Robert’s design was strong enough to stave off that issue.
Uli wove the silver mylar and some white paper to make a skirt. That alone was a remarkable achievement. She used the same paper for a sexy strapless top. Paper, sexy? Indeed. The look was modern and youthful, and ready to walk out onto the street and to a cocktail party. Other than winning, there’s no greater compliment!
Vincent stated that his inspiration was fine arts and that his creation was like a painting. Indeed it was when I first saw it: a cacophony of stuff seemingly randomly placed on the front of the floor-length column like a Pollock painting. But there was nothing on the back save a mylar crisscross lacing. The column was the peanut sack and the embellishments were god-only-knows what, but one was extremely annoying: paper holes from a hole-punch machine. He must have had a pound of the stuff! We’re still finding it scattered around in the nooks and crannies of Parsons. In any case, I encouraged him to make his painting three-dimensional; that is, extend its impact around to the back, because it was looking too two-dimensional to me. In the end, Vincent is Vincent and there’s no stopping him nor advising him. His look was god-awful in my opinion. And his model could barely walk the runway in his preposterous creation. But I guess Vincent has the last laugh; he’s still in. WHY?
Designer: Angela
Designer: Vincent
Designer: Laura
Designer: Uli
Designer: Kayne
Designer: Michael
Designer: Robert
Designer: Alison
