Previously: Kara Saun was a costume designer working in Hollywood. Jay McCarroll worked in porn, with dreams of being a fashion designer. Wendy Pepper was a married-with-child dressmaker from Virginia. She let us know early on that she would do whatever it took to make it to the end of the competition. These guys are the final three, and this is the end of the line. Fashion Week!
We see a quick montage, showing the elimination of each designer. Among those clips, we see such things as Kara Saun giving Wendy a much needed makeover and Jay discovering his competitive streak. In case any regular viewers had forgotten since the episode or any newcomers couldn't tell by looking at her evil mug, we are treated to a buffet of Wendy's wrongdoings. Kara Saun and Jay are hugely disappointed to see Wendy make it to the final three.
Heidi greets the three remaining designers on the runway. Jay has what I recognize as an Isaac Mizrahi from Target pillowcase on his head. They're nothing if not versatile. I love Jay to death, but I think it's time for him to move to a softer look. Too much time in the porn world has given him too rough an edge. I guess. Maybe too much time in the fashion world did that. Heidi says that each of the designers will be given $8000. They will have five months at home to create a twelve-piece collection for Olympus Fashion Week. She hands each of them a gigantic check -- not charity donation or Publisher's Clearing House gigantic, but nobody has a checkbook that large. It's time to choose the models. Whichever of the models is associated with the winning designer will get to be in the Elle fashion spread, wearing the designer's work. Everyone chooses his or her favorite. Wendy takes Melissa, who seems really excited and interviews that she is happy to be "at Wendy's side." Whatever, she's young, although she has recently had a birthday and is now a worldly seventeen. Jay just groans and hands Julia his red button as she laughs. Kara Saun chooses Jenny. Martinique is totally a good sport about the whole thing. She interviews, "It is what it is." And, it is. The remaining models hug backstage. So long, Martinique! And, so long buttons. No more of you this season.
As Jay is packing his things at the Atlas apartment, he testifies that Project Runway has renewed his love of fashion. He is very inspired and, although he was "always the bridesmaid, never the bride" during the challenges, he might "be the bride" at Fashion Week!
We also see Wendy packing like the slob she is. First of all, there are loose, bottled toiletries in her suitcase. Recipe for skirt and lotion soup, I'd say. Also, I see two pairs of shoes on top of all of her clothes. Now, I didn't even need to see it on Martha Stewart's 30 Things Everyone Should Know list to know that you wouldn't want to put your shoes on top of your clothes. Jesus, Wendy. Wendy interviews that she is proof that you do not have to have to be formally trained in order to find some success as a designer. You forgot to add that you have to be amoral, Wendy. She does point out, quite truthfully, that though she was to last in "a lot" (four times of nine, to be exact), the two that she won were "the two really good times to do it" -- the Banana Republic challenge and the Grammy dress were the two most rewarding wins of the competition. And, someone with talent would be able to capitalize on those wins. We see a picture of Nancy O'Dell wearing Wendy's dress at the Grammy Awards. The skirt is now the same material as the top. It's boring. It's perfect for Nancy O'Dell. I think she took Michael Kors' advice and went to a bridal store to dye her shoes to match her dress. As well, sitting directly beside Nina Garcia as she declared that "no one" wears an outfit colored completely in orange was not enough for it to sink into Ms O'Dell's style consciousness. She only reads InStyle anyway. Fuck Elle. Wendy declares that, if she wins, her life will be changed forever.
Kara Saun is very neatly packing, like a good girl should. She interviews that she has gotten to this point in the competition with her talent and creativity. Hmm, I wonder if she's insinuating something with that comment? Never mind: she clears that up by saying that she won "without playing any tricks or stabbing anyone in the back." Okay, let me just erase those points I'd give to you for subtlety, Kara. She reminds us that she had four wins. Four! That's as many times as Wendy almost had herself kicked onto the streets. Kara Saun finishes by saying that she is very excited for Fashion Week.
In an odd touch, we see Heidi Klum Seal ushering each of the designers into a taxi. Did she make sure they had a twenty-spot stuck in their shoe? Come on. Jay seizes the moment, though, and screams out of the window of his cab, "Goodbye, Heidi. Auf Wiederwienerschnitzel! I'll see you at Bryant Park!"
Cut to ten weeks later. Tim Gunn tells us that he is going to check on the three designers' progress. I love this idea already: Jay and Tim getting trashed in some dive bar in Leahman, PA. Kara and Tim going clubbing in Hollywood. Wendy...getting ditched and Tim going somewhere fun in Virginia without her. Tim's all business, though, and interviews that he is interested to see what the designers do with more time than the usual twenty-four or forty-eight hours they have had to work on their challenges.
First stop: Leahman, Pennsylvania. Jay interviews, while wearing an absurd Little Orphan Annie wig, that Leahman is the town where he grew up. He tells us that he is the youngest of six children. Jay -- who I'm beginning to think should have his own fucking variety hour on Logo or something (for real, the guy's a riot) -- greets Tim on the front stoop of his house dressed in hunting gear (while still wearing that ridiculous wig under an orange hunting cap). He has a shotgun, which I hope is fake, and says, "I'm gonna get you, Tim Gunn." Tim replies, "Don't shoot, it's Project Runway calling." Smooth operator, that Tim Gunn.
Jay takes Tim into his studio. He has tons of fabric, all of it color-sorted. It's really beautiful. Jay says that he doesn't usually stand in his studio with a gun, which gets a chuckle from Tim, who says, "Well, you didn't know who I was." And Jay replies, "No, I was like, 'Who that on my property?'" Why do I love this exchange so much? Tim notes the lovely organization of the studio, and Jay downplays that he likes to keep things neat so that he can "know what's going on."
