Previously: Wendy bitched that Kara Saun and Austin are the "golden" children of the competition. She connived to make it to the final three. Jay started getting competitive. Because Julia was late for the runway showcase, Jay had to use Austin for his model in the postal worker challenge. Austin declared that showing at New York Fashion Week has been a lifelong dream of his. Kara Saun won the challenge and Robert was eliminated. Only four designers left! Only one more to be eliminated.
It's the morning of the beginning of the final challenge. We see a note that Robert wrote on the chalkboard in the apartment after he was declared "out." It reads, "You guys are still in for a great reason...to make it to the final three! Make your straight pal proud! Kick ass! You guys deserve it!" Aww, that's sweet. Robert is a good sport. Jay says that he misses Robert, but that "he just upped [Jay's] chances for the final three, so thank you, Robert!"
Wendy is stunned that she is still in the competition. Finally, she and I have something in common. She mentions that she has always been second worst, barely scraping by. She expresses her gratitude to those who couldn't scrape as well. Wendy prints some digital photos taken at the beginning of the competition. She is reminded of how things were simpler to start, "before [they] started competing." I wonder if she realizes that she is the sole reason that place has become so complicated. But of course she doesn't. She only admits that the pressures of the competition "have propelled [her] in odd directions." That's a fancy way of saying "I'm going to rot in hell for my behavior here." The pictures are really great. I wonder if Wendy will ever regret her behavior here. This could have been an opportunity for this woman from Bum Fuck Nowhere, who wants to be a part of the fashion world, to make all of these valuable relationships with some her peers. The truth is, Wendy is a talented seamstress and has a few tricks, but she is simply not interesting or talented enough to fuel the idea machine for a successful fashion line. But, not every person working in fashion is! There are other great jobs in fashion for people with Wendy's skills. Had she been a decent human, the other people on this show -- many of whom are already working in the industry -- could have offered her a helping hand. She could have gotten something out of it. Instead, she is shitting all of that away for the chance to show a line at Fashion Week, where she DOES NOT BELONG.
Heidi greets the designers at the runway and reminds them that they only have this challenge to prove themselves. She tells them that they will be designing a dress for the red carpet at the Grammy Awards. Hmm. They will have two days to complete the dress. Model choosing time! Kara gets to choose first. She goes with Jenny again. Austin takes Martinique. Austin asks Jay to choose him again. Laughs. I think we're supposed to feel a little bit of drama about Julia's tardiness from the last challenge, but I think it's pretty clear that she was just overbooked or something. She doesn't seem like the type to flake. Jay doesn't think so, either; he chooses Julia. Wendy is the last to choose again, placing her in her natural state of disappointing others. She chooses Melissa. Backstage hugging commences. Goodbye, Olga. May your diamond wedding dress blind others with its shine, all the days of your life.
At the Workshop, Tim Gunn announces that he will introduce to the designers someone "extremely glamorous and connected." Instead, he brings out Nancy O'Dell. Are you kidding me? Is there no one else they could get? Kara Saun interviews that she watches Nancy O'Dell every day. Wendy says she doesn't watch Access Hollywood, in that annoying "I don't watch television" way. Hey, Wendy, it stopped being cool not to know who Michael Jackson was and shit back in 1996. Nancy O'Dell will wear the winning design in the challenge. She makes a few jokes about how the designers had better be good. Nancy informs them that the Grammys are hipper and more rock and roll than the Oscars. Terrific, because when I think of Nancy O'Dell, I think of cookie-cutter L.A. pulsations. I mean, "hip." And, "rock and roll." Tim tells the designers to ask Nancy some questions. She says she likes bright colors. No hot pink. She likes leather and two-piece ensembles. Finally, the Grammy outfit can be more fun than an Oscar gown. Tim says that the designers are going to be given some technical assistance to help them finish the task. Jay says that he thought it would be "some Korean-speaking woman with, like, eighteen fingers, ready to just sew for [them]." Instead, he brings out Robert, "the monkey" (per Jay). Robert interviews in his malapropian, mixed metaphor way that all of the designers were happy to see him. Austin paints a different picture in his interview, pointing out that Robert was eliminated because he was technically inept, so he probably won't be much help here.