As Jay is giving Tim a tour of the house, he says, "Let me put my gun down." To which Tim replies, "I hope it's not loaded." "Actually, it might be." Bad Jay. You can kill with a joke, but it doesn't count if a gun did the actual killing. As they sit down to lunch, Jay asks Tim if he likes his wig. I don't know if he's kidding or not, but Tim says he wasn't sure that it was a wig and wondered if Jay was growing and coloring his hair.
With the removal of Jay's wig, they get down to business. We hear, in an interview, that Jay is about halfway finished with his collection. Apparently, it's the holiday season as this is recorded, and Jay tells Tim that he's feeling a bit off-track, but that when January arrives, he plans on "locking all of the doors" and working until he is finished.
Jay shows Tim around his hometown. He explains that his father makes concrete septic tanks, so "every time you take a poopie, think of us." He tells Tim that his father created the molds for the concrete structures, and Tim remarks, "This is where you get your abilities from." Jay interviews that he is not sure how someone unique like him sprouted from a town as normal as the place in which he grew up. Then, we see a few snapshots of Jay growing up. What a little cutie-pie. He was apparently in the marching band, as we see him carrying a drum set that is twice his size. Also, it looks as if he assayed the role of the Cowardly Lion in The Wizard Of Oz. Good casting, to whomever was in charge of that. Jay decides that his individuality is derivative of being the youngest of six, and that he "got all the kind of weird, leftover parts to make a human."
Jay introduces Tim to his mother; his sister, Janet; and his niece, Molly (who is an adorable little girl). They all seem like sweet people, and it seems like Jay's sister might have a good sense of humor. Janet says, "I hope he gets a job out of this." I'm sure they're all really eager for him to be out of the porn business for good. His mother explains to Tim how Jay started sewing at a young age. Separately, she interviews rather depressingly, "Every since he was little boy, we knew he would do something with his life." I feel like I'm watching a gay All The Right Moves. (Some libelous person might say that All The Right Moves is already gay, but I wouldn't.) At the dinner table in the McCarroll home, another sister joins all of them. Jay describes the hard time he had growing up and being different. The new sister points out that people would give him a hard time for doing or wearing something new, but that they would always pick it up: "You were always a trendsetter." Jay says that the show has really boosted his confidence. Then he wonders, "What if I was to win Project Runway?" The new sister brilliantly answers, "You're gonna get liposuction and get the heck out of Leahman." Huge laughs. Jay is wheezing a bit. He should stop smoking.
We see a few examples of Jay's collection. He interviews that he wants to have a collection that will be unexpected -- meaning not "kooky." He promises us that there will be no goats on the runway...this time. He tells Tim that music is the inspiration for the collection. He mentions in an interview that music and fashion are closely related. If you listen to a certain type of music, it usually influences your style of dress. I understand the thought, but I'm not sure if Jay's saying that his collection will consist of different pieces inspired by different styles of music, or if the collection is going to be inspired just by the style of music to which Jay listens. All of the models are going to wear headphones, illuminating the additional theme of individuality. Jay hugs Tim goodbye on his stoop as we hear him interview that he is behind schedule but on track. He tells Tim again to get off his "property" while pointing a gun at him. Overall, Jay feels that the visit with Tim went well: "I mean, what's he gonna say? I'm brilliant." Okay, I'm sensing only a tiny bit of joking in that statement. And, frankly, maybe he is brilliant. We'll see. Jay forebodes about Tim's visit to Wendy, saying, "I wouldn't want to be stuck in Middleburg, Virginia with Wendy Pepper."
Tim goes to Middleburg. It looks like a lovely town. Wendy interviews that she is excited for Tim to see her work. As he enters her massively over-decorated home, she jokes in her awkward, half-menacing way that "now [Tim is] on [her] turf." What's the point, really, Wendy? Give him five minutes and I'm sure the burg of Middle will like him more than they like you. Wendy shows Tim part of her workspace where there are lots of art prints stuck to the wall. She tells Tim that she is inspired by "different periods in art." By the way, all of the art is portraiture, so it's safe to say that Wendy's "inspiration" is actually more like a crib sheet. She's just ripping off classic artists, instead of Kara Saun. She mentions that her family is the most important thing to her. Then, she interviews that she would not have been able to do "this" without the support of her husband, daughter, and mother. Okay, I just saw a non-vandalized picture of the daughter. She is damn cute.
Downstairs, in her basement/Florida room (I can't tell; it looked like they walked into her basement, but it's attached to a room that has windows on an entire wall -- maybe they're on a hill?), she shows Tim her workspace. She explains via interview that she has a small dressmaking business that she runs from her home. We see a few photos of her work. It could be partly the photography or that I just don't like Wendy, but the clothes look really bad. Just confusing and poorly realized.
Suddenly, Wendy's mom, Anne Emmet, is there saying typically mom things about being proud of her joint creation with Satan. Anne says it appears that Project Runway is "not all easy." Oh God, and now we meet the child. Finley. This is really weird. The child is beautiful. She has the cutest little blonde haircut with bangs and she's wearing the most adorable pink sweater and skirt. Wendy shows us that Finley has A LITTLE TINY SEWING MACHINE! That she sews on SO SHE CAN BE LIKE MOMMY! How can Wendy act like she does with this cuteness in her life? Finley even has a tiny mannequin that she dresses. Tim thinks it's adorable, too. Wendy, strangely, is not as impressed. I bet she is already getting competitive with the child. Wendy points at a piece of posterboard that bears the telltale signs of pre-K artwork and says, "Finley made this for the judges. So she said, 'I'm going to paint this for the judges.'" Finley hears this and says, "No, I just made it because -- Remember? I had nothing to do and you told me that I could paint?" Did everyone catch that? It sounds like Wendy just tried to get cute points from her daughter only to be REJECTED by said daughter. The whole time she is speaking, Wendy is kneeling and laughing like, "Light of my life. Don't you just love her?" When inside, she's like, "If you don't know what's good for you...Mommy will totally not love you anymore." Finley is a little bit my hero right now.