The designers go to Mood to shop for fabric. Wendy is freaking out because "cool" and "rock and roll" are not her things. Austin feels that evening gowns are his specialty. He wants to give Nancy a sexy, feminine look. He is looking at flowing fabrics. Jay says that he wants a Moulin Rouge look. Kara Saun says she is going for simple, with vibrant fabrics. Wendy is told by some fabric-store consultant to use orange, which is similar to what Kara Saun is using. At one point, we see Wendy take a bolt of fabric from Kara Saun's area to see if she wants to use it herself. Kara Saun, possibly overreacting just a little bit, interviews that Wendy is playing dirty by doing that. In the end, each has chosen a color almost identical to the other's.
Back at Parsons, the designers have seven hours left in the day. Austin asks aloud whether low-cut and sexy are enough to make his design edgy. Jay replies, "Shouldn't you have thought about that before just now, Austin?" Wow, that's unhelpful. Austin has picked lovely blue and purple (lilac) fabric. He is making a smooth draped look, per Nancy's wishes. Jay whispers in the Workshop that he thinks Austin is a good designer, only too "costume-y". Can't anyone think of a better adjective for Austin's shortcomings? Maybe that's why he hasn't listened to anybody. I understand what "costume-y" means, but I don't think Austin, who is always in a costume (for instance -- now, he's Babe Paley circa 1963), would think of it as a bad thing. Can't someone say, "Austin, not everyone wants to look like they just walked out of a touring production of Full Gallop?" "Costume-y." I'm sick of that being the description of Austin's work. I find it needlessly reductive. He's individual, not silly. Anyway, Jay eventually makes that same point, remarking (still in a whisper) that Austin will learn once he comes up against some resistance.
Later, Jay says he's trying to make a compromise with his style in order to accommodate Ms O'Dell's preferences. So, he will be using less deconstruction, more sweetheart neckline and shapely bodice. Wendy says she is going to make something short and sexy, which is unlike her designs. She says she has to prove to herself and others that she's "not a fraud." Wendy Pepper has to prove to HERSELF that she's not a fraud. What, do you have blackouts, Wendy? Otherwise, your crisis of faith is amazing. You have to be in a pretty sorry state to question your own authenticity.
Robert is not much help. It doesn't look like any of the designers want him anywhere near their designs. He's drinking multiple beers. In the Workshop. I guess he's still letting off steam after just leaving the competition.
Kara Saun is going to have a dress-looking thing over pants. She says it will be very sexy and funky. We hear Jay say, "I just assume Kara Saun's going to win this whole shebang." Austin agrees: "Kara Saun is unstoppable. Everything she touches turns to copper." Wendy, of course, grouses, "Jay really is enthralled with her." She basically can't stand that they like Kara Saun. She is such a fucking child. When she's out of the room, Jay whispers to Austin, of Wendy's design, "I'm kind of concerned." He thinks it looks like Wendy stole from Kara Saun, in Wendy's color scheme. Some time later, Kara Saun says to the camera, "People who try to sabotage other people do it because they can't rely on their talent." Right on. Wendy "got the message," and says the umpteenth dumbfounding thing in her interview: "It is a competition, and [Kara Saun] is well on her way to winning. She's good at what she does, but does that mean she needs to fuck with me in the process? If she's so [air quotes] 'confident' in her superior skills, why does she need to fuck with me? What am I? I'm no threat to her! I mean, I've been second to last every fucking week." How, I ask you, HOW can this person be on the streets? To be so out of touch that you could possibly be offended that the person that you have manipulated and are cheating and fucking with is offended by you? Your displacement is profound, Ms Pepper. I can't stop, people. The woman is killing my insides. As well, I'm worrying a little bit about Kara Saun. Wendy is getting to her, too. Kara Saun interviews that Wendy has changed a lot since the competition began, and that no one likes or trusts her now. Wendy interviews that the three other designers keep ganging up on her, but that she goes back to her corner, dresses her wounds, and gets back in the ring. If a freaking boxing analogy helps you not think about the reason they don't like you, Wendy...oh whatever, you can't hear me. Bitch.