Wendy and Tim look at the progress of her collection. A lot of autumn colors are being used. Tim criticizes one piece as looking "bed jacket-y." The bodice underneath the jacket he's describing has a modern feel, while the jacket is "Rue McClanahan on The Golden Girls." I'm hoping that it's official Parsons-speak to use The Golden Girls as a reference. I will enroll today if they do.
Wendy talks about what an asset Tim Gunn has been. More than anyone else, save Jay in the final challenge, Wendy has really tried to apply Tim's recommended modifications to her designs. It shows a willingness to accept criticism that I hope, for Wendy, will one day evolve into some sort of self-awareness. Tim tells Wendy to be careful not to overly design her work. He also wants her to match fabrics that work well together, which Tim feels is a natural talent of hers.
Wendy and Finley take Tim for a walk through Middleburg. She interviews that she is now a "minor celebrity" in the town; to prove the point, we see a couple of townspeople greet her. Tim and Wendy go to Wendy's great-grandmother's house, which was bequeathed to the National Trust in her will. I'd be so pissed if my immediately ascending relative gave her house to the nation. But, that's just me. ["Not just you. That's what I always think when I watch America's Castles and see all those gorgeous homes that are freaking national parks now when people could be living there in luxury instead." -- Wing Chun] Tim says that it's like Dynasty. , he's going to reference Sex And The City. It's a really pretty antebellum place. Lovely.
Afterward, Tim tells Wendy that he had a great time, while she tells him that she has lots of "food for thought" about her collection. She expresses his gratitude for his advice.
Now Tim's working Hollywood. Kara Saun interviews that she is excited for him to visit her. She is anxious to have his input. When she opens the door of her house, she looks like she could cry. These guys really love him. She takes him to F&S Fabrics, which she says is her favorite fabric store. Kara Saun tells us that she grew up as an Air Force brat. We see really cute pictures of her and her family when she was a little girl. Her family is gorgeous. She learned to sew from her grandmother. She tells a story about being in kindergarten and sewing a pair of shorts for her grandmother, but accidentally rendering them useless by sewing the legs closed. Kara Saun reveals that she has had no formal training -- only Home Economics class in high school. Go public-school education!
Kara Saun interviews that her collection was inspired by The Aviator. More specifically, by aviation. Tim calls one piece "stunning." He mentions that one piece looks "chunky" and gives her a little advice on the proportions of a corset. Kara Saun says to Tim that her criteria for a garment are as follows:
1) Does it look like something she would do?
2) Would Tim Gunn say it is "stunning"?
3) Would Heidi Klum Seal wear it out?
4) Would Michael Kors say it was "sexy"?
and 5) Would Nina Garcia put it in Elle?
Damn, that's a lot of qualifiers. Like Jay, Kara says she is going to be working non-stop until Fashion Week.
We're back in New York, and it is six days until the final runway show. The designers are staying at the W Hotel in Times Square. Wendy gets there first, and interviews that their suite is awesome.
Jay is . His sister and niece drop him off. When he gets to the room, he's just kind of like, "It's Wendy Pepper!" instead of giving her any real greeting. As he is admiring the suite, Wendy asks him if he wants to room with her. "I don't think so" is his reply. Then, he tells her that he had a hard time watching the series unfold. "I know," she says. "You said so many mean things about me, dear." Okay, this whole conversation becomes infuriating at this point. Wendy doesn't really hear a thing Jay says. He tells her that he had planned just to ignore her, but that he can't, because she's human (debatable). Then, he explains that Wendy was so inauthentic on the show. He says he knows that she is a very interesting person (he drops the news that she was in the Peace Corps. That's nuts), but all that he and the other designers got was this "weird stuff." Then, she says, "'Weird'? Coming from you?" I was about to unleash a few expletives her way just now, but I decided to think about it. Sure, Jay did say a few nasty things about Wendy. The whole reaction to Wendy being chosen over Austin was pretty rude. But, does she have to continue with this bullshit? Their collections are complete. Her game plan isn't going to do anything for her. Just stop being defensive, Wendy, own up to what a bitch you were, and MOVE ON.
Jay is totally patient with Wendy as she keeps up with the "it was a competition" crap, all the while nonchalantly eating an orange (and you know she wasn't as calm on the inside). Finally, Jay just says, "You are one ruthless bitch." Now, why couldn't someone have said that at the reunion? That's all I wanted. Wendy replies with her greatest self-delusion yet: "You see, for me, it's all about who has the goods. I think you're talented. Now, unfortunately, I'm going to try to beat you this week." Jay's reply: "I feel like if you think this is a contest based on talent, then you shouldn't be here." True, because she played the game like it was damn Fear Factor. Wendy,still eating what must be the largest orange in creation, says, "Okay." Jay's reply is my favorite moment of the entire season. He just looks at her with a big smile on his face and says, "Crazy. Crazy Wendy! Go with it, I guess. I don't know, you know?" It's just beautiful in its frustration. I feel it in my bones. Then, Jay kind of whimpers and stumbles out of the room as Wendy gives one of her scowls that don't do what I think she wants them to do. In the hall, Jay says to (someone?) no one in particular, "Why'd you put me with her?" Then, Jay just starts calling for Kara Saun.
When Kara Saun arrives, she walks right past Wendy to hug Jay. Wendy greets her, and Kara just kind of waves at her. The girl is sticking to her guns. She interviews that she has no desire to speak to Wendy. She's supposed to room with Wendy, so she decides to sleep on the couch. It is going to be a cold winter in the W.
With three days left until their runway shows, the designers are working on the final touches of their collections. Kara and Jay seem confident. Wendy says that she still has a lot to do. Heidi and Tim drop in to greet them. They are working in the Cotton (the official fabric of Project Runway) offices. Tim tells the designers that they will be meeting with the producers of their fashion shows, as well as casting models. Wendy looks really glam. She appears to be paying a little attention to her appearance.
First, the designers meet the producer, Stacy Stiegler. She goes over the schedule for the day with them. Also, John Pfeiffer, the model casting director, tells them that they need to instruct the dressers backstage in how to work their designs. Lots of info is dispersed. Kara Saun smiles. Wendy scowls. Jay looks a little freaked. He says, in the meeting, that he is getting "butterflies" for the first time.
Heidi oversees the model casting with the three designers. Wendy says that they saw seventy-five girls. The girls walk up and down the hallway, because, if we've learned anything from Project Runway, it's that being able to walk is a commodity. One girl, with a really thick European accent, tells Jay (who is wearing a white knit cap with long tassels on the side), "You look so funny." This makes Jay laugh, "I'll take her." Jay is looking for girls with personality. Kara Saun wants girls who "can walk." "Is she a good, hard walker?" Lots of emphasis on the bipedaling, huh? As well, Kara Saun refreshingly feels like a lot of the models they saw were too skinny for her designs. Wendy says simply (or cryptically) that she tried to "match the girl to the dress." The designers get their choice of three "celebrity" models (Maggie Rizer's is the only name I recognize). Kara interviews that she was a little pushy in the model selection, and Jay agrees with that assesment in his interview. Don't start fighting now, guys!
Later, the designers go to see Michael Kors. He says that the show is a chance to make people love you. The profundity of that statement escapes me. But then, he tells them that the show is a "journey," so the pieces in the collection should be presented in a way that best tells the story of that journey. That seems a bit esoteric, until he more clinically explains that you would start the show with one of your more outrageous pieces, following it with a "quiet" piece (because you don't want to show all your stuff in the beginning). Wendy interviews that she had not previously known that. Michael adds that an accessory could make or break a garment. Wendy asks Michael if they will be using shoes of his, adding, "I don't have shoes." Michael says, "I think that we're gonna be able to do that." He concludes with the encouraging words, "Break a stiletto." Michael's office, which we saw previously, has clothing hanging along all the walls. They are entire looks, though, so there's something menacing about it -- like suits of armor that mysteriously move or stare at you in old castles. There's a pantsuit with a furry collar on the jacket that is totally giving me the willies.
Wendy interviews that she had not considered accessories. We see her on the phone to someone, crying about having no accessories. I guess it is all a lot to think about and I can understand being confused about it because they just had all of that stuff there in the Workshop on the Banana Republic accessories wall. It doesn't require too much thought when the pieces are right there in the room with you. But, she hadn't considered the accessories? I'm surprised that Wendy didn't starve to death or something in the Peace Corps. I had a friend who taught math in the middle of Africa for two years as part of the Peace Corp. I can't imagine her forgetting her accessories. In fact, I think she has, like, an accessories survival kit of some sort on her at all times. Wendy interviews later that the meeting with Michael Kors made it apparent to her that, at the fashion show, "it's [her] ass out on the line." Whose did you think would be on the line? Heidi's? I guess she realizes she is not going to be cloaked by the educational aspects of the show (i.e. Tim Gunn, surrounding resources, leeching off fellow designers). Just do it, Wendy. You'll be fine.
We are at the suite at the W, and we hear Wendy interview that their living situation is odd because Kara Saun is not speaking to her. Wow, this has been days. I'm a grudge-holder but I can't go very long without speaking to people. Kara's good. Finally, Jay tells Kara Saun that he's uncomfortable because she's not speaking to Wendy but he is. (They're preparing to leave as Wendy's at the door, here for this). Kara Saun replies brightly, "Yeah, you're talking to her. It was fake." Jay responds that he's only being cordial. Wendy says flatly, "You know, it is a little bizarre that you live in a room and you don't speak to me." Kara Saun: "I know, but, you know, I'm not fake." Kara Saun still has a pretty measured tone, but she's really pissed off by Wendy.