The day, the designers are back at work. Tim Gunn is there. He tells them that they get a special tour of Michael Kors's design offices. Austin is really excited, but the rest of the designers seem so stressed that it doesn't even register. Tim tells Robert that he has to stay behind, and he "can put finishing touches on everything. No, not really." I love it that Tim presents this as a joke. Poor Robert.
The designers walk by the Bryant Park Fashion Week tents on the way to the office. Kara tells about a 1994 renegade fashion show that she mounted by the tents. She had just moved to New York and wanted to show her designs. The presence of all of the photojournalists there for Fashion Week meant that her collection was photographed and, probably because of the moxie of it all, she got coverage in The New York Post. HOLY CRAP. Can you imagine the nerve that took? I'm impressed. Kara Saun says that it would be a dream to have a show inside the tents.
When the designers arrive at the office, Michael Kors shows them around. Heidi's there, too. Kors takes them to a room with all of his designs that have been on the red carpet. He talks about the impact of having a J.Lo or a Heidi Klum wear your gown out. I guess someone associated with this program is assuming that Nancy O'Dell is going to bring some sort of cachet to the designer whose dress she wears? I'm also guessing that they'd be wrong.
Back to the Workshop. Jay is getting nervous. "I'm supposed to BE in the final three," he whines. Wendy says she really likes her design. Kara Saun likes hers, too. Martinique arrives to stand for a fitting with Austin. He interviews that he thinks he is a "wonderful" designer with a lot to offer. Suddenly, it sounds like these guys are creating personal ads.
Robert and Kara Saun discuss Jay's bodice. It's a pink satin-y fabric. It looks a little boring, I guess. They think it needs a lot of work, and decide to discuss it with him. Wendy is livid that anyone has feelings. Kara Saun offers Jay an option, and then says, "I'm not going to say anything else." That is solid. I think she is such a nice girl. Jay thinks that the advice is correct, too. He interviews that Kara Saun wants Jay to be in the final three and that "she's not giving advice to Wendy. If she was [sic] still friends with Wendy at this point, she would be giving advice to Wendy about what she should be doing."
Later, Tim enters. Jay shows Tim the changes he made to his bodice. Tim's reply is, "You've transformed it." Not a clear yea or nay there. He tells Kara Saun that the top of her dress is lovely. He doesn't like Wendy's design. There are feathers all over the skirt. Tim tells her that the proportions seem wrong (there is so much happening on the skirt juxtaposed with a smooth, simple top) and finally says, "It's jus a whole lot of 'look.'" Wendy sounds defensive in response. Tim tells her that on a scale of 1-10, she's at a 5.5. Ouch. I'm gonna have your baby, Tim Gunn. Wendy, however, appears to be attempting to take Tim's advice. Fine, NOW she evolves. She has a lot of changes to make to her design. Kara Saun looks on at their conference, appearing a little annoyed. I guess I'd be annoyed too if the girl who bitches anytime any one of them helps another suddenly started earnestly taking advice from the freaking master. We see Rob helping everyone. At one point, Kara tells Jay to not be a "Rob Hog." Wendy has made a lot of changes to her design. She seems happy with it. When Kara starts beading the slacks for her design, Robert whispers that Wendy is also using beads. "I'm not taking anything from Wendy!" is Kara's indignant response. That's kind of funny. Jay finishes and says it is the first of his designs that he has liked.
The morning, they all gather for a "go team" hands-in-the-middle thing, and Wendy leaves for the elevator without joining in. Bitch. It was a purer experience without her sorry ass, though. Jay interviews that he came into this competition thinking he would just be a "personality," but that things have changed a lot. I'll say. That's so odd. I wouldn't think that was true of Jay. All of his work has been so personal and detailed. I guess he was too insecure to admit to himself how much he wants this. Kara Saun interviews that making it to this point is huge for her. Austin says that he feels his purpose is to "give beauty back to the world." All lovely sentiments. And bringing up the rear is Wendy Pepper, who says she wants to win so she can gloat to Kara Saun. Stupid, petty woman.