In an effort to understand and perhaps control my intense dislike for Wendy Pepper, I've tried to retrace her actions to find out what exactly went wrong. First, she almost immediately tried to create some stupid alliance which never seemed to get off of the ground. As well, she shit-talked Kevin and Austin on the runway. I'd say that she was an unenthusiastic team member when Austin was leading, but he didn't seem to have a problem with her, so, that was my own perception. And, there was the time she kind of stole from Kara Saun; though it could be argued that, since Nancy O'Dell was wearing that same color when they met her, they were both stealing from Nancy O'Dell. Otherwise, unless we missed it, the majority of Wendy's bad behavior has simply been in her interviews. She has been mean -- and fake as well, since she didn't really say any of the shit that she talked on camera to anyone's face. That's enough to make you hate a person, but it seems like no one wants to just say, "You hurt my feelings and I don't like you anymore." They feel stupid, like they were naïve and Wendy made fun of them. Kara Saun, who seems to have a fairly childlike spirit (her family photo shows that she is the youngest of five), seems most bothered. It's embarrassing to acknowledge that you were nice to someone who was saying shitty things, not just about you, but about you being nice in the first place. They aren't going to really make their point, though, if they focus their ire on the things she did in competition, because they weren't that influential (save Kevin's elimination). Now, as audience members, we are really the people who have the right to hate Wendy (and it's safe to say that the fellow designers dislike her more from an audience perspective than from the fellow-competitor angle). We were privy to every delusion, every needlessly nasty comment, and every undeserved breakdown. My point? I'm trying to suss out whether we have be directed to hate Wendy. I don't think that's the case. You can edit people's actions in the grand scheme of things, but Wendy's most damnable moments take place in interviews, when she is speaking her mind. Juxtaposition of her thoughts may have intensified some of those feelings, but she said what she said. My hate shall flow unfettered.
Let's get back to the fight -- Wendy starts weirdly provoking her and trying to make the totally unfounded argument that they are doing the "same thing" or some shit. "If I think you're a backstabbing liar," says Kara Saun, "I'm not going to talk to you. To me, that's not being fake, that's being real." "You don't go out of your way not to talk to me?" asks Wendy. "Who's the liar in this room now?" Ah, damn girl, you did not just call Kara Saun a liar. See what I mean? What the fuck is Wendy talking about? She just wanted to call Kara Saun the same thing Wendy was just called. Here goes Kara Saun: "You have a strategy." Wendy: "Yeah." Kara Saun: "I don't care about your strategy. I'm here for the competition." Wendy goes conspiracy-theory: "Hey, don't you think isolating me is a strategy?" Kara Saun goes ballistic: "You isolated yourself. You decided to have your strategy. I was very nice to you. I gave you a makeover." How it must feel to have someone bring up in a fight that they once gave you a makeover, I hope I never know. "The whole time you were trying to find people's weaknesses to turn against them. You pretended to be people's friends and then you got up onstage and you stabbed them in the back." "Who?" asks Wendy. Not a good question in this debate, Wendy. "Kevin!" Kara screams "Austin!" Kara is totally going crazy right now. Now, Wendy's getting mad, and she points her finger in Kara's face and says, "You know what's funny? You fucking hated Kevin. You thought he fucking sucked." Watch it with the finger. We have already established that a bitch might get stabbed on this show. You never know what Jay might be hiding under his poncho. "I know, but Kevin KNEW IT!" says Kara. I did not know that Kara Saun could get this angry. "You got here however you got here. That's fine. It has nothing to do with me." Wendy quite wrongly decides to use the following argument: "How about talent, Kara Saun? How about we're all here based on talent?" Kara gets her best line -- "You know what, that's what you choose to believe." Then, she giggles. "You don't believe that?" asks Wendy. "Does the world believe it, Wendy?" Damn.
In the other room, with the argument still continuing, Jay asks, "Maybe if I coerce them to fight physically, I automatically win."
Kara says to Wendy, "Now that you've chosen this strategy, live it, own it, love it." "You too," responds Wendy, who clearly needs some remedial debate instruction. "MY STRATEGY IS TO LIVE ON MY TALENT!" says Owen Meany. Now, Jay breaks in: "Wendy, no one else has a strategy." This whole thing is becoming unhinged, but somehow continues. Wendy says, "Jay, you know what, you have a strategy because you won't shut up. And, you [Kara Saun] have a strategy because you have him as your little whipping boy. 'Jay-bird, Jay-bird.'" So crazy. Kara and Jay laugh. Jay composes himself and says, "You're jealous. Get a reality check, Wendy." Then, he tells her that everybody hates her: "EVERYbody." Wendy suggests that it's their strategy to weaken her by telling her that she is hated, and Jay reminds her that it is fact. This is what I'm talking about. You have to hate the delusion. Kara Saun has a nice moment here (sorry, I don't usually transcribe so much conversation, but all of this is so good): "Wendy, I have met people like you my whole life. People who pretend to be your friend, who stab you in the back, who will do anything -- I live in freaking Hollywood, do you understand that? You're going to need your soul one day, and you don't have it." And she's out. All Wendy can do is make some na-na-na-boo-boo face. Rock on, Kara Saun. That was the best of her this entire season. Commercials.
Jay interviews later that the "shit hit the fan and it was fantastic to watch." I second that, my brother. He mentions that Kara has lost a little focus because of the argument. We see her stressing with her hairstylist. She interviews that she has a headache.
Tim Gunn enters the work area and introduces Collier Strong, a makeup artist with L'Oreal Paris (as well, I used to work at a place where he was a client and he's a truly nice person...anyway). He works to create a look for each of the shows. Jay seems to know what he wants. Wendy accepts a lot of Collier's advice. Kara and he seem to collaborate really well. We see each of their models get made up. Julia, per Jay, looks like a "fucking alien. Fantastic."
Later, at the workroom, Kara Saun gets a shoe delivery from Dollhouse. She interviews that she worked with them to design the proper shoes. Wendy interviews that she is jealous of Kara's shoes.
The models come in for fittings. The Euro girl who told Jay he looked funny earlier tells the camera that "he looks like Buddha." Not a compliment, honey. Tim is telling Jay how much he likes all of his designs. Wendy must be on drugs or something, because we see her tell some guy that, when she looks at Jay's piece, "they have a lot of power" for her. And, they are not even the kinds of designs she would wear: "That's what makes a designer." Jay's clothes do look good.