Tim Gunn greets the designers at the Workshop. He tells them that they still have a lot to work on. As well, he tells them that their successes have no bearing on what will happen today. That's menacing. The designers start going crazy with their fittings. With an hour and a half to go before the show, Tim tells Jay that his bodice is "matronly." Jay decides to make some changes. He tells Austin not to let his design look "over-worked." Austin interviews that if he doesn't make it to the final three he'll "be depressed for quite a while." Tim asks Kara if she really needs the slacks for her design, since the top looks lovely on its own. She thinks they add edge to the design. Tim tells Wendy that her dress is "adorable." He says he is very proud of her, and she starts crying. If my heart wasn't marble to her, I'd think that was poignant. Instead, I'll watch the girls getting prepared in the L'Oreal Paris Hair and Make-up Room. Robert tries to help Jay, and he tells Robert to go away. As he's dressing Julia, Jay's trying to zip the dress and says, "Did you eat?" Oh Jay. They cut quickly, so we don't hear him say he was kidding, but I'm sure he was. Tim stops them in their work. This is the last time they will be on the Parsons runway. stop is Olympus Fashion Week.
Heidi introduces our judges. They are Michael Kors, Nina Garcia, and Nancy O'Dell. The show begins. First up is Wendy's design. It's very orange. The top is a simple, low-cut, orange affair that enhances the bust and falls loosely over the skirt. The back is mostly open, with straps tied in the back. The skirt, now much shorter, still has feathers. Wendy has lost the assorted beads and buckles and whatnot that she had before. Melissa looks totally hot. Her legs seem a mile long. Wendy interviews that she has done the best she can.
up, Kara Saun's design. It's funky. The slacks have really wide legs. The top has Kara's signature low-cut neckline. It's really beautiful. I'm not sure Nancy is going to go for those slacks, though. First of all, nothing about Nancy seems unordinary. The design is unordinary. Also, I'll bet that if Nancy doesn't have the girls up and out and her dress slit up to there, she doesn't feel like she's at a party. Kara Saun interviews that sometimes you can like your design, but someone else will not.
is Austin's design. Okay, it looks like a lot of Austin's designs. The movement of the fabric is beautiful, but it looks like a gown version of his swimsuit. The front of the gown opens to reveal a super-short skirt. Austin interviews that he kept Nancy in mind while he was designing, but that it's still an Austin Scarlett design. The dress has a halter front and lots of period bunching in the fabric. It's lovely, but a yawner.
Finally, Julia walks out in Jay's design. Jay interviews that he likes the skirt. He says he had to bring it in, add a belt, and shorten it to keep it from resembling a "cocoon." He feels the top is an improvement to the "Barbie bodice" it was before he sewed more fabric on top. It's pretty cute. The skirt has an interesting texture and color. The top doesn't really look bad; it just seems a little out of place. It looks kind of like a sweater with spaghetti straps. On closer inspection, matched with the skirt, the top gives the design a kind of vintage-y antiqued look.
Heidi brings the designers onto the runway, and the models return. Nancy asks Wendy if she had considered not using feathers on the skirt. Wendy quite cleverly states that she wanted a top that wouldn't interfere with Nancy's on-camera duties, but a dramatic bottom to make her stand out. That's pretty good. I don't really like Wendy's design, but if I were totally confused and stupid and needed someone to sell me on an article of clothing, that might work. Nancy tells Austin that his gown may be too glamorous for the Grammys. Austin informs her that he likes glamour. Then, he makes a piggy nose and goes "pffffffft!" No, he tells her that he acknowledged the Grammys by making the slit and short skirt. Nancy tells Jay that his dress is hot pink. Jay puts his own necktie to his design and says, "This is hot pink. Come on, Nancy." Ms O'Dell does not excite these guys. Nancy likes the skirt, but she thinks the top looks "dated." Then, we see a flashback to Kara Saun telling Jay to change the bodice. Are they trying to make it look like it was Kara's fault? It wasn't. It's Nancy O'Dell's fault for having no style. I'm liking Jay's design more the more I look at it. Nancy asks Kara Saun why she chose pants. Kara explains that she was trying to funk it up.