When Jenny is being fitted, she says that it looks like Gucci. Tim corrects her, "It's Kara Saun!" Kara looks a little annoyed at the comparison.
Audrey is modeling for Wendy!! I loved her! Wendy still has no shoes. Jay interviews that Wendy's work looks like what any older woman imagines younger people to be wearing. Ouch.
They're playing the scurrying music, and we see everyone working. Jay is spraypainting shoes and headphones. Tim announces that shoes from Michael Kors have arrived. Wendy and Jay go scavenging. Kara, meanwhile, has all of her pretty shoes already. We even see her on the phone to the "shoe liaison," asking for replacements. She has got the hookup.
The day, we see Wendy interviewing that she is very punctual. We see her waiting in the elevator at the W, wearing a really unattractive baseball cap with "WENDY PEPPER" on it. Jay and Kara are tooling around, and Jay says to Kara, "Wendy, you know, is in the elevator bawling her eyes out right now. So come on." Apparently the baseball cap is actually a Wendy Cam and Jay has a direct feed, because Wendy is indeed bawling her eyes out in the elevator. "I'm always ready on time, you know," she whines through tears, "I'm so stressed for time right now. You're always late." She just popped into imagining she was talking to one of them. Did you catch that?
The world doesn't collapse, and they make it to the workroom. Jay announces that he has nine-dollar shoes. Wendy is struggling to make the Kors shoes work. Kara gets a hand delivery from her "shoe liaison." He also gives her hints for how the girls should wear the shoes (i.e. something with rubber cement that I didn't really understand). The other designers look so pissed.
With sixteen hours until the runway show, Wendy's mother and Finley show up. The girl is so cute. Both Kara and Jay whisper to each other that Finley is really adorable. Wendy's mother, Anne, gives Kara a big hug. This is uncomfortable. Jay says that the last person he'd want there right now is his mother. Kara also meets Finley, which is easier because she's so damn cute. Anne introduces herself to Jay and tells him she's a great admirer of his. They smoke together on the balcony. Their time together seems uncomfortable. Afterward, Jay gets on his cell to his sister Janet to say he feels bad about hating Wendy because Finley reminds him of his niece, Molly. It is hard to hate Wendy when she has such a cute little girl. I'm thinking Daddy must be a pretty nice guy. And tolerant of his wife's madness. Janet brings Jay back to reality though: "She made her own bed. You can't help that. She wants to dish it, but she can't take it." See, Janet's an audience member. Sure, a sister of a contestant, but that clarity comes from watching Wendy be such an asshole without the baggage of having been there. You could also say that things aren't as black and white when you are part of the situation, but I'm not the person whot's going to say that. Capisce? Jay does say that seeing Wendy with her family humanized her a little bit for him.
We see Jay call Julia and ask her to bring her own shoes. I wonder if that happens often. John Pfeiffer, the model-casting guy, calls Kara and tells her that Maggie Rizer had a death in the family and won't be able to model for her. They show a shot of Jay smiling, and I'm hoping he's not taking joy in Kara's misfortune.
Tim enters and reveals the order of the show as Kara Saun, Wendy, and Jay. They go back to their work. Tim then asks Kara Saun privately how much her shoes cost. She explains that Dollhouse is doing the shoes gratis. Tim interviews that he thought this might be problematic, seeing as Dollhouse is a major manufacturer. I'd imagine it's a pretty big deal to Bravo, which is probably charging Banana Republic and L'Oreal through the nose to get the same publicity Dollhouse is getting. When Tim talks to Jay, he says that he wishes he could help Jay, and we get the catty response, "Well, maybe I could have invited a friend over to help me."
A few hours later, Kara gets a call from Tim. Apparently, getting a favor like she got is in violation of her contract. Jay interviews, "Finally something happened to Miss Fucking Perfect. I love it." Okay, reel it in there, buddy. Kara asks Tim why it's different from using Michael Kors shoes, which are also free. Now, Kara, you know why it's different. Michael Kors's company probably paid to be represented on the show, and Michael himself paid with his time. I understand she just wants to put on the best show possible, but be real, Kara Saun. She tells Tim that she will "take care of it." She basically calls Dollhouse and asks them to invoice her for very little. Everyone thinks it's not right. Kara Saun goes to Jay and asks him if he has a problem with it, which he does. Wendy adds that for someone who thinks she's "Miss Perfect," this situation seems pretty dishonest. Sure, but fuck off, Wendy. Kara Saun looks really bad right now. I can't believe that she doesn't have a Plan B. Didn't she consider that this might happen?
Early morning, the day of the show, the designers leave the hotel. They arrive at Bryant Park, and Wendy feels overwhelmed. She cries when she walks into the tent. That's kind of sweet. She's intimidated backstage until she meets Johnny Hardesty, the backstage production assistant. They hit it off and decide to trade shirts. Yes, ladies and gentlemen, I did not make that up. Most unfortunately (Meaning more unfortunate than this poor guy losing his shirt or finding out that Wendy was wearing a shirt with her own face on it), we see Wendy in her bra.
Kara shows Tim an invoice for the shoes. She was charged $15 a pair, which Tim interviews wouldn't cover the import taxes of those shoes.
Wendy can't find Martinique, who I guess is in her show, and Tim informs her that Jay is waiting for SEVEN models to arrive. That's gotta do wonders to your colon. Sorry, but it's morning there. You know it happened. Julia is there, though. The other girls start to trickle in.
Kara Saun's family and friends arrive. They seem really sweet. Her mother is gorgeous. Kara places them in the front row and is on her way. Jay meets his family as well. He interviews that this is a new experience for them.
Tim tells Kara Saun that the shoe thing is still a problem. Per the producers, she has three options: 1) No shoes, 2) New shoes, 3) Use the shoes, but the judges will be told that they can't be a factor in their judgment of Kara Saun's collection. She says, "I'm being penalized for having good taste?" Tim replies, "No, you're being penalized because of the terms and conditions of the contract, which says 'no favors,' 'you can't get things for free.'" She decides on the third option. That's seems ridiculous, though. Were they ever going to be like, "I like those shoes. You win!" It seems a fairly intangible thing, the good effect a shoe might have on a design. I don't know. I just wish Kara had a backup plan.
Jay looks really frazzled. When two sets of his headphone break, he allllllmost loses it. His girls finally show up. His explanation of the kind of walk he wants from his girls is hysterical. He says, "Really German. Like 'Hughhr.'"
We see the people arriving for the show. I spy Carson Kressley and Parker Posey, as well as a lot of the designers from earlier in the season. Heidi greets everyone on the runway. The judges are Michael Kors, Nina Garcia, and Parker Posey -- who is sporting a MASSIVE fro and some sunglasses to match.
The show begins. Kara Saun comes out. She says her line is "Fantasy Fly-girl." It's a cross of aviation and technology. The girls come out. The stuff is cute. Lots of vinyl, leather, and fur. The second girl trips over the train of her dress, which is, of course, cut really low in front. We see a succession of beautifully fitted jackets, a lot of which have full shoulders and sleeves that taper to the wrist. The colors are browns and reds. Kara has a really beautiful floor-length gown that's brown and halter-styled, with one of those Kara Saun low-cut necks. There's a bow effect at the neck that is really lovely, and it's backless. It maybe wasn't the greatest idea for her to take her inspiration from a movie, because some of this is, in fact, coming off a bit costume-y. Miss Posey seems to like it, or someone told her a good joke. Kara Saun uses really beautiful fabrics -- a vinyl to a sumptuous metallic knit. It looks really hot. Her waists are high, which I like. I see that Robert is sitting to Parker Posey. Dude, she dates Ryan Adams. Or did. I'm not sure if they're still together. Either way, Robert? You don't stand a chance. Another girl has trouble with her train. This is not good, Kara. There's a pretty white coat with a fur collar and fur on the sleeves that has a metal buckle at the waist. I could see someone wearing that. is a white/silver dress with Kara's signature low neck that has that same buckle on the bodice. The entire sleeves (which come to the elbow) are fur. Now, I could see THAT at the Grammys. There's Jenny! (Why does that make me so happy?) She's wearing a floor-length white gown is cut (guess!) to the waist. She has a white stole over her right shoulder. There's Ted, Kyan, and Jai from Queer Eye. That's it! The girls all come out to applause. Daniel Franco gives a standing ovation. Her dad is taking pictures. That's so cute.
Wendy comes out . Thank God she changed shirts. Finley looks bored. Wendy introduces herself: "As someone famously told [her] to mention, I am a mom from Virginia." We see Richard Johnson watching the show. Wendy says that her dream has come true. Is that Harvey Weinstein? The show begins. The first piece is a green quilted, fur-lined jacket over a nightgown-looking dress worn over brown slacks. The fabric of the dress is moving in between the model's legs, giving her a pronounced camel toe. The judges scribble furiously. Okay, the model takes the jacket off and it seems prettier. It's not really a dress, just a loose blouse, but the fabric does gather between the model's legs. I think that's Audrey. She has huge sunglasses on, so I can't tell. Finley is really bored. Okay, the stuff all looks not great. There's another camel toe. On the green skirt and top with green fur trim. There's a leather skirt with a top that is tan with gathering all along the bodice. It is shoulder-less, save its spaghetti straps. It may only be flattering on the bust of a size 2, really tall model, but it looks hot on her. Lots of matching suits. There's Martinique in a red suit. Girl is working it, but the suit is boring. Oh God, here's this hideous green dress that is diaphanous in the skirt area, and the bodice is a multi-colored corset. It's something that a low-budget Cinemax movie would use to indicate that they were in the South. It's Two Moon Junction. Ew. There's a Carolina Herrera rip-off in hot pink. It has an open neck, half-sleeves, and a small waist. The train is this weird diagonal that is all wrong. Very mother-of-the-bride, when the mother thinks she's cool. Here is a floor-length red gown, and it looks as if the skirt is made of felt. Camel toe. Some poor girl is forced to walk out in a completely see-through blouse. The judges go nuts with fury. Finally, it's Melissa, in some buckle-y, corseted monstrosity, bustled, yet with a short skirt. Melissa is gorgeous, but she does this dramatic double take when she was leaving. Kind of scary. When they all come back onstage, Wendy goes and picks up Finley and holds Melissa's hand as they all walk backstage. That was sweet. No matter how much I hate Wendy personally, though, her collection objectively sucked.
Jay comes out, to screams. He says his work will speak for itself, and he's gone. His first girl has this massive quilted shawl thing on. There's a long skirt with patches on it and fringe at the bottom, with leggings worn beneath. Kind of space-agey. The piece is another patched skirt -- high waist, with a thick belt over the girl's three-quarter-length-sleeved knit top. She is also wearing a beautiful scarf that must be like five feet long. All the girls are wearing headphones. There's lots of Jay's signature flair and deconstruction, with several really beautiful knit pieces, including the most magnificent blue cardigan that has stuffing all along the collar, creating an open bodice. It's tied at the waist with ribbon and buckles. It's really pretty and gets applause from the crowd. The girl that called him Buddha is wearing his really beautiful sweater with squares on it, over pants, a shirt, and a tie. It's like an androgynous, deconstructed, futuristic, prep-school uniform. And, it rocks. Lots of play with knits and geometric shapes. There are a lot of colors represented here, too. Julia enters to applause in a floor-length gown. It's red, and the neckline is a little reminiscent of Kara Saun, as it opens in a diamond over Julia's décolletage. Red and pink feathers surround the cutout. It is belted at the waist, with more red, and then flares into this intricate shredded skirt. It is layered and gets darker as it reaches the floor, where it is purple. It reminds me of Jay's skirt for the Nancy O'Dell bullshit, except on a much grander scale. Major applause for Jay. He links arms with Julia and walks the runway. Someone even reaches out and shakes his hand.