Nina Garcia tells them that they are all talented, and then asks, "But, what happened?" Everyone is silent. Nina says that their designs confuse her. As well, I'm sure the show's decision to have Nancy O'Dell be their muse confused the designers. Give them a break. Michael Kors agrees with Nina. "I'm underwhelmed," he coins. He says that their designs look like the "what was she thinking?" pictures in the tabloids. One might also say, Michael, that your dependence on that shade of bronzer provokes the question: "What was she thinking?" Nina thinks Wendy has too much going on and that it all matches, which -- frankly, news to me -- is a fashion sin. Nina further informs Wendy and me that no one wears an outfit completely in orange. All right, then. Michael adds that it's too "Garanimals." I loved Garanimals! Michael is also reminded of a woman who went to a bridal store to have her shoes dyed to match. Wendy is crushed. I feel a smile creep upon my face. Nina tells Austin that his dress is lovely, but that she has seen it a million times. Michael says that it reminds him of a fashion student's work, which seems unnecessarily catty. Nina thinks Jay picked the wrong color. Michael likes the skirt, but doesn't like the top. To him, it looks like someone doesn't want to show her chest. Then, explain the spaghetti straps, Michael. You can hate the top, but that's a weird criticism. Nina doesn't like the proportions of Kara Saun's design. The pants are too baggy or something. Michael thinks that the pants under the dress look is "tired." He may be right about that one. I remember first seeing it back in, like, 1997. That's a while ago. But, then he says it looks like a bar [sic] mitzvah dress that got shredded and worn over a pair of pants. How many people are wearing dresses to their bar mitzvahs? Anyhoo...Michael doesn't like her design. They exit the runway.
Backstage, Robert, Kara, Jay, and Austin sit on a sofa together while Wendy sits in a chair by herself. She interviews that she loves watching everyone as they are uncomfortable. My God, that woman cannot be gracious for one fucI HATE YOU WENDY PEPPER!
Onstage, the judges bitch. Nancy says that she could "tweak" Wendy's design and wear it, because the bustline was pretty. Michael says that Wendy has been really hit-or-miss, and Heidi agrees. Heidi doesn't like Wendy. Nancy says she liked Kara's idea, but doesn't think that it would look good on camera. She likes Jay's skirt, but not the top. Michael agrees that the skirt is interesting. Nancy thinks Austin's dress would be good for the Oscars. Nina is flustered. She doesn't "know what to do with Austin." Michael feels that Austin can't move out of "the box of this couture world." Nina points out, though, that Austin's designs are lovely. Nancy says something about "tweaking" Austin's design; and Heidi -- who seems bewildered that the conversation has been leaning in Wendy's favor -- points out that since she's tweaking Wendy's design, she could just as easily tweak Austin's design.
The designers return. Kara Saun is "in." She tears up and hugs Jay. Backstage, Kara hugs Robert as she cries. Jay is "in." He's clearly thrilled. He stumbles offstage, and interviews that he is very honored. Finally, Wendy. "In." She won the challenge. Nancy O'Dell ruined the world. Austin hugs Wendy, and then has to pry her leaching arms off of him. She walks backstage to a stunned and unwelcoming Jay and Kara. I'm so glad that they don't congratulate her. Am I clear? Austin lost to WENDY!!! I...can't. Wendy interpoos that she never thought she'd make it this far and is thrilled. Robert hugs her. Kara interviews that she felt she, Jay, and Austin belonged in the final three. Jay says that he was "grossed out" when Wendy walked backstage: "You'd think for the last challenge, Wendy, you could've put lipstick on." Thank you, Jay. He continues, while fanning himself with closed eyes, "Ooh, I hate Wendy. I'm sorry."
Heidi tells Austin the usual "you're great, but..." crap. He gingerly replies, "Well, if I may, I just want to thank you all for this wonderful opportunity already. And, um, I don't think any of you are hearing the last of Austin Scarlett yet." Nina and Michael tell him that they will be watching for him. Then, Nancy asks him to design her dress for the Oscars. Austin agrees. I don't. Then, he Auf WiederHeidis and goes backstage. He interviews that he was "born Austin Scarlett" and has to be that person. We see him hug the others backstage. He leaves us saying that he would love to be an example to those dreamers who maybe aren't popular or supported by their environments. No matter if people want you to follow the mold or change things about yourself, you always have to be true to who you are: "No matter what." Bye, Austin. You've been robbed.