After the show, Carson Kressley says that Jay was his favorite. He felt that Jay was the only one of the three with a point of view. Tamara Mellon, who owns Jimmy Choo, liked Kara Saun. (There was a crazy story about Mellon in Vanity Fair a few months ago, by the way.) A model, Yvonne Scio, votes for Kara. Nora is there, and she says she wants Jay to win. Alexandra likes Kara Saun. Daniel Franco also likes Kara Saun.
All of the designers are relieved afterward. Wendy says that this is a milestone for her. She's proud of herself.
It's time for judging, at the Parsons runway. Michael says that he thought the show was great. The designers enter. Wendy has her own shirt on now. Heidi tells us that the winner of Project Runway will get a one-year contract with Designers' Management Agency, which represents the business interests of fashion designers; a fashion spread in Elle, a mentorship with Banana Republic, and $100,000 to start a fashion label.
Julia, Jenny, and Melissa enter. Nina asks Jay about his fabrics. Parker asks him about the quilting, and Jay says that he did all of it. Heidi feels that it was "fashion-forward." Michael asks whether Jay dyed some his pieces, which he admits to. Mr. Kors apparently found it "a little too matchy-matchy. 'DTM' -- dyed to match -- is what we call it." Heidi clearly wants Jay to win, and is willing Michael to shut up about the matching. Nina thinks that sometimes Jay gets "overly complicated." Her example is this lavender jacket thing that is certainly complicated, but "overly"? I'm not sure. She's the expert, though!
Wendy says that her inspiration was autumn. Michael asks her if these clothes are for her and she says that they are "demure." Michael and Nina disagree, bringing up the nudie shirt the poor model had to walk in. Michael says that it was "out of step." He says that he had gotten Wendy's autumnal theme when "all of a sudden [he] got boobies, and [he] was like, 'What's going on with the boobies?'" He's not sure Wendy's collection was personal. He commends her tailoring, remarking that tailoring charmeuse is like "tailoring a Kleenex." Overall, he feels that Wendy was unfocused.
Kara Saun describes her collection. The judges mention that they saw a lot fur and leather. Parker Posey says that a lot of the dresses could "have been worn to the Oscars." She says that in the accent of an old Hollywood agent or something, which is cute. Parker adds that they are thoughtful and provocative designs. Michael tells Kara that she understands a woman's body. However, he repeats what Jenny was saying when she was fitted into that very gown, that it looks like Gucci. Kara says she has been doing that for years. ["And anyway, with all the copying of Aviator style, it was really more like Ralph Lauren." -- Wing Chun] He adds that he felt a lot of Gucci in Kara's collection and that it disappointed him. Nina agrees about the too-much-Gucci thing. Michael also comments on the dress that tripped up the model. Apparently, that model in particular is amazing (per Michael), so it doesn't reflect well on Kara that she couldn't walk in it.
The designers leave the runway. Backstage, they look exhausted. They've all just collapsed on the sofas. Jay interviews that he thinks his collection was fresh and cool. Wendy says she tried her best and loves her clothes. Kara Saun says she doesn't know how the judging will go. She hopes that her consistency in the competition will matter.
Back at the runway, the judges deliberate. Nina is torn. For her, it's between Jay and Kara. Michael says he is looking for originality, but also wants to be left with curiosity about the designer's future. Heidi asks if they think Wendy exceeded expectations. Michael says that she is tenacious, but that she listens to other people too much. Too much of a good thing, I guess. Parker likes Jay's work because it's ironic, colorful, and not too serious. Nina "totally" agrees. As well, she thinks Jay has a lot of depth and originality. Michael points out that, since Jay lives in the middle of nowhere, his design instincts come from "his gut." The judges all commend Kara's professionalism and tailoring. As well, they feel that her work is intricate. Nina points out that Kara "doesn't lose her cool." Michael points out that Kara is consistent. Nina is still torn.
The designers return to the runway. Wendy is told that she is not as consistent as the others and, at long last, she is yacht. She goes backstage and hugs Melissa and Finley. She says she is going to open her own Wendy Pepper shop. With one final delusion, she tells us that she feels her work is unique. Later, Pepper.
It's down to Jay and Kara. They are hugging each other. Heidi tells Jay that his line was artistic and out-there. Kara is told that her execution of her line was beautiful. Jay wins. Kara's heart visibly breaks just a little bit. She and Jay hug. Jay is thrilled. Nina tells them that it was a very hard choice. Backstage, Kara hugs her family. She cries a little. She is happy that she got to show at Fashion Week, though.
Michael tells Jay to remember the moment. Jay's family comes onstage with Julia. Jay interviews as such: "I'm a winner!" He also tells us that he has been insecure a lot in his life, and that this has been a huge boost for him. He wants to show his vision to the world; in fact, he feels like he could conquer the world. "Project Jay, that's all I'm saying." Wow, all that beautiful design and he can see into the future as well